O trabalho que ora apresentamos é o resultado das investigações em torno da fundamentação comunicacional do projeto artístico-teórico proposto por Hans-Joachim Koellreutter (1915-2005) sob a legenda de música viva. Comprometimento levado a termo por meio da análise imanente do conjunto fragmentário de seus textos produzido no período de ação do Grupo Música Viva (1939-1954) e veiculados nos meios de divulgação e crítica cultural da época. / The work we now present argues about the researches results around the communicational foundings from the artistic-theoretical project planned by Hans-Joachim Koellreutter (1915-2005) under the label alive music. An undertaking densified through the immanent analysis of the fragmentary assemble from his writings produced during the Alive Music Groups action period (1939-1954) and broadcasted by its contemporary means and cultural critics.

[pt] Esta tese é o resultado de uma pesquisa sobre o teatro de Cecília Meireles concentrando-se em duas peças inéditas, de sua autoria, O Jardim e Ás de Ouros, encontradas no Arquivo-Museu de Literatura da Fundação Casa de Rui Barbosa. O foco principal do presente trabalho é a análise do teatro poético de Cecília Meireles. Dividida em seis capítulos, a tese aborda o teatro de Meireles e sua aproximação com o teatro simbolista. Os três primeiros capítulos enfatizam aspectos históricos do período e os três últimos desenvolvem a análise das peças de Cecília. Nesta tese é defendida a categoria estético- filosófica do irônico simbolismo. / [en] This work is about symbolic theatre; it is a research in whish I analise the theatre of Cecília Meireles, in order to study two plays of her. I d found these plays in the Archive-Museum of Literature´ of the House of Rui Barbosa Foundation. The two plays of Cecília, O Jardim (The Garden) and Ás de Ouros, belongs to the so called poetic theatre of her. My research began in France, with the birth of symbolic theatre in the XIX teen century. Crossing the Atlantic Sea, it became, in Rio de Janeiro, a brazilian style work, about the symbolic theatre made in Brazil, in the land of Cecília Meireles, Rio de Janeiro. This work is divided in five chapiters in which I discuss this subject in many ways; it is about the production of the brazilian symbolic theatre and its relevance to the history of theatre and art in Brazil.

O trabalho que ora apresentamos é o resultado das investigações em torno da fundamentação comunicacional do projeto artístico-teórico proposto por Hans-Joachim Koellreutter (1915-2005) sob a legenda de música viva. Comprometimento levado a termo por meio da análise imanente do conjunto fragmentário de seus textos produzido no período de ação do Grupo Música Viva (1939-1954) e veiculados nos meios de divulgação e crítica cultural da época. / The work we now present argues about the researches results around the communicational foundings from the artistic-theoretical project planned by Hans-Joachim Koellreutter (1915-2005) under the label alive music. An undertaking densified through the immanent analysis of the fragmentary assemble from his writings produced during the Alive Music Groups action period (1939-1954) and broadcasted by its contemporary means and cultural critics.

Det här projektet utforskar mina två stora intressen inom musik – dess starka narrativa förmåga att berätta konceptuella historier och skapa fiktiva interna världar, samt historie­berättarens personliga konstnärliga identitet. Genom att anta rollen som storyteller, eller concept-teller, strävar jag efter att gestalta egenhändigt skapade koncept i musik enligt specifika riktlinjer. Projektet undersöker fem identifierade delmoment som dokumenterar det konceptuella skapandet i ett musikaliskt medium från början till slut. De färdiga produk­tionerna presenteras för en lyssningsgrupp bestående av 20 personer som utifrån två huvudfrågor får beskriva sin personliga upplevelse av vad musiken gestaltar, samt vad i produktionerna som är konst­närligt utmärkande. Resultaten visar många gemensamma uppfattningar på ett övergripande plan, men också hur skillnader kan ligga i de mindre detaljerna. Reflektioner förs sedan kring fördelarna med att skapa egna koncept innan musiken komponeras, risken att förlora den initiala intentionen mellan delmoment, och värdet i att framkalla och identifiera känslostarka koncept i musik och att föra ett samtal kring dem. / This project explores my two major interests in music – its strong narrative ability to tell conceptual stories and create fictional worlds, as well as the storyteller’s personal artistic identity. By taking on the role of a storyteller, or perhaps concept-teller, I aim to portray self-created concepts in music according to specific guidelines. The project examines five identified stages that document conceptual creation in a musical medium from start to finish. The completed productions are presented to a listening group consisting of 20 people who, based on two main questions, are asked to describe their personal experience of what the music conveys and what is artistically distinctive in the productions. The results show many shared perceptions on a general level, but also how differences can lie in the finer details. Reflections are then made on the advantages of creating concepts before composing the music, the risk of losing the initial intention between stages, and the value of evoking and identifying emotionally strong concepts in music and discussing them. / <p>Till uppsatsen hör utdrag från de musikinspelningar arbetet är kopplat till.</p>

Syftet med studien är undersöka hur såväl lärare som elever på gymnasieskolans estetiska pro- gram och på musikhögskola ser på begreppen konstnärligt, musikaliskt och personligt uttryck. Tidigare forskning på området visar att det inte finns någon entydig definition av begreppen. Studien har genomförts genom fokusgruppsamtal med lärare från en gymnasieskola, lärare från en musikhögskola, elever från en gymnasieskola och studenter från en musikhögskola. I ana- lysen av intervjuerna har ett diskurspsykologiskt perspektiv använts. I resultatet presenteras två övergripande tolkningsrepertoarer per begrepp. Det framkommer att musikaliskt uttryck kon- strueras som speltekniskt kunnande och som musikens uttryck. Konstnärligt uttryck konstrueras som skapande samt som fördjupning och spetskunskaper. Personligt uttryck konstrueras som eget och något unikt samt som musikalisk tolkning. Resultatet visar att det inte finns ett sätt att definiera begreppen utan flera. I diskussionen diskuteras svårigheter med att definiera begrep- pen då dessa anses gå ihop med varandra och att kontexten och erfarenheten av att använda dem har betydelse för hur de kan definieras. Vidare diskuteras även begreppen i relation till Skolverkets kursplaner. / The purpose of the study is to investigate how teachers as well as pupils at the upper secondary school's aesthetic program and at the music college approach the concepts of artistic, musical and personal expression. Previous research in the field shows that there is no clear definition of the concepts. The study was conducted through focus group interviews with teachers from a secondary school, teachers from a music college, students from a high school and students from a music college. In the analysis of the interviews, a discourse psychological perspective has been used. The result presents two general interpretation repertoires per concept. It appears that musical expression is constructed as technical knowledge and as the expression of music. Ar- tistic expression is constructed as creation as well as profound and expert knowledge. Personal expression is constructed as peculiar and something unique and as a musical interpretation. The result shows that there are different ways to define the concepts. The discussion discusses dif- ficulties in defining the concept though the concepts are considered to overlap with each other and that the context and experience of using the concepts are important for how the concepts can be defined. The concepts are also discussed in relation to Skolverkets curriculum.

A presente dissertação objetiva investigar, relatar e analisar as ações culturais e artísticas promovidas pelo grupo de teatro Dolores Boca Aberta Mecatrônica De Artes. A pesquisa mostra, por meio do relato pessoal de um dos integrantes do grupo, como o coletivo organiza sua estrutura de funcionamento. Aqui são apontados conceitos estruturantes para a filosofia do grupo, como as ideias de Teatro Mutirão e Trabalhador-Artista, além de um levantamento pedagógico de como se deram a construção e apresentação da terceira encenação do grupo, Sombras Dançam Neste Incêndio - Peça Curta em Dois Atos. Dentro das análises, destaca-se a experiência da construção de um teatro feito de árvores, preparado coletivamente pelos próprios espectadores junto com os atores do grupo, o qual chamamos de Arena Arbórea. A perspectiva do trabalho do grupo Dolores Boca Aberta aponta para questões acerca de organização social, debate político, arte e resistência, agitação e propaganda e discussão de modos de produção. / This thesis aims to investigate, report and analyze the cultural or artistic activities promoted by the Dolores Boca Aberta Mecatrônica de Artes Theater Group. The research shows, through the personal report of one of the members, how the group organizes its own operating structure. Some of the structuring concepts of the group\'s philosophy are described and discussed, as well as the ideas of the Task Force theater artistic-workers and a pedagogical survey of the construction and presentation of the third production of the group, \"Shadows dance within this fire - a short play in two acts\". Within the analysis we highlight the experience of the construction of a theatrical space surrounded by trees and called Arboreal Arena, which is collectively prepared by spectators and by the actors of the group. The perspective of the group\'s work points out to questions about social organization, political debate, art and resistance, agitation and propaganda, and the discussion about the means of production.

A presente dissertação objetiva investigar, relatar e analisar as ações culturais e artísticas promovidas pelo grupo de teatro Dolores Boca Aberta Mecatrônica De Artes. A pesquisa mostra, por meio do relato pessoal de um dos integrantes do grupo, como o coletivo organiza sua estrutura de funcionamento. Aqui são apontados conceitos estruturantes para a filosofia do grupo, como as ideias de Teatro Mutirão e Trabalhador-Artista, além de um levantamento pedagógico de como se deram a construção e apresentação da terceira encenação do grupo, Sombras Dançam Neste Incêndio - Peça Curta em Dois Atos. Dentro das análises, destaca-se a experiência da construção de um teatro feito de árvores, preparado coletivamente pelos próprios espectadores junto com os atores do grupo, o qual chamamos de Arena Arbórea. A perspectiva do trabalho do grupo Dolores Boca Aberta aponta para questões acerca de organização social, debate político, arte e resistência, agitação e propaganda e discussão de modos de produção. / This thesis aims to investigate, report and analyze the cultural or artistic activities promoted by the Dolores Boca Aberta Mecatrônica de Artes Theater Group. The research shows, through the personal report of one of the members, how the group organizes its own operating structure. Some of the structuring concepts of the group\'s philosophy are described and discussed, as well as the ideas of the Task Force theater artistic-workers and a pedagogical survey of the construction and presentation of the third production of the group, \"Shadows dance within this fire - a short play in two acts\". Within the analysis we highlight the experience of the construction of a theatrical space surrounded by trees and called Arboreal Arena, which is collectively prepared by spectators and by the actors of the group. The perspective of the group\'s work points out to questions about social organization, political debate, art and resistance, agitation and propaganda, and the discussion about the means of production.

Syftet med studien är att med utgångspunkt i kroppens fenomenologi utforska vilka reaktioner som uppstår i kroppen när jag är nervös vid olika typer av framträdanden. Förutom det ska också undersökas mentalträningens betydelse för minskning av stress och nervositet och dess påverkan på min gestaltningsförmåga vid dessa spelningstillfällen. I bakgrundskapitlet presenteras bland annat begrepp som nervositet, stress, musikalisk prestationsångest, med fler. Förutom det i bakgrundkapitel redovisas relevant forskning inom området och studiens teoretiska perspektiv-kroppens fenomenologi. I metodkapitlet presenteras den huvudsakliga metoden för dokumentation av studien- loggboksskrivande samt komplementär metod-videoinspelning. Resultatet redovisas under rubriker: Nervositet och oro i olika uppspelstillfällen samtMentala träningens påverkan på nervositet och stressnivå samt gestaltningsförmåga. Under dessa teman redovisas hur negativa upplevelser av nervositet och oro vid olika uppspelstillfällen så småningom med hjälp av mental träning förändras till positiva. I diskussionen redovisas teman:Jämförelse mellan nervositet och oro innan, under och efter mentalträningsprojektet och Vikten av kontinuerlig övning samt ljudspårens effektivitet. I denna del beskrivs även mina reflektioner kring följande arbetets betydelse för mig själv och idéer om fortsatt forskning på området. / The purpose of present study is to investigate from a phenomenology of body perspective what reactions occur in my body when I am nervous at different performance situations. Apart from that this study will investigate importance of mental training for decrease of stress and nervousness and its influence on my performance ability in this performance situations. In background chapter are definitions of nervousness, stress, musical performance anxiety and more presented. Apart from that in background chapter are earlier studies on this field and following studies theoretical perspective – phenomenology of body presented. In method chapter the methods of documentation - journal notes and video are presented. Result chapter is showed in themes: Nervousness and anxiety in different performance situations and Influence of mental training on nervousness and stress level and performance ability. In these chapters is shown how my negative feelings and experiences of nervousness and anxiety with mental trainings help transformed into positive. In discussion chapter following themes are showed: Comparison between nervousness and anxiety before, under and after mental trainingandImportance of continuous training and effectiveness of recordings. In this chapter, even my thoughts about following studies importance for myself and ideas about further research on the field are presented.