Le présent travail se propose de contribuer à l'analyse du processus de patrimonialisation dans le village de Chenini (gouvernorat de Tataouine, sud-est tunisien). À travers l'analyse des différentes phases de patrimonialisation, l'implication et le positionnement des différents acteurs ont été mis en exergue au niveau des actions de conservation et de valorisation du patrimoine local. L'approche méthodologique adoptée est axée sur deux étapes. La première étape consiste à identifier le capital patrimonial dans le village de Chenini à travers l'outil SWOT, qui permet d'analyser les forces, les faiblesses, les menaces et les opportunités du territoire de Chenini. Dans une deuxième étape, l'approche de l'analyse de jeux d'acteurs et la performance du tissu institutionnel local ont été utilisées comme support pour montrer l'influence de la gestion actuelle du patrimoine local sur le processus de patrimonialisation. L'outil MACTOR (Méthode Acteurs, Objectifs, Rapports de force) et la matrice intérêt/pouvoir des acteurs ont servi comme outils analytiques, pour étudier les convergences et divergences des acteurs vis-à-vis des objectifs associés à la valorisation et la conservation du patrimoine local. Les données et les informations ont été collectées par des enquêtes par questionnaire et des entretiens semi-directifs auprès des acteurs publics, privés, associatifs et la population locale. Nos résultats ont montré que la spécificité du territoire, ses capacités et ses contraintes, ainsi que les conditions économiques, sociales et politiques ont permis le développement d'un savoir-faire ancestral pour s'adapter à un environnement contraignant. En dépit de l'importance de ce patrimoine berbère authentique et son identité socioculturelle confirmée, le village de Chenini semble ne pas amorcer une véritable dynamique territoriale. En effet, la divergence des objectifs d'acteurs en termes d'exploitation de ce patrimoine a mis en cause sa conservation, sa valorisation et son intégration économique. La multiplicité des acteurs intervenant sur le territoire à différentes échelles et les conflits d'intérêt émergeant entre eux se sont traduits par des stratégies désordonnées en termes de valorisation des ressources locales par les activités économiques. Le travail a permis de conclure que la valorisation des ressources patrimoniales pour générer des richesses supplémentaires et la conservation de l'attractivité de ce potentiel à long terme, nécessiterait de nouvelles pratiques de gouvernance locale davantage concertées qui contribueraient vraisemblablement au dépassement des conflits entre acteurs pour répondre aux problématiques spécifiques de ce territoire. / The main objective of the thesis is to analyse the "heritagization" process in Chenini, an historical village located in south-eastern Tunisia. Involvement and positioning of actors, as agents of development, concerning the conservation and the make use of the local heritage capital have been highlighted. Qualitative analysis of actors's games and the performance of the local institutional network have been performed. SWOT method has been used to identify the heritage capital in Chenini and to analyse the strengths and weaknesses, and to identify both the opportunities and the threats faced by local stakeholders. MACTOR method and power and interest matrix have been used to gauge the balance of power between actors and study their convergences and divergences when faced with a certain number of associated stakes and objectives. Data have been gathered using structured questionnaires, semi-structured interviews and focus group together with public and private actors, NGOs and local population. Our results showed that the specificity of the territory, its capabilities and constraints, as well as economic, social and political conditions have allowed the development of an ancestral know-how adapted to a harsh environment. Despite the importance of this authentic Berber heritage and the confirmed socio cultural identity, the village of Chenini cannot initiate a real territorial dynamic. In fact, the divergence of actor's objectives caused a drawback of the conservation, and development of the local heritage capital and their economic integration. The multiplicity of actors involved in the territory at different scales and emerging conflicts of interest between them resulted in disorderly development strategies enable to make use of the local resources. We conclude that the additional income-generation and the sustainability of the local heritage capital need the development of new modes of governance based on the local specificities which allows the overcoming of conflicts between actors.

Essa dissertação se dedica a olhar para a relação entre Corpo, Voz e Escuta no trabalho do ator. O estudo se apoia em orientações teóricas que entendem o corpo como agente de aprendizagem do mundo e que apontam seu aspecto intrinsecamente relacional, tendo como principais referências a fenomenologia de Merleau-Ponty, a ideia de voz singular de Adriana Cavarero e as reflexões acerca da Escuta desenvolvidas por Jean-Luc Nancy. Além disso, na tentativa de desvelar as características dos processos de exploração vocal, o trabalho faz referência a importantes artistas do âmbito teatral, além da experiência prática desenvolvida, principalmente pelo \"Via Rosse Teatro\" (Itália). Esse trabalho se insere no campo das atuais linhas de pensamento acerca da formação do ator que têm como interesse a busca pela transposição da dicotomia entre Corpo e Voz. / The present dissertation is dedicated to looking at the relationship between Body, Voice and Listening on the actor\'s work. The study is based on theoretical guidelines that understand the body as an agent of the process of learning the world and point its intrinsically relational aspect, as its main references there is the phenomenology of Merleau-Ponty, the idea of singular voice of Adriana Cavarero and reflections about the listening process developed by Jean-Luc Nancy. In addition, in an attempt to uncover the characteristics of vocal exploration processes, this work makes reference to important artists of the theatrical context beyond the practical experience carried out mainly by the \"Via Rosse Teatro \"(Italy). This work belongs to the field of current lines of thought about the formation of the actor whose interest the search for transposition of the dichotomy between body and voice.

A presente pesquisa propõe investigar a noção teatro ritual a partir do trabalho do ator sobre si mesmo, principalmente por meio das proposições de Antonin Artaud e Jerzy Grotowski. O teatro ritual é compreendido nesta proposta de pesquisa como um processo de fusão entre a vida e a arte, de desvendamento e entrega total pelo ator em busca de conhecimento de suas potencialidades afetivas e artísticas. O foco está no próprio processo em si como condição de constante investigação e conhecimento de si, como humano e ator. O teatro ritual nesta pesquisa está entrelaçado com os elementos do trabalho do ator sobre si mesmo a partir da memória afetiva, da experiência e do treinamento físico, de modo que o ator participante do processo explore as potencialidades e subjetividades de si em relação a investigação. Objetivando o processo criativo como espaço para refletir sobre o teatro ritual e os elementos que perpassam o trabalho sobre de si mesmo. A pesquisa está cruzada por dois processos criativos, na qual o primeiro foi com um grupo de atores e atrizes, e o segundo realizado com um único ator. Nos dois processos de criação foram utilizados como disparadores exercícios inspirados nas práticas de Jerzy Grotowski, Constantin Stanislavski, Eugenio Barba e Rudolf Laban; e material autobiográfico, memórias pessoais, processos que estão ligados ao acontecimento enquanto experiência que afeta, marca e atravessa o indivíduo. Para tanto a pesquisa possui como principais referenciais artísticos e teóricos Antonin Artaud, Jerzy Grotowski, Eugenio Barba, Constantin Stanislavski, Arnold Van Gennep, Victor Turner, Richard Schechner, Jorge Larrosa, Cassiano Sydow Quilici e Mara Lúcia Leal. Desta forma, procuro refletir alicerçado no trabalho do ator sobre si mesmo, como o ator, diante da sua realidade atual, de uma sociedade marcada por acúmulo de informações, relações imediatistas e a fugacidade dos acontecimentos que permeiam nosso cotidiano, vivencia seus processos pessoais na noção do teatro ritual. Assim, explorar como suas próprias experiências afetam seu processo de conhecimento de si nesta fusão entre a vida e a arte. / The present research intends to investigate the notion of ritual theater based on the work of the actor on himself, mainly through the propositions of Antonin Artaud and Jerzy Grotowski. The ritual theater is understood in this research as a process of fusion between life and art, of unveiling and total surrender of the actor in search of knowledge of his sensitive and artistic potentialities. The focus is in the process itself as a condition of constant investigation and self-knowledge, as a human and an actor. In this research, the ritual theater is intertwined with the elements of the actor's work on himself from the affective memory, the experience, and the physical training, so that the actor, participant of the process, explores the potentialities and subjectivities of himself in relation to the investigation. Aiming the creative process as a space to reflect on the ritual theater and the elements that permeate the work about oneself. The research is crossed by two creative processes, on which the first one was with a group of actors and actresses, and the second realized with only one actor. Where in both creative processes was used exercises inspired by the practices of Jerzy Grotowski, Constantin Stanislavski, Eugenio Barba and Rudolf Laban; and autobiographical material, personal memories, processes that are linked to the event as an experience that affects and touches the individual. For this, the research has as main artistic and theoretical references Antonin Artaud, Jerzy Grotowski, Eugenio Barba, Constantin Stanislavski, Arnold Van Gennep, Victor Turner, Richard Schechner, Jorge Larrosa, Cassiano Sydow Quilici and Mara Lucia Leal. Hence, I try to reflect based on the actor's work on himself, how the actor in face of his current reality, a society marked by the accumulation of information, immediate relations and the fugacity of the events that permeate our daily life, experiences his personal processes in the notion of ritual theater. So, the actor can explore how his own experiences affect his process of self-knowledge in this fusion of life and art.

Essa dissertação se dedica a olhar para a relação entre Corpo, Voz e Escuta no trabalho do ator. O estudo se apoia em orientações teóricas que entendem o corpo como agente de aprendizagem do mundo e que apontam seu aspecto intrinsecamente relacional, tendo como principais referências a fenomenologia de Merleau-Ponty, a ideia de voz singular de Adriana Cavarero e as reflexões acerca da Escuta desenvolvidas por Jean-Luc Nancy. Além disso, na tentativa de desvelar as características dos processos de exploração vocal, o trabalho faz referência a importantes artistas do âmbito teatral, além da experiência prática desenvolvida, principalmente pelo \"Via Rosse Teatro\" (Itália). Esse trabalho se insere no campo das atuais linhas de pensamento acerca da formação do ator que têm como interesse a busca pela transposição da dicotomia entre Corpo e Voz. / The present dissertation is dedicated to looking at the relationship between Body, Voice and Listening on the actor\'s work. The study is based on theoretical guidelines that understand the body as an agent of the process of learning the world and point its intrinsically relational aspect, as its main references there is the phenomenology of Merleau-Ponty, the idea of singular voice of Adriana Cavarero and reflections about the listening process developed by Jean-Luc Nancy. In addition, in an attempt to uncover the characteristics of vocal exploration processes, this work makes reference to important artists of the theatrical context beyond the practical experience carried out mainly by the \"Via Rosse Teatro \"(Italy). This work belongs to the field of current lines of thought about the formation of the actor whose interest the search for transposition of the dichotomy between body and voice.

Esta pesquisa teórico-prática realiza um estudo do pensamento e dos princípios de trabalho de dois importantes artistas e pesquisadores da voz ainda pouco conhecidos no universo das Artes Cênicas no Brasil: o alemão Alfred Wolfsohn e, seu discípulo, o ator Roy Hart. Wolfsohn desenvolveu, após uma experiência traumática de guerra, uma pesquisa aprofundada sobre a expressão humana através da voz. Já Hart aplicou, à sua maneira, os ensinamentos de Wolfsohn no campo teatral. Esta dissertação de mestrado efetiva ainda uma investigação prática à luz dos fundamentos propostos por esses artistas. Sua contribuição pode ser útil para que o ator vislumbre possibilidades de trabalho exploratório sobre si mesmo, partindo do alicerce corpo/voz enquanto unidade expressiva, além de colaborar com a formação integral do ator. / This research makes a theoretical and practical study of thinking and working principles of two important artists and researchers of the voice still little known in the world of Performing Arts in Brazil: the German Alfred Wolfsohn and his disciple, actor Roy Hart. Wolfsohn developed, after a traumatic experience in the war, a thorough research on the human expression through the voice. Hart applied, in its own way, the teachings of Wolfsohn in the theatrical field. This dissertation also realizes a practical research in the light of the grounds proposed by these artists. His contribution can be useful for the actor to have a glimpse of the possibilities of exploratory work on him/herself departing of the body/voice foundation as an expressive unity, as well as collaborating with the actor\'s whole formation.

Esta pesquisa teórico-prática realiza um estudo do pensamento e dos princípios de trabalho de dois importantes artistas e pesquisadores da voz ainda pouco conhecidos no universo das Artes Cênicas no Brasil: o alemão Alfred Wolfsohn e, seu discípulo, o ator Roy Hart. Wolfsohn desenvolveu, após uma experiência traumática de guerra, uma pesquisa aprofundada sobre a expressão humana através da voz. Já Hart aplicou, à sua maneira, os ensinamentos de Wolfsohn no campo teatral. Esta dissertação de mestrado efetiva ainda uma investigação prática à luz dos fundamentos propostos por esses artistas. Sua contribuição pode ser útil para que o ator vislumbre possibilidades de trabalho exploratório sobre si mesmo, partindo do alicerce corpo/voz enquanto unidade expressiva, além de colaborar com a formação integral do ator. / This research makes a theoretical and practical study of thinking and working principles of two important artists and researchers of the voice still little known in the world of Performing Arts in Brazil: the German Alfred Wolfsohn and his disciple, actor Roy Hart. Wolfsohn developed, after a traumatic experience in the war, a thorough research on the human expression through the voice. Hart applied, in its own way, the teachings of Wolfsohn in the theatrical field. This dissertation also realizes a practical research in the light of the grounds proposed by these artists. His contribution can be useful for the actor to have a glimpse of the possibilities of exploratory work on him/herself departing of the body/voice foundation as an expressive unity, as well as collaborating with the actor\'s whole formation.

Is an actor performing live if that actor is out of sight in the wings and appears on stage as a computer-mediated representation? Is co-presence with such a mediated embodiment problematic for the performer? This project seeks to explore the use of digital media elements, from the perspective of the actor, in the collaborative process of devising, designing, rehearsing and performing a Shakespearian theatre production. It raises issues of the creative possibilities that applications of new technologies afford and of a changing perception of the nature of liveness. Can digital media techniques usefully enhance the liveness of performance and extend the audience’s experience of the production? Specifically, can it augment their perception of themselves, mirrored on stage? Exploring the usefulness of digital media techniques takes a theatre practitioner into the intermedial, liminal spaces where the two fields converge. These are spaces of possibility where new ways of working might emerge. This thesis is presented primarily as an experimental performance and is contextualised by this exegesis with its written and DVD components.

Is an actor performing live if that actor is out of sight in the wings and appears on stage as a computer-mediated representation? Is co-presence with such a mediated embodiment problematic for the performer? This project seeks to explore the use of digital media elements, from the perspective of the actor, in the collaborative process of devising, designing, rehearsing and performing a Shakespearian theatre production. It raises issues of the creative possibilities that applications of new technologies afford and of a changing perception of the nature of liveness. Can digital media techniques usefully enhance the liveness of performance and extend the audience’s experience of the production? Specifically, can it augment their perception of themselves, mirrored on stage? Exploring the usefulness of digital media techniques takes a theatre practitioner into the intermedial, liminal spaces where the two fields converge. These are spaces of possibility where new ways of working might emerge. This thesis is presented primarily as an experimental performance and is contextualised by this exegesis with its written and DVD components.

Is an actor performing live if that actor is out of sight in the wings and appears on stage as a computer-mediated representation? Is co-presence with such a mediated embodiment problematic for the performer? This project seeks to explore the use of digital media elements, from the perspective of the actor, in the collaborative process of devising, designing, rehearsing and performing a Shakespearian theatre production. It raises issues of the creative possibilities that applications of new technologies afford and of a changing perception of the nature of liveness. Can digital media techniques usefully enhance the liveness of performance and extend the audience’s experience of the production? Specifically, can it augment their perception of themselves, mirrored on stage? Exploring the usefulness of digital media techniques takes a theatre practitioner into the intermedial, liminal spaces where the two fields converge. These are spaces of possibility where new ways of working might emerge. This thesis is presented primarily as an experimental performance and is contextualised by this exegesis with its written and DVD components.

A presente pesquisa propõe investigar a noção teatro ritual a partir do trabalho do ator sobre si mesmo, principalmente por meio das proposições de Antonin Artaud e Jerzy Grotowski. O teatro ritual é compreendido nesta proposta de pesquisa como um processo de fusão entre a vida e a arte, de desvendamento e entrega total pelo ator em busca de conhecimento de suas potencialidades afetivas e artísticas. O foco está no próprio processo em si como condição de constante investigação e conhecimento de si, como humano e ator. O teatro ritual nesta pesquisa está entrelaçado com os elementos do trabalho do ator sobre si mesmo a partir da memória afetiva, da experiência e do treinamento físico, de modo que o ator participante do processo explore as potencialidades e subjetividades de si em relação a investigação. Objetivando o processo criativo como espaço para refletir sobre o teatro ritual e os elementos que perpassam o trabalho sobre de si mesmo. A pesquisa está cruzada por dois processos criativos, na qual o primeiro foi com um grupo de atores e atrizes, e o segundo realizado com um único ator. Nos dois processos de criação foram utilizados como disparadores exercícios inspirados nas práticas de Jerzy Grotowski, Constantin Stanislavski, Eugenio Barba e Rudolf Laban; e material autobiográfico, memórias pessoais, processos que estão ligados ao acontecimento enquanto experiência que afeta, marca e atravessa o indivíduo. Para tanto a pesquisa possui como principais referenciais artísticos e teóricos Antonin Artaud, Jerzy Grotowski, Eugenio Barba, Constantin Stanislavski, Arnold Van Gennep, Victor Turner, Richard Schechner, Jorge Larrosa, Cassiano Sydow Quilici e Mara Lúcia Leal. Desta forma, procuro refletir alicerçado no trabalho do ator sobre si mesmo, como o ator, diante da sua realidade atual, de uma sociedade marcada por acúmulo de informações, relações imediatistas e a fugacidade dos acontecimentos que permeiam nosso cotidiano, vivencia seus processos pessoais na noção do teatro ritual. Assim, explorar como suas próprias experiências afetam seu processo de conhecimento de si nesta fusão entre a vida e a arte. / The present research intends to investigate the notion of ritual theater based on the work of the actor on himself, mainly through the propositions of Antonin Artaud and Jerzy Grotowski. The ritual theater is understood in this research as a process of fusion between life and art, of unveiling and total surrender of the actor in search of knowledge of his sensitive and artistic potentialities. The focus is in the process itself as a condition of constant investigation and self-knowledge, as a human and an actor. In this research, the ritual theater is intertwined with the elements of the actor's work on himself from the affective memory, the experience, and the physical training, so that the actor, participant of the process, explores the potentialities and subjectivities of himself in relation to the investigation. Aiming the creative process as a space to reflect on the ritual theater and the elements that permeate the work about oneself. The research is crossed by two creative processes, on which the first one was with a group of actors and actresses, and the second realized with only one actor. Where in both creative processes was used exercises inspired by the practices of Jerzy Grotowski, Constantin Stanislavski, Eugenio Barba and Rudolf Laban; and autobiographical material, personal memories, processes that are linked to the event as an experience that affects and touches the individual. For this, the research has as main artistic and theoretical references Antonin Artaud, Jerzy Grotowski, Eugenio Barba, Constantin Stanislavski, Arnold Van Gennep, Victor Turner, Richard Schechner, Jorge Larrosa, Cassiano Sydow Quilici and Mara Lucia Leal. Hence, I try to reflect based on the actor's work on himself, how the actor in face of his current reality, a society marked by the accumulation of information, immediate relations and the fugacity of the events that permeate our daily life, experiences his personal processes in the notion of ritual theater. So, the actor can explore how his own experiences affect his process of self-knowledge in this fusion of life and art.