This research-creation thesis describes and analyzes the dramaturgical methodologies of verbatim theatre – a form of documentary theatre that uses transcripts as the dominant source of its dialogue – through the practical exercise of play writing. This paper marks the theoretical component of my thesis, which analyzes both the dramaturgical process and the historical context of my play Exhibit A. Using verbatim transcripts from legal evidence for its dialogue, the play examines the psychology of two teenage boys responsible for the brutal rape and murder of an 18-year-old Canadian woman in 2010. As documentary theatre emphasizes socio-political themes, this thesis considers the dramaturgical, aesthetic, and ethical considerations of verbatim theatre through my experience as a playwright and researcher. Acknowledging both the historical antecedents of documentary theatre and its contemporary examples, this thesis will define an original typology of verbatim theatre entitled the “Subcategories of Verbatim Theatre”. These subcategories are identified as Tribunal, Literary, Historical Drama, Expository and Participatory. Each privileges different types and usages of documents, which are further defined as being primarily related to “text” or “aural” based testimony. The thesis relates the dramaturgical principles of each subcategory to artistic choices made in Exhibit A. A description of the various incarnations of verbatim and documentary theatre, as well as an analysis of my experience as a documentary playwright examines the dramatic representation of reality as highly constructed in this form of theatre where the selection and editing of a documentary play's archive is a creative process that is not dissimilar from the creation of fictional drama. In that sense, the documentary genre can be said to present a dramatic representation of the playwright's subjective version of the truth. Exhibit A thus stands as my creative reconstruction of the evidence presented in the Kimberly Proctor murder trial.

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A completely new idea in any field of artistic endeavor is a rare phenomenon and is, in most instances, worthy of study. Bertolt Brecht, in his theories, writings, and productions, has given the world a theater that is the antithesis of present-day theatrical aims and ideals. It is to the study of this new form of theater that this thesis is devoted.

Zugl.: Mannheim, Univ., Diss., 2005

Makala haya yanalenga kuchambua fani na maudhui, muundo na dhamira za tamthilia za Kiswahili zihusuzo VVU/UKIMWI, hasa tamthilia kutoka Tanzania, na uhusiano baina ya VVU/UKIMWI na mila za jadi kama sherehe za jando na unyago. Dhamira muhimu ya kujadili ugonjwa katika kazi za fasihi barani Afrika ilichimbuka katika sanaa za maonyesho ya jadi ya Kiafrika yaani katika shughuli za ngoma na miviga ya kidini kama matambiko kwa miungu, kumtolea Mungu kafara ili mgonjwa apate dawa au kupona. Maudhui yanayohusu ugonjwa yameingia katika tamthilia mamboleo kwa nia ya kuoanisha tamthilia ya kigeni na ngoma ya kijadi, hasa baada ya miaka ya 1980 (ling. Mlama 1983; Hussein 1983). Katika tamthilia za Tanzania za kisasa magonjwa yanayozungumziwa ni mengi, lakini kuanzia miaka ya themanini ugonjwa mpya, yaani VVU/UKIMWI, unachukua nafasi ya dhamira kuu katika kazi nyingi. Lengo kuu la makala haya ni kuchambua na kuhakiki tamthilia teule sita zihusuzo VVU/UKIMWI na kuandikwa zote na waandishi wa kutoka Tanzania. Ninachambua vipengele mbalimbali vya fani na maudhui nikiangalia uhusiano baina ya sifa za kimapokeo na za mamboleo. Ninafafanua pia athari za kimagharibi kutoka tamthilia ya Wayunani yaani vigezo vya Aristotle na dhana ya tanzia. Kwa kuunganisha nadharia za kale za Kimagharibi na za kisasa kutoka Afrika Mashariki, nitatumia pia nadharia ya korasi (Mutembei 2012), na vilevile kuchambua athari za ki-Brecht yaani ukengeushi ambazo zimekuwa na umuhimu mkubwa kwa tamthilia ya kutoka nchini kwingi Afrika na ulimwenguni kote.

Ausgehend von einer Analyse zweier Werken der Exilliteratur, Bertolt Brechts Dialogroman Flüchtlingsgespräche (1940/41) und Anna Seghers’ Erzählung Transit (1944), erforscht diese Arbeit das Thema ,Ordnung’ in diesen Texten. In beiden Darstellungen des Exils werden verschiedene Ordnungen dargestellt, deren Durchsetzung im Dasein der ExilantInnen besonders merkbar wird. Pässe und Papiere werden instrumental für die bürokratische Ordnung, die als zentrales Motiv vortritt. Als Hintergrund ist eine militärische Ordnung oder Logik identifizierbar, die mit der bürokratischen Kontrolle von Flüchtlingsströmen verbunden wird. Die ,Ordnungen’ werden in dieser Literatur herausgefordert; durch direkte satirische Kritik und durch die Darstellung militärischer und bürokratischer Logiken, die mit ,menschlichen’ Logiken unvereinbar werden. Die Werke thematisieren auch Nationalsozialismus und Patriotismus mit Bezug zur Exilsituation und zu den ,Ordnungen’, die diese Situation dominieren. / This article explores the theme of order (‘Ordnung’) in german ‘Exilliteratur’, with the examples of Bertolt Brecht’s dialogue novel Flüchtlingsgespräche and Anna Seghers’ novel Transit. Orders which are imposed on the refugee / expat are central in both these accounts of the exile experience. Both texts deal with the bureaucratic order as a central or main motive, for which passports and identity documents are instrumental. In addition, a military order can be identified as a background to the bureaucratic control of migrants and refugees. The literature challenges the ‘orders’ through satirical criticism and through the description of military and bureaucratic ‘logic’ which become incompatible with ‘human logic’. The works also bring up national-socialist ideology and patriotism in relation to the exile situation and to the ‘orders’ which dominate this situation.

Keywords: GDR literature, historical drama, postdramatic theatre, history, memory, Heiner Müller, Walter Benjamin, Bertolt Brecht, Lehrstück Abstract: The aim of this thesis is to analyse the representation of the German history and its relation with the reality of the GDR in selected dramas by Heiner Müller (1929-1995): Germania Death in Berlin, Germania 3 Ghosts at Dead Man, Life of Gundling Frederick of Prussia Lessing's Dream Sleep Scream, The Battle, The Horatian and The Hamletmachine. The main focus of interest is also the approach of the playwright to selected literary and theatrical genres as historical drama, Lehrstück and postdramatic theatre. The philosophical background of the analysis is based mainly on Walter Benjamin's essay On the Concept of History and his description of the painting Angelus Novus by Paul Klee. Furthermore, the thesis examines the methods of dramatization in Heiner Müller's plays.

Made available in DSpace on 2016-04-28T19:58:55Z (GMT). No. of bitstreams: 1 Diana Pessoa de Almeida.pdf: 1497631 bytes, checksum: 57e56cc91ea99e5ce5c054c3ab6685ea (MD5) Previous issue date: 2015-02-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The objective of this research is to analyze how y w absorbed by Chico Buarque de Hollanda in his play Ópera do Malandro, played in 1978 and published in 1979. To do so, the problem asks: how Chico Buarque, drawing on theatrical and literary resources, as the ones created and discussed by Bertolt Brecht, guarantee a dialectical narrative while proposes a new way of theater in a historical context marked by a dictatorship in Brazil. To achieve our goal, we propose the following hypothesis: Ópera do Malandro (1978) k ; dialectical theory absorbed by Brazilian theater implied a new theater by respecting the demands of each historical context; the irony and parody are procedures that generate a distancing effect on the audience allowing a transforming action. Regarding the development of the theme, our research aims to analyze comparatively the plays Ópera do Malandro , Chico Buarque, and Ópera dos Três Vinténs, . y were important to guide our steps. We highlight the importance of the following scholars: Anatol Rosenfeld, Antonio Cândido, and Mikhail Bakhtin, besides texts of Bertolt Brecht himself. Among the research results, we emphasize that Chico k w k w w strict censorship that took place in Brazil from 1960 and the mid 1980s. All and all, w y malandro announced by the title of the play / O objetivo desta pesquisa é analisar o modo como as teorias brechtianas foram absorvidas por Chico Buarque de Hollanda em sua produção teatral Ópera do Malandro, encenada em 1978 e publicada em 1979. Para isso a problematização pergunta: até que ponto Ópera do Malandro, valendo-se de recursos cênicos e literários, como propostos por Brecht, garante uma narrativa dialética ao mesmo tempo que propõe uma nova maneira de fazer teatro em um contexto histórico marcado pela ditadura militar de 1964? Propomos as seguintes hipóteses: a Ópera do Malandro (1978) busca, no teatro brechtiano, uma ação transformadora, seja da cena, seja do espectador; a dialética brechtiana absorvida pelo teatro brasileiro implicou um fazer teatral novo ao respeitar as exigências contextuais de suas épocas; a ironia e a paródia são procedimentos que geram o distanciamento do público da encenação, permitindo uma ação transformadora. No que diz respeito ao desenvolvimento da temática, nossa pesquisa emprega como estratégia metodológica um estudo comparativo dessa obra de Chico Buarque e a Ópera dos Três Vinténs, de Brecht. Como fundamentação teórica, valemo-nos das teorias brechtianas e às reflexões acerca da representação cênica. Destacamos os textos de Décio de Almeida Prado, Anatol Rosenfeld, Antonio Cândido, Mikhail Bakhtin, além de textos teóricos do próprio Bertolt Brecht. Entre os resultados da pesquisa, ressaltamos que Chico Buarque e sua equipe veem na obra de Brecht uma ferramenta que os permitiu driblar a censura que se estabeleceu no Brasil do início dos anos 1960 até meados de 1980. Desse modo, o diálogo com a obra de Brecht denuncia o autor como o próprio malandro anunciado pelo título da peça