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Korunovace Josefa I. římským králem v Augšpurku 26. ledna 1690 / Coronation of Joseph I. to become the king of Rome in Augsburg in 26. January 1690MICHŇOVÁ, Nikola January 2013 (has links)
The presented diploma thesis deals with the election and coronation of archduke Joseph to become the king of Rome that took place in January 1690 in Augsburg. It focuses on a reconstruction of the individual ritual steps of coronation ceremonies that had fixed ceremonial rules. It aims to interpret the rich symbolic message of all performance parts that the author describes chronologically as they followed one another. They included the ceremonial entrance of the imperial family into Augsburg, the arrival of the individual electors of the Roman-German Empire into the city, the pre-election negotiations, the election of the new king of Rome as such and the coronation of the elected archduke Joseph that followed. Attention was also paid to the sumptuous celebrations and the spectacular coronation feast that took place after the young Habsburg was enthroned. Presenting precious gifts to the emperor, his wife and son was also part of the performances. Members of the reigning dynasty accepted priceless objects from the representatives of the municipality of Augsburg and of the Estates of the Roman-German Empire, the allegoric decoration of which bore rich symbolism. The thesis therefore attempts to uncover the individual symbolic elements of the decoration constituted mostly by motives from ancient mythology and scenes from Christian catechism. They celebrated the recipients of the gifts and mirrored ideal virtues that a ruler from the House of Habsburg should possess.
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Representações da violência do pós-64 na ficção literária de Ivan Ângelo : a escrita engajadaAzevedo, Francesca Batista de January 2015 (has links)
Através das representações da violência presentes nas obras ficcionais escritas por Ivan Ângelo A Festa (1976) e A casa de vidro (1979), durante a Ditadura do Pós-64, é possível relacionar o discurso literário às dimensões sociais. Pelo crivo da história e conceitos originários da Crítica Literária e da Literatura Comparada aplicados ao campo da Sociologia da Literatura, é possível compreender com sensibilidade e rigor alguns episódios e elementos da vida social brasileira, tais como: o papel do escritor em tempos de repressão à liberdade de expressão. Esse exercício reflexivo, arriscado e recente na sociologia materializa tanto os estudos literários quanto os sociológicos, de modo que o imaginário adquire status de objeto social, o que introduz, na análise sociológica dos textos (verbais e imagéticos) e suas circunstâncias de produção, a afirmação de uma das características mais sociais e humanas: a narratividade. A escrita criativa é uma fonte de acesso a posicionamentos tanto estéticos quanto políticos, e através dessas interfaces mesclam-se a memória, o esquecimento e a construção da ideia do passado. Por isso, a prática da leitura sob essa via ressignifica o sentido do presente e avança um passo a mais em direção à literatura como um fato social inegável e como ato ao mesmo tempo individual e coletivo que persiste através dos tempos e da cultura nacional. / It is possible to establish relations with literary discourse and social dimensions by means of the representations of violence existent in the fictional works The celebration (1976) and The tower of glass (1979) written by Ivan Ângelo during the Post-64 dictatorship. It is conceivable to comprehend sensibly and rigorously some episodes and elements of Brazilian social life, such as the role of the writer in times of freedom of expression repression by sifting through history and concepts from Literary Criticism and Comparative Literature applied to the field of Sociology of Literature. This risky and recent in sociology reflexive exercise enriches the study of literature and sociology in a way that fictional thought receives status of social object which introduces the statement of one of the most social and human features, the storytelling, in the sociological analysis of verbal and imagery texts and their production circumstances. Creative writing is a source of entry to both aesthetic and political positioning and, through these interfaces, memory, oblivion and the construction of the past are all mixed. Therefore, the practice of reading under this comprehension reframes the meaning of the present and advances another step towards literature as an undeniable and social fact and also as a fact that is at the same time individual and collective and that persists through time and through national culture.
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Redimidos pelo passado? seduções nostálgicas em uma cidade contemporânea (Joinville - 1997-2008) / Redeemed by the past? nostalgic seductions in a contemporany city (Joinville - 1997-2008)Machado, Diego Finder 26 February 2009 (has links)
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Previous issue date: 2009-02-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work intends to understand, in an essay form, the ways that the inhabitants of the contemporary cities relate themselves with the past, recognizing, in the simplicity of the experienced and tried daily life, the implications of a phenomenon nominated by some theorists as culture of memory . Takes place in the city of Joinville (Santa Catarina) s trajectory between the end of the twentieth century and the beginning of the twentieth first century, the essays presented took the 150th anniversary of this town as beginning in the search for interpretation of the recent processes that have been changing the urban ways of
live, as the growing instability of time and the fractures of the living space. In the first essay, the new sensibilities related to the past in the city of Joinville were put in discussion. Going against several documents, with emphasis for some news, reports, editorials and chronicles published in local journals, the intention was to perceive the relations of the inhabitants of this city with the time. In the second essay, the focus were the processes of (re)delineation of the ethnical boundaries that divide Joinville s daily life, trying to discovery the limits and possibilities of speeches that classified this town as a cosmopolitan city . Intent to the distinct trajectories of two ethnical groups that established, in recent years, their own characteristics in the city the Swiss and the Italian the intention was to present the negotiations, usually tense, that happened in the backstage of the 150th anniversary of Joinville. Oral speeches, produced from interviews with cultural leaders that represent both groups, were connected to the other references that based this work, especially, some practices to give memories a monumental aspect. At the end, some discords that were present in the process of research are presented, proposing some questions, just mentioned in the
essays, which deserve more profound studies. / Este trabalho busca compreender, em forma de ensaios, as maneiras pelas quais os habitantes das cidades contemporâneas se relacionam com o tempo passado, procurando reconhecer, na ordinariedade do cotidiano vivido e experimentado, as implicações de um fenômeno denominado por alguns teóricos como cultura de memória . Ambientado nas trajetórias da cidade de Joinville (Santa Catarina) entre os anos finais do século XX e início do XXI, os ensaios apresentados tomaram as comemorações do Sesquicentenário desta cidade como ponto de partida na busca pela interpretação de processos recentes que têm alterado os modos urbanos de viver, tais como a crescente instabilidade do tempo e as fraturas do espaço vivido. No primeiro ensaio, as novas sensibilidades em relação ao passado da cidade de Joinville foram postas em questão. Contrapondo diversos documentos, com destaque para algumas notícias, matérias, editoriais e crônicas publicadas em periódicos locais, procurou-se perceber as relações dos habitantes desta cidade com o tempo. Já no segundo ensaio, o enfoque recaiu sobre os processos de (re)delineamento das fronteiras étnicas que cindem o cotidiano da cidade de Joinville, procurando desvendar os limites e possibilidades de falas que a classificam como uma cidade cosmopolita . Atento às distintas trajetórias de dois grupos étnicos que passaram a afirmar, em anos recentes, uma singularidade própria na cidade os suíços e os italianos , procurou-se apresentar as negociações, geralmente tensas, que permearam os bastidores das comemorações dos 150 anos de Joinville. Narrativas orais, produzidas a partir de entrevistas com lideranças culturais que representam estes grupos, foram costuradas às demais fontes que fundamentam este trabalho, em especial, algumas práticas de monumentalização de memórias. Ao fim do texto, algumas dissonâncias que marcaram o processo de pesquisa são apresentadas, propondo algumas problemáticas, apenas tocadas ao longo dos ensaios, que merecem estudos mais aprofundados
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Omezování církevního života ze strany československého státu v období 1945-1989 se zvláštním zřetelem ke slavení liturgie v jihočeském regionu / Restrictions on the church life by the State of Czechoslovakia during the years of 1945-1989 with a special regard to the celebration of liturgy in South Bohemian RegionDEMEL, Zdeněk January 2007 (has links)
The dissertation concerns with the restrictions on the church life by the State of Czechoslovakia during the years of 1945-1989 with a special regard to restrictions on the celebration of liturgy in South Bohemian Region. Facts that have been gathered from the literature and primarily from the secretaries for the church affairs reports, that have been preserved in the archive funds of Regional National Committee and the South Bohemian Regional National Committee, prove convincingly that the state authorities imposed restrictions on life, pastoral ministry, and the church liturgical celebrations systematically.
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Os festejos do reinado de Nossa Senhora do Rosário em Belo Horizonte/MG: práticas simbólicas e educativas. / The celebrations of Nossa Senhora do Rosário\'s reign in Belo Horizonte/MG: symbolic and educational practices.Vânia de Fátima Noronha Alves 18 April 2008 (has links)
Este estudo partiu da premissa que toda prática social é uma prática simbólica, portanto, educativa. Teve como foco de análise o Reinado de Nossa Senhora do Rosário (também conhecido como Congado), manifestação católica, típica dos negros, popular e importante em nosso Estado, tanto no interior quanto na capital, que aqui privilegia alguns grupos da cidade de Belo Horizonte. Esta manifestação se funda em uma narrativa mítica em torno da Santa de mesmo nome e constitui o imaginário de seus devotos. Dito de outro modo, por meio da narrativa, os devotos de Nossa Senhora do Rosário (os Filhos do rosário) definem não só a sua crença como todo seu modus vivendi. Estamos diante de uma prática social educativa (abusando da redundância). O estudo teve como perguntas mobilizadoras: que imagens estão presentes no mito de Nossa Senhora do Rosário? Como essas imagens constituem o modus vivendi de todos aqueles que seguem o rosário de Maria? Que significantes elas concretizam no imaginário de seus devotos? Como se dão os processos educativos na construção desse imaginário? Seu principal objetivo foi analisar as imagens míticas do Reinado, investigando as modulações entre o imaginário, o mito, a festa e as práticas educativas que lhes são intrínsecas. Para isso, elegeu como base epistemológica o paradigma da complexidade, e dentro dele, as teorias da antropologia do imaginário, da psicologia profunda e da festa. Os principais autores que alicerçaram este estudo foram Edgar Morin, Joseph Campbell, Gaston Bachelard, Gilbert Durand, Jean Duvignaud, Erich Neumann e Edward Whitmont. Este referencial teórico permitiu analisar o arquétipo da Grande-Mãe e seu desdobramento na vida dos congadeiros. Assim, os objetivos propostos para o estudo foram alcançados. Espera-se que os resultados encontrados possam contribuir para com os conhecimentos sobre as comunidades afrodescendentes, ampliando a nossa compreensão da sociedade, de educação e de nós mesmos. / This study has assumed that all social practice is symbolic, therefore, an educational practice. Its focus of analysis is Nossa Senhora do Rosário\'s reign (Our Lady Rosario\'s reign) - also known as \"Congado\" (folk and religious dance), in Belo Horizonte/MG - that is a demonstration that privilege some groups of people in this city. This demonstration is typical of Afro-Brazilian people and it is very popular and important in the State of Minas Gerais, not only in the capital as well in other cities of the State. Its origin is based on the mythical narrative concerning the Saint Rosario and represents the conception of the Saint\'s devout. It means that Nossa Senhora do Rosário\'s devout (the sons of rosary) define not only their beliefs as well their modus vivendi through that narrative. This study calls in questions some considerations such as: Which images are present in the myth of Nossa Senhora do Rosário? How do these images consist the modus vivendi for all those people who follow Maria\'s rosary? How do these images become real or concrete in the devout\'s minds? How do the educational processes happen in the construction of this conception? Then, this study mainly aims to analyze the mythical images of that reign, investigating the modulations occurred in the conception, the myth and the celebration related to their educational processes. For that, the paradigm of complexity was chosen as an epistemological basis and inside it, the theories involving imaginary anthropology, profound psychology and the celebration. Besides, this study was based on preliminary studies of several authors, such as: Edgar Morin, Joseph Campbell, Gaston Bachelard, Gilbert Durand, Jean Duvignaud, Eerich Neumann and Edward Whitmong. These theoretical references allowed to analyze the archetype of Grande-Mãe (Our Great Lady) and its influence in the \"congadeiros\" (conga dancers)\' life. Then, the proposed objectives for this study were successful. The found results are expected to contribute to the knowledge about afro-descendant communities, enlarging our comprehension about society and education and even about ourselves.
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Processos criativos, técnicas e linguagens utilizadas na produção artesanal da manifestação cultural do Bumba-meu-boi no Maranhão / Creative processes, craft techniques and visual languages which are part of the traditional handmade costumes for the cultural celebration of Bumba-meu-boi in the state of Maranhão in northern BrazilLuisa Sopas Rocha Brandão 02 December 2016 (has links)
O presente estudo, de natureza qualitativa, registra, analisa e compara processos criativos, técnicas e linguagens utilizadas na produção artesanal de quatro agremiações tradicionais que se dedicam à manifestação cultural do Bumba-meu-boi no estado do Maranhão, os grupos \"Bumba-meu-boi de Morros\", \"Bumba-meu-boi da Floresta\", \"Bumba-meu-boi da Maioba\" e \"Bumba-meu-boi da Liberdade\". Buscou-se compreender a configuração de suas identidades culturais, sobretudo em relação às características visuais dos figurinos de seus participantes. Esta escolha foi motivada pela diversidade de atributos artístico-expressivos, além de sociais e culturais, entre os grupos selecionados. A pesquisa se justifica pela importância da manifestação cultural no cenário estadual e nacional, pela escassez de estudos que focalizem o fenômeno visual do Bumba-meu-boi e que evidenciem, em especial, a atuação dos artesãos na produção dos vestuários dos grupos maranhenses. Configura-se ainda como um registro de técnicas tradicionais que podem se perder ou se modificar significativamente com o passar dos anos. Inicialmente, uma pesquisa bibliográfica foi realizada para compreender a natureza do fenômeno. Após reconhecimento das especificidades destes festejos populares, foi conduzida extensa pesquisa de campo, levantando dados junto a líderes e artesãos dos grupos pré-selecionados, por meio de entrevistas semiestruturadas, registros fotográficos, observações e anotações. Entre os resultados desta pesquisa, destaca-se a constatação da existência de técnicas artesanais que passam de geração a geração, motivando artesãos de diferentes idades e gêneros a dar continuidade a este ofício e manter seu vínculo com os grupos. Evidencia-se também as discussões que revelam as diferentes escolhas que baseiam o processo de produção das indumentárias em cada um dos grupos observados, que buscam reforçar identidade cultural. Ressaltase, ainda, a compreensão de aspectos sociológicos que influenciam as reconfigurações e ressignificações relacionadas à manifestação cultural do Bumba-meu-boi, sobretudo seus desdobramentos no artesanato produzido pelas comunidades que seguem representando a identidade maranhense e perpetuam esta relevante parte da cultura popular brasileira. / This qualitative research documents, analyses and compares different creative processes, craft techniques and visual attributes present in the handmade production of each year\'s costumes for four traditional groups of performers of the well-known June-to-July cultural celebration of Bumba-meu-boi in the northern Brazilian state of Maranhão. The Bumba-meu-boi folk tradition involves music, dance, dramatic narrative, as well as visually rich costumes. The four groups of players investigated in this research are \"Bumba-meu-boi de Morros\", \"Bumba-meu-boi da Floresta\", \"Bumba-meu-boi da Maioba\" and \"Bumba-meu-boi da Liberdade\". These four groups were selected based on their diverse expressive and artistic qualities, in addition to their social and cultural exuberance. The Bumba-meu-boi artistic phenomenon has great significance in the state of Maranhão, and also in Brazil as a whole. In contrast, there is little scientific research documenting Bumba-meu-boi\'s visual language and the way the costumes are conceived and crafted by such varied groups of folk dancers in the state of Maranhão. In this regard, this research also sought to record the craft techniques in danger of being forgotten or significantly altered in the coming years. A preliminary review of the related literature was done to provide an initial, general understanding of the Bumba-meu-boi phenomenon. Once this first survey of the various specific aspects of this folk tradition was concluded, extensive fieldwork was also carried out to collect data from leaders of the four selected groups of players and their craftspeople. This was accomplished by means of semi-structured, recorded interviews, as well as photographs, direct observation and note taking. Among the results of this study is the identification of craft techniques which are passed from one generation to the next, engaging craftspeople of all ages, thus keeping their craft alive as they strive to preserve cultural ties within each particular group of players which they identify with. The process of discussing different creative and manufacturing alternatives amongst the creators and producers of each year\'s new costumes, so that such visual components can reinforce the thematic and cultural identity of each group of players of Bumba-meu-boi, is documented and analyzed as well. The study also features some key sociological aspects that determine the reconfiguration and resignification of the cultural activity of Bumba-meu-boi, in particular its costumes, each year handcrafted anew by these communities which keep on representing the cultural identity of people of the state of Maranhão and perpetuating this relevant component of Brazilian popular culture.
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Festa de Sant'Ana e Divino Espírito Santo no terreiro Fé em Deus: as relações do pesquisador no campoAires, Maria do Socorro Rodrigues de Souza 04 September 2014 (has links)
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Previous issue date: 2014-09-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study is about the interactions established between researcher and object of study at a yard of Mina's drum in São Luís. The 1 Fé em Deus yard has as religious leader the 2 mãe-de-santo Elzita. The Mina's drum is a kind of denomination for religion of African matrix which was incorporated in Maranhão through Black slavers. The present work intends to analyze the interactions between researcher and object of study in context related to celebrations known as "Senhora Sant'Anna" and "Divino Espírito Santo". At the first moment, we create a draft of self-analysis and discuss about the research development and then, we presented the yard of "Mãe Elzita" to emphasize religious practices in the drums of Mina, Borá and Cura . Then, we create an ethnographic description of the celebrations Senhora Sant'Anna and "Espírito Santo" inside the Fé em Deus" yard, which was supported by means of comments in 2013, as of the calendar of celebrations that place in this period, involving catholics, cultural and religious activities in a great event. In Relations Dynamics and Social Interactions in the context of celebration Senhora Sant'Anna", because our main objective is to analyze our participation as godmother of cake table. In the final considerations, we resumed the issues raised in the work and presented the conclusions about the interactions in relations of the researcher inside search field and we analyze some difficulties experienced in the participant observation inside a yard community of Mina's drum. / Este estudo versa sobre as interações estabelecidas entre pesquisador e objeto de estudo em um terreiro de tambor de Mina em São Luís do Maranhão o Terreiro Fé em Deus que tem como líder religiosa a mãe-de-santo Elzita. O tambor de Mina é a denominação para a religião de matriz africana que foi introduzida no Maranhão pelo negro escravizado. Tem como objetivo etnografar as interações entre pesquisador e objeto de estudo no contexto da Festa de Senhora Sant'Ana e o Divino Espírito Santo. No primeiro momento fazemos um esboço de uma autoanálise e discorremos sobre a história da pesquisa e assim apresentarmos o terreiro de Mãe Elzita com ênfase para as suas práticas religiosas no tambor de Mina, Cura e tambor de Borá. Em seguida fazemos uma descrição etnográfica da Festa de Senhora Sant'Ana e o Espírito Santo no Terreiro Fé em Deus, apoiada em especial nas observações realizadas em 2013, a partir do calendário de festa da casa nesse período, envolvendo atividades católicas, culturais e religiosas em um grande evento. Em Dinâmicas das Relações e Interações Sociais no contexto da Festa de Senhora Sant'Ana nosso objetivo principal é etnografar a nossa participação como madrinha de mesa de bolo. Nas considerações finais retomamos as questões levantadas no trabalho e apresentamos as conclusões chegadas sobre as interações nas relações do pesquisador no campo e analisamos algumas dificuldades sentidas na observação participante em uma comunidade de terreiro de tambor de Mina.
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Iconografia como processo comunicacional da Folia de Reis: o avatar das culturas subalternas / Iconography as communicational process of Epiphany Celebration: the avatar of subaltern cultures.Katia Maria Roberto de Oliveira Kodama 06 April 2009 (has links)
A pesquisa aqui apresentada é um estudo da Folia de Reis do bairro rural de Ribeirão Grande, em Ourinhos/SP e das cidades vizinhas. Trata-se também das mesmas festas retratadas nas pinturas do acervo do Museu de Arte Primitiva de Assis José Nazareno Mimessi, como produto das culturas populares subalternas. Analisa suas características estéticas e simbólicas e como seus elementos fundantes permanecem, suas possíveis descaracterizações e os processos de assimilação e acomodação das diferentes culturas que nelas transitam, com vistas a ampliar as conceituações sobre as manifestações das culturas populares do país e colaborar para ampliar a compreensão da realidade na qual estamos inseridos. Por outro lado, este trabalho pretende, ainda, examinar a festa popular estudada como significativo instrumento de comunicação que ultrapassou os limites do passado, compreender como acontecem no presente e projetar perspectivas para a edificação da identidade cultural das culturas subalternas, no futuro. Também pretende apresentar as representações imagéticas das culturas populares subalternas como elementos de sustentação das tradições mantidas pela oralidade, assim como registros e documentos para compreender como se dá a acomodação e reestruturação das novas informações e influências trazidas pelos processos comunicacionais da contemporaneidade. / This research is a study of the Epiphany Celebrations performed in the rural district Ribeirão Grande, in Ourinhos/SP, and neighboring cities. The same celebrations portrayed in the paintings of the Museu de Arte de Assis José Nazareno Mimessi collection are studied as well, as a product of subaltern cultures. It analyzes their esthetic and symbolic characteristics and how their founding elements remain: their likely decharacterization and also the assimilation and accommodation processes of the cultures which transit in them. Aiming to broaden the concept spectrum on the country´s popular cultural manifestations as well as to contribute to widen the understanding of the reality in which we are inserted. On the other, this work expects, also, to examine this celebration as a significant communication tool which has surpassed the boundaries of the past, to understand how they occur in the present and to draw perspectives on the edification of the cultural identity of subaltern cultures, in the future. It also intends to present subaltern cultures imagetic representations as sustaining elements of traditions which are held on through orality as well as records and documents, in order to understand how the accommodation and restructuring of new information and influences brought on by contemporary communicational processes take place.
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Critical assessment of the profile and ministry of the Catholic Diaconate in the Archdiocese of Cape TownTito, Eugene Gilbert January 2010 (has links)
Magister Theologiae - MTh / The service of deacons in the Church is documented from Apostolic times. A tradition attested already by St. Ireneus and influenced in the liturgy of ordination, sees the origin of the diaconate in the institution of the “seven” mentioned in the Acts of the Apostles (6:1-6). St Paul refers to the deacons and to bishops in his letter to the Philippians. (1:1), while in his first letter to Timothy (3:8-13) he lists the qualities and virtues which they should possess so as to exercise their ministry worthily.While the permanent diaconate was maintained from earliest Apostolic times to the present in the Eastern rite churches (Orthodox and Catholic), it gradually disappeared in the western church during the first millennium. The diaconate continued as a vestigial form as a temporary, final step along the course to ordination to the priesthood in the western church. In the 20th Century, the Permanent Diaconate was restored in the western church.Following the recommendations of the Second Vatican Council (in Lumen Gentium29), in 1967 Pope Paul VI issued the motu proprio Sacrum Diaconatus Ordinem,restoring the ancient practice of ordaining to the diaconate men who were not candidates for priestly ordination.The permanent deacons are assigned to work in a parish and to assist priests in their pastoral and administrative duties, but report directly to the bishop who appoints them. Unlike most clerics, permanent deacons are married or single men who also have a secular profession.In the Archdiocese of Cape Town, the first deacons to be ordained to the order of Permanent deacons took place in 1980. In the early days, the archdiocese had a clear policy for diaconate training and formation. Priests requested men to study towards becoming deacons. Over the past 30 years the bishops have ordained close to 100 deacons to minister in 75 parishes throughout the Archdiocese.Today there is a need to try to understand why deacons lack the zeal and passion that was so prevalent at their ordinations. Is it due to their training or has a need a risen for a deeper theological understanding of the diaconate. Priests do not fully understand the ministry of the deacons which on occasions gives rise to conflict within the parish.Currently more and more communities are calling on the parish deacon before approaching their parish priest for advice. It is in these theoretical grounds that a critical assessment of the Profile and Ministry of the Catholic Diaconate in the Archdiocese of Cape Town was undertaken. This is pioneer research in the Archdiocese.
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La Fête paradoxale sur la scène britannique contemporaine / The Paradoxical Party on the British Contemporary StageAlliot, Julien 18 November 2016 (has links)
Depuis sa naissance au cœur des célébrations païennes ou religieuses du Moyen Âge anglais, le théâtre britannique a toujours entretenu des liens privilégiés avec la fête. Cette affinité élective entre le dramatique et le festif fait ici l’objet d’une réflexion esthétique reposant sur un corpus de pièces contemporaines où sont représentées toutes sortes de célébrations. En effet, qu’il s’agisse d’anniversaires, de Noëls, ou de retrouvailles entre amis, le topos festif perdure sur les scènes britanniques de la seconde moitié du XXe siècle (The Birthday Party fut joué à Londres en 1958) jusqu’au début du XXIe siècle, avec des pièces comme Jerusalem de Jez Butterworth (2009) ou In the Republic of Happiness de Martin Crimp (2012). Or, après l’expérience traumatique de la Seconde Guerre mondiale et les crises protéiformes qui ont affecté le monde au cours des dernières décennies, la rémanence de la fête sur scène a de quoi étonner. Il convient cependant d’observer que lorsque le phénomène festif se change en objet de représentation, il donne l’occasion aux dramaturges de déployer une poétique carnavalesque où l’excès cohabite avec le manque, la légèreté avec la gravité, pour finalement mettre le monde et les formes traditionnelles sens dessus dessous. Éminemment transgressive et volontiers caractérisée par la pénurie, le manque, voire la violence ou la mort, la fête paradoxale devient le lieu privilégié d’une exploration éthique et esthétique des limites du figurable. Elle offre dès lors un paradigme fécond pour rendre compte du renouvellement des formes dramatiques contemporaines. / British theatre and festivities have always been closely linked. From the moment the first plays were performed during medieval festivals to present-day representations of parties in which people binge drink or use drugs, it might even be argued that the celebratory mood has never left the stage. This intimate connection between the dramatic and the festive is investigated here from an aesthetic point of view, through a corpus of contemporary plays representing celebrations. Be they birthdays, anniversaries, Christmases or reunions, the festive motif is a recurring one in the second half of the twentieth century, with plays like The Birthday Party (1958), and on into the twenty-first century, with Jez Butterworth’s Jerusalem (2009) or Martin Crimp’s In the Republic of Happiness (2012). Considering the traumatic experience of the Second World War or the protean crises that have subsequently affected the world, we might expect parties to disappear from the stage altogether; yet, this is not the case. In fact, we find that when the festive phenomenon is turned into an object of representation, it allows dramatists to put forward a poetics of excess characterised by exuberance and transgression. Not only does this carnivalesque energy turn the world upside down, it also subverts traditional dramatic forms. Oscillating between lack and excess or lightheartedness and gravity, sometimes verging on scarcity, violence or even death, the paradoxical party becomes the epitome of an aesthetic and ethical exploration of the limits of the representable. It thus offers a fruitful paradigm to account for the renewal of dramatic forms on the contemporary stage.
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