Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-24T18:46:00Z No. of bitstreams: 1 ATRIZ-BRINCANTE.pdf: 2329316 bytes, checksum: d151a302eed9c57aa032d26a371c0d06 (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-24T19:59:12Z (GMT) No. of bitstreams: 1 ATRIZ-BRINCANTE.pdf: 2329316 bytes, checksum: d151a302eed9c57aa032d26a371c0d06 (MD5) / Made available in DSpace on 2018-08-24T19:59:12Z (GMT). No. of bitstreams: 1 ATRIZ-BRINCANTE.pdf: 2329316 bytes, checksum: d151a302eed9c57aa032d26a371c0d06 (MD5) / Esta dissertação aborda, de forma reflexiva, as experiências motivadas pelo meu encontro com a brincadeira do Cavalo Marinho da Zona da Mata Norte de Pernambuco. A pesquisa foi conduzida conceitualmente, principalmente, em torno das noções de brincadeira e jogo. O objetivo foi identificar elementos presentes nesta tradição que pudessem contribuir para a minha investigação laboratorial em experimentações cênicas. Para isso, fez-se necessário conhecer, mais profundamente, a brincadeira e o seu contexto numa intensa troca entre pesquisadora, brincadores e pessoas que participam direta e indiretamente do Cavalo Marinho. Paralelamente, dediquei-me a um processo laboratorial individual, que tentou identificar, na interface entre teatro e Cavalo Marinho, algumas características que estariam neste elo entre a brincadeira e o jogo no meu fazer artístico, o que chamo de Atriz-Brincante. A partir da pesquisa de campo e vivência em sala de trabalho, apoio-me em noções como corpo, jogo, cultura popular, improviso, comicidade, musicalidade, entre outras. / This thesis approaches, reflectively, the experiences motivated by the meeting between me and Cavalo Marinho play, present in the region of “Zona da Mata” North of Pernambuco. This research was conceptually conducted, mainly, around the notions of play and game. The objective was to identify elements present in this merriment that could contribute to my laboratorial research in scenic experiments. For this, it was necessary to know, deeply, the play and its context in an intense exchange between researcher, players and people involved, directly and indirectly, in Cavalo Marinho. In parallel, I focused on an individual laboratorial process that attempted to identify, in the interface between Performance Arts and Cavalo Marinho, some characteristics that would be present relationship between the play and the game in my artistic practice, which I call Actress-Player. From the field research and experience in the workroom, I take concepts such as body, game, popular culture, improvisation, humor, musicality, among others.

L’Allemagne du dix-huitième siècle est composée de plus de 300 petits pays se différenciant en ce qui concerne la politique, la religion et la langue. S’y ajoutent des territoires qui ne sont pas allemands, mais sous influence de la culture germanophone.Cette étude analyse alors un territoire qui s’étend de l’Alsace jusqu’en Russie et des pays scandinaves jusqu’en Suisse. Embourbés dans des guerres territoriales, les souverains ne montrent que peu d’intérêt pour le théâtre, et si oui, uniquement pour l’opéra italien et le théâtre français. Au début du siècle, le théâtre professionnel allemand est surtout influencé par le théâtre anglais et un peu par la comédie italienne.Le statut social des acteurs est très mauvais. C’est surtout la bourgeoisie qui se méfie d’eux. A partir des années 1730, sous influence du théâtre français, le théâtre allemand s’émancipe. Dans la seconde moitié du siècle, il devient le moteur del’embourgeoisement de la société. Les actrices se sont beaucoup investies dans cette évolution, non malgré, mais en raison de leur statut social particulièrement mauvais. Longtemps, seules les gender studies se sont intéressées à cette période de l’histoire théâtrale. Une de leurs théories de base définit l’homme et la femme comme deux groupes sociologiques distincts. Cette théorie a été reprise, sans en questionner lavalidité pour l’histoire théâtrale. C’est le point de départ de cette étude, qui compare les vies de plus de 400 actrices et acteurs de l’époque. De nombreux aspects de la vie privée et professionnelle y sont abordés : famille, carrière, finances, situation juridiqueet fréquentations. Ce mémoire démontre que le milieu théâtral de l’époque peut effectivement être divisé en deux groupes : les comédiens ayant grandi au théâtre et ceux y étant arrivés plus tard. En effet, la distinction générale de l’homme et de la femme ne peut être appliquée au théâtre allemand qu’à partir de la fin du dix-huitième siècle. / In the 18th century, Germany was composed of more than 300 small states which differed politically, religiously and linguistically. In addition to these, there were non-German territories which were, however, greatly influenced by German culture. As a result, the notion of “Germany” included a territory from Alsace to Russia and from theScandinavian countries to Switzerland. Their rulers were generally preoccupied with battles over dominance. If they devoted any time to theatre it was most likely Italian opera or French theatre. In the beginning of the century, German professional theatre was mainly influenced by English theatre and Italian theatre. The social position of actors was very poor. The bourgeoisie looked on them with particular suspicion.Starting in the 1730s, under French theatre influence, the German theatre started becoming more independent. In the second half of the century, theatre was the driving force behind the embourgeoisement of society. Driven by the desire to improve their low social status, actresses played a leading role in this revolution. For a long time, only gender studies were interested in this part of theatre history. A prominent gender studies theory suggested that men and women were of two different sociological groups. This theory has been accepted without justifying its concurrence with theatre history. That’s the starting point of this work which compares the lives of more than 400 Germana ctresses and actors of the time. Many facets of private and professional life are analysed: family life, career opportunities, finances, legal status and social life. The dissertation shows that the theatrical milieu was already divided into two groups far into the second half of the century: actors who had grown up in theatre and those who came to it later. In fact, the categorical sociological distinction between men and women in German theatre is only justifiable beginning at the end of the 18th century.

Cette thèse se propose d’expliciter l’esthétique et l’éthique de Marcel Proust par le biais du personnage de la servante et du thème du dévouement qui lui est lié, en inventoriant ses sources d’inspiration possibles et en débrouillant sa « polychromie intertextuelle ». La première partie tente de mesurer la portée esthétique propre à l’image de la servante à travers le langage, l’art du quotidien ou la religion qui la caractérisent, en examinant l’influence d’Anatole France, de Gustave Flaubert, de John Ruskin et de Joris-Karl Huysmans. Par la suite est abordée la question du dévouement qu’incarne le personnage de la grand-mère de la Recherche, par une lecture comparative avec les Goncourt, Paul Hervieu, Alphonse Daudet, qui explorent le sacrifice méconnu et la tragédie de la mère, puis avec Pierre Loti et Charles Baudelaire, qui ont traité de l’amour et de la culpabilité du fils. Cette thèse se conclut par une étude sur le personnage énigmatique de la femme de chambre de la baronne Putbus, antithèse de l’image de l’humble servante, en analysant l’influence d’Anna de Noailles, afin de mettre en lumière l’ambivalence du désir proustien. / This thesis aims to clarify Proust’s aesthetics and ethics through both the character of the servant and the devotion theme, which is closely related to the former, by listing the author’s possible sources of inspiration and unravelling the “intertextual polychromy”. The first chapter attempts to measure the aesthetic importance peculiar to the servant found in language, the art of daily life or religion, which define the character, by examining the influence of Anatole France, Gustave Flaubert, John Ruskin and Joris-Karl Huysmans. Secondly, the question of devotion, incarnated by the grandmother in À la Recherche, is treated, by a comparative reading with the Goncourt brothers, Paul Hervieu, and Alphonse Daudet, who explored the mother’s unrecognized sacrifice and tragedy, then with Pierre Loti and Charles Baudelaire, who dealt with filial love or culpability. This thesis concludes with a study of the enigmatic character of the Baroness Putbus’s chambermaid, antithesis of the image of the humble servant, by examining Anna de Noailles’ influence, in order to throw light on the ambivalence of Proustian desire.

Orientador: Ana Angélica Medeiros Albano / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-20T22:09:34Z (GMT). No. of bitstreams: 1 Lenk_Erika_M.pdf: 1109074 bytes, checksum: c0b843e8e4bfece1b0e1a378606a9bc5 (MD5) Previous issue date: 2012 / Resumo: Esta dissertação percorre a trajetória de vida do célebre ator e cineasta inglês Charles Spencer Chaplin (1889-1977), o imaginativo criador de Carlitos, cuja graça e lirismo marcaram fortemente a arte do século XX. Sua obra ridiculariza os padrões culturais da sociedade estabelecida através das aventuras do Tramp, o errante marginalizado que permanece vivo no cenário cultural atual. Este estudo busca uma relação entre a vida e arte de Chaplin, identificando fatores que contribuíram para seu desenvolvimento artístico e seu conhecimento em arte. / Abstract: This dissertation contains the life story of the famous actor and English filmmaker Charles Spencer Chaplin (1889-1977), the imaginative creator of the Tramp, whose grace and lyricism left his impression on the twentieth (20th) century. His work satirizes the cultural patterns of the established society through the adventures of the Tramp, the marginalized vagabond that remains alive in the recent cultural scenario. This study searches the connection between Chaplin's life and art, identifying factors that contributed to his artistic development and his knowledge in art. / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

We live in a globalized world that is changing rapidly. We interconnect between cultures in different ways. But what if we want to go global with a performance to go around the world, without modifying the piece? Is that possible? How to be international but without losing the here and now by reading subtitles? The diversity of sounds when speaking on stage can embrace otherness, the audience's encounter with a language that may not be familiar to them. This is my journey through creating a play to broaden the audiences I can reach as much as possible.

We live in a globalized world that is changing rapidly. We interconnect between cultures in different ways. But what if we want to go global with a performance to go around the world, without modifying the piece? Is that possible? How to be international without losing the hear and now by reading subtitles? The diversity of sounds when speaking on stage can embrace otherness, the audience's encounter with a language that may not be familiar to them. This is my journey through creating a play to broaden the audiences I can reach as much as possible.

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The Life and Work of Vlasta Fialová, actress of Brno This master's thesis is to bring closer the life and work of one of the most prominent Czech artists of the 20th century. The actress, who wrote herself into the history of film, television productions and radio, but especially the theater that was everything for her. The work is trying to capture her life and career, she has been able to build for a long, active fifty-year period, only in three Moravian cities: Opava, Olomouc and Brno. The work maintains a line beginning in the period before her birth, focuses on the cultural and historical events of the Brno metropolis, the beginning of her life, the years of childhood and adolescence, which she experienced as a student of a grammar school and a musical drama department of the Brno Conservatory during the Nazi occupation of her hometown. And then emphasis is placed on her individual theatrical engagements, as well as on the films and TV productions in which she performed, and the programs recorded for the radio. It also presents a certain reflection and characteristic of the characters and the acting art of this unique actress, whether it is a stage character or a silver screen. From those she created as a fresh and very talented graduate of the Conservatoire, through very handsome women with...