Thesis (M.F.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Orientador: Maria de Lourdes Ortiz Gandini Baldan / Banca: Sylvia Helena Telarolli / Banca: Leonardo Francisco Soares / Resumo: O campo de pesquisa no qual este trabalho se insere é o das intricadas relações entre literatura e cinema, e seu objeto de estudo é Guerra conjugal (1975), adaptação cinematográfica de Joaquim Pedro de Andrade, um dos expoentes do Cinema Novo, para alguns contos de Dalton Trevisan, um dos mais importantes escritores em língua portuguesa. Tomando-se o esforço adaptativo por tradução crítica e, portanto, nada afeito à exigência de fidelidade à obra original, o objetivo deste trabalho consiste em demonstrar, mediante análise do seguimento narrativo fílmico dedicado à decadente figura vampírica de Nelsinho, a orientação antropofágica que (1), em sentido positivo, norteia o método criativo do cineasta, cuja obra mantém estreito e fértil diálogo com a literatura nacional, mas sem a ela se submeter; e (2), agora em chave negativa, permeia as batalhas amorosas registradas em Guerra conjugal, em sua declarada intenção de dominar, impor-se, enfim, devorar o outro através do sexo, em tratamento que alinha o filme a ao menos duas grandes tendências do cinema de então: o sexo como bandeira política e o retrato da decadência via crônica da vida privada. Para a consecução de tal objetivo, procurar-se-á identificar os contos-base de Dalton Trevisan utilizados para a composição da trajetória de Nelsinho no longa-metragem, bem como os principais expedientes da literatura do escritor curitibano, sem deixar de considerar o contexto de explosão do gênero conto no Brasil entre as décadas de 1960-1970. Em seguida, analisarse- á pormenorizadamente a narrativa do filme-resultado, procurando-se evidenciar o modo como Joaquim Pedro traduziu os contos, ao reelaborar a literatura de Trevisan no interior de um gênero cinematográfico de amplo apelo popular, a pornochanchada, a cujos traços mais recorrentes o cineasta adere, em princípio, apenas para subvertê-los na sequência / Abstract: The research field in which this work can be inserted in is that of the intricate relations between literature and cinema, and its subject matter is Guerra conjugal (1975), a film adaptation by one of the exponents of Cinema Novo in Brazil, Joaquim Pedro de Andrade, for some short-stories by Dalton Trevisan, one of the most important writers in Portuguese. Taking the adaptive effort as a critical translation and not at all accustomed, therefore, to the requirement of fidelity to the original work, the objective of this research is to demonstrate, by the analysis of the filmic narrative sequence dedicated to the decadent vampire figure of Nelsinho, the anthropophagic orientation that (1), in a positive sense, guides the creative method of the filmmaker Joaquim Pedro, whose work holds closely and fruitful dialogue with the Brazilian literature, but without undergoing the books; and (2), now in a negative way, permeates the loving battles of Guerra conjugal, which characters' intentions are to dominate, to impose, finally, to eat each other through the sexual experience, in a choice that lines up the film to at least two major inclinations of the cinema from that decade: sex as a political banner and the picture of decay through the chronic of private life. To achieve this goal, efforts will be made to identify the short-stories by Dalton Trevisan used for the composition of Nelsinho's path along the film as well as the main literary expedients of the writer from Curitiba, while considering the context of growth of the short-story in Brazil between the decades 1960-1970. Then it will be tried to analyze in details the narrative of the film adaptation, in a way to highlight how Joaquim Pedro translated the short-stories to the screen, rewriting Trevisan's literature in a filmic genre of a broad popular appeal, the pornochanchada, to which recurring features the filmmaker adheres in principle just to subvert them after / Mestre

Orientador(a): Carminda Mendes André / Banca: Marcos Marcelo Soler / Banca: Danichi Hausen Mizoguchi / Banca: Verônica Fabrini / Banca: Mara Lucia Leal / Resumo: Este estudo investiga, a partir da problematização da pedagogia do treinamento do ator, uma abordagem de corpo que vislumbra a memória como um território metodológico. Através de um estudo cenopoético o espaço autobiográfico se redesenha numa perspectiva relacional da memória e busca compreender uma pedagogia que considere a experiência e a narrativa como estratégias para outras políticas de corpo. / Resumen: Este estudio investiga, a partir de la problematización de la pedagogía del entrenamiento del actor, un abordaje del cuerpo que vislumbra la memoria como un territorio metodológico. A través de un estudio esceno-poético el espacio autobiográfico se reelabora en una perspectiva relacional de la memoria y busca comprender una pedagogía que considere la experiencia y la narrativa como estrategias para otras políticas del cuerpo. / Abstract: This study investigate from the problematization of the education of the training of the actor. An approach of the body that is a glimpsy the memory as a territory methodological. Throwght a cenopoetic study the autobiografical space redrawing in a perspective that relates with the memory and seek too comprehend the pedagogy that consider the experience and narrative as strategies for other kind of body politics. / Doutor

An exploration of personal and professional acting methods during the production of Beautiful Bodies by Laura Shaine Cunningham.

The reader's theatre production of Kacy Tiller’s Personal Recollections of Joan of Arc on December 3, 2012 was the culmination of my process as an actress to portray Joan. Through character analysis, extensive research, and collaboration with fellow artists, I was able to discover and grow as an actress.

A Summer Experience as a Paid Actor: It’s Not All Broken Legs Thesis Statement: Finding out that you are going to be paid to act sounds like a dream come true, but there is a lot more to it than just the glitz and glam of the final product.

This is William Miles' Gatrell's relatively short diatribe about the inherent flaws in theatre academia followed by an examination of how fear stifles art. It concludes with a cliffhanger.

The engineering of complete planning domain descriptions is often very costly because of human error or lack of domain knowledge. Learning complete domain descriptions is also very challenging because many features are irrelevant to achieving the goals and data may be scarce. Given incomplete knowledge of their actions, agents can ignore the incompleteness, plan around it, ask questions of a domain expert, or learn through trial and error. Our agent Goalie learns about the preconditions and effects of its incompletely-specified actions by monitoring the environment state. In conjunction with the plan failure explanations generated by its planner DeFault, Goalie diagnoses past and future action failures. DeFault computes failure explanations for each action and state in the plan and counts the number of incomplete domain interpretations wherein failure will occur. The questionasking strategies employed by our extended Goalie agent using these conjunctive normal form-based plan failure explanations are goal-directed and attempt to approach always successful execution while asking the fewest questions possible. In sum, Goalie: i) interleaves acting, planning, and question-asking; ii) synthesizes plans that avoid execution failure due to ignorance of the domain model; iii) uses these plans to identify relevant (goal-directed) questions; iv) passively learns about the domain model during execution to improve later replanning attempts; v) and employs various targeted (goal-directed) strategies to ask questions (actively learn). Our planner DeFault is the first reason about a domain's incompleteness to avoid potential plan failure. We show that DeFault performs best by counting prime implicants (failure diagnoses) rather than propositional models. Further, we show that by reasoning about incompleteness in planning (as opposed to ignoring it), Goalie fails and replans less often, and executes fewer actions. Finally, we show that goal-directed knowledge acquisition - prioritizing questions based on plan failure diagnoses - leads to fewer questions, lower overall planning and replanning time, and higher success rates than approaches that naively ask many questions or learn by trial and error.

No description available.

No description available.