This diploma thesis deals with the topic of crazy comedy of the contemporary creator of the author type of productions, Antonín Procházka. The inclusion of the author amongst creators of the author-type productions defines Procházka as the author who writes, directs and plays in his theatre plays. The aim of the diploma thesis is to analyze the comedies of the author from the point of view of the construction of the crazy comedy and in terms of how to build comic situations and work with humor. I try to find out if there are features and procedures that are typical of his plays and how his plays respect and use the rules of the genre of crazy comedy. Diploma thesis also includes work with specialist literature and an analysis of available professional reviews and period reviews. In the beginning, I present aims and structure this diploma thesis. In the first part of the thesis I briefly describe the life of the author, and in more detail, I deal with the inspiration and the facts that influenced the author's work. Treatise on the crazy comedy complements this thesis because of a comprehensive view of the issue. The diploma thesis is complemented by the theoretical grounding of the crazy comedy, its characters, level and construction of humor, for a comprehensive view of the issue. In the main part...

Le cabaret de l’Écluse est une petite salle de spectacles, ouverte entre 1951 et 1974 au 15, quai des Grands Augustins à Paris, et dont la particularité est de programmer chaque soir des numéros variés — chant, sketch comique, poésie récitée, marionnettes, mime et projection de dessins. Au fil des vingt ans d’existence de ce cabaret, s’y produisent des artistes aussi divers que Barbara, Raymond Devos, Marcel Marceau, Yves Joly, Philippe Noiret et Jean-Pierre Darras ou Cora Vaucaire. À rebours de l'éclectisme déroutant du spectacle qu'il accueille, c'est en tant que lieu que le cabaret de l'Écluse semble le mieux « donner prises », construisant son identité à partir d'une localisation parisienne qui l'insère dans un paysage urbain, social et culturel soutenu par une tradition historique complexe. Il fait ainsi partie des cabarets dits « rive gauche », qui fleurissent près de la Seine après la Seconde Guerre mondiale et affichent spatialement leur refus du divertissement commercial qu’offrent par ailleurs les « boîtes » plus luxueuses de la rive droite. Cette lecture déterminée de l’espace qui fait du cabaret un mot-valeur doit être comprise dans une histoire plus longue. Se construit en effet depuis le XIXe siècle, loin des premières représentations du lieu, d’abord attaché à une inquiétude sociale, l’image du cabaret comme un espace refuge où la poésie trouverait à s’épanouir contre l’affirmation croissante d’une culture industrielle et commerciale.En dépit d’un tel patrimoine axiologique, le cabaret de l’Écluse présente une réalité plus métissée. S’il rend hommage à des modèles littéraires prestigieux, comme le Chat Noir ou le Lapin Agile, dont il contribue à prolonger le mythe, il intègre pourtant, pour chacun de ses numéros, les apports du café-concert, du music-hall et du cinéma — autant de manifestations associées à une culture du divertissement souvent bannie du champ littéraire. Cette hétérogénéité est soulignée par la formule même du spectacle, qui érige la variété en principe de composition. À la diversité des modes d’expression convoqués répond ainsi le caractère composite de leurs héritages. L’Écluse apparaît donc comme un objet pluriel qui exige, pour être pensé, de fonder de nouvelles catégories d’analyse. C’est précisément au prisme de la variété, envisagée comme un véritable outil méthodologique aux prolongements herméneutiques et éthiques féconds, que nous l’étudierons.Irréductible aux déterminations axiologiques, le cabaret de l'Écluse fait vaciller la stabilité de son ancrage géographique, et nous oblige à repenser les territoires et prérogatives du littéraire, qu'il n'effleure, par le biais poétique, que pour mieux le sidérer. Quelle place accorder à ce lieu rebelle qui prend de cours nos critères d'analyse traditionnels et rend illisible le paysage artistique et culturel qu'explorent les études littéraires ? À force d'écarts et de détours, le lieu qui s'imposait à nous par sa visibilité évidente ne risque-t-il pas de perdre toute consistance ? L’Écluse parviendrait à demeurer — telle est notre hypothèse — en transformant le lieu géographique et social du cabaret pris dans les mailles d'un réseau et d'un champ, dans les filets de déterminations historiques, en un espace poétique délié. Lieu traversé, habité de propositions spectaculaires variées, il fonderait à partir de leur mise en présence cet espace poétique, que nous nous proposerons de définir non comme une certaine mise en forme du texte mais comme un réseau d’échos, tissés d’une prestation à l’autre. Cette « manœuvre foudroyante de rapports » déplace la production du sens du plain-chant à ses résonances. / L’Écluse was a small performance hall which presented mixed shows every evening between 1951 and 1974 : songs, shorts comedy sketches, recitations of poems, puppet shows, mimes and projected drawings. Many performers worked at L’Écluse. Some became famous, suche as Barbara, Raymond Devos, Marc Marceau, Yves Joly, Philippe Noiret and Cora Vaucaire. Despite the confusing eclectism of the cabaret shows, the place itself seems to offer a stable way to consider the subject. Indeed, L’Écluse built itself through its localisation in Paris, situated in an urban, social and cultural landscape shaped by a long and historical tradition. It was part of these « cabarets rive-gauche » that bloomed in Paris after the Second World War, pretending to refuse every form of commercial entertainment usually proposed to tourists by luxurious night-clubs on the right bank of the Seine river. This emblematic partition of the French capital between a right and a left bank resulted from a long history. Since the end of the XIXth century, cabarets were indeed considered as places of arts, where poetry could blossom far from a besides growing industrial and commercial culture. However, l’Écluse’s identity was not as clear as it seemed. The cabaret payed tributes to its prestigious literary precursors such as Le Chat Noir and Le Lapin Agile, but also to café-concerts, music-halls and popular movies, that are frequently left out of the literary field. This complete heterogeneity appeared in its shows themselves, shaped by various artistic expressions. L’Écluse was thus ruled by variety. It was therefore a complex object that requires specific methods to be considered. It is precisely through the prism of variety, regarded as a fruitful methodological analysis tool, that we intent to study it. With its mixed shows, L’Écluse cannot be sorted into a « black-or-white » category. It encourages us to re-think what belongs to literature or not. Where can such an unclassifiable place, that catches us unawares and strikes down our usual analysis categories, stand in literary studies ? Accordingly, we postulate that L’Écluse converted its place, defined by historical, geographical and social determinations, into a creative poetic space, shaped by the coexistence of various artistic expressions and the echoes that appeared between each of them and not by the pretended quality of its acts. The meaning of the shows was thus not provided by what was clearly said : it came from what remained unformulated.

Esta dissertação de mestrado é resultado da apreciação crítica de seis gravuras de Salvador Dalí para os livros Inferno e Paraíso, da Divina Comédia de Dante Alighieri. Para o Inferno selecionamos: Canto XIV - Os Blasfemos; Canto XXIII - Os Hipócritas; e Canto XXIX - Os Causadores de Discórdias. Para o Paraíso optamos por: Canto XI - A Poeira das Almas; Canto XII - São Boaventura Fala a Dante; e Canto XX - A Constelação dos Espíritos Abençoados. As gravuras foram selecionadas de modo a proporcionar o melhor cenário possível para a comparação, uma vez que a proposta de Salvador Dalí para a narrativa de Dante mostra-se específica para cada livro da Comédia. Com o propósito de tornar a comparação efetiva, optamos por uma análise formal alicerçada em manifestos, diários e produções em outros suportes que não somente o da gravura. Esperamos contribuir com um debate ainda em formação sobre significados, bem como contribuir para a produção de conhecimento acadêmico sobre a circulação dessa obra em território nacional. / This dissertation represents the results of a critical appraisal for six prints by Salvador Dalí of Hell and Paradise books from Dante Alighieri\'s Divine Comedy. For Hell we have selected: Canto XIV - The Blasphemers; Canto XXIII - The Hypocrites; and Canto XXIX - The Causing of Disagreements. For Paradise we have chosen: Canto XI - The Dust of Souls; Canto XII - St. Bonaventure Speaks to Dante; and Canto XX - The Constellation of Blessed Spirits. The pictures were selected to provide the best possible scenario for the comparison, since Salvador Dalí\'s proposal to Dante\'s narrative appears to be specific to each book of the Comedy. In order to do an effective comparison, we have chosen not only engravings, but a formal analysis based on manifests, journals and other media productions. We intent to improve with discuss about meanings of Dali\'s work as an illustrator for the Divine Comedy, as well as contribute to the production of academic knowledge of the circulation of its content in Brazil.

Esta tese visa a mostrar que a comédia As Nuvens de Aristófanes (423 a.C.) possui um valor heurístico para os alunos de graduação de Pedagogia, isto é, que a obra possibilita um trabalho de cotejo de textos para a formação de um quadro complexo da educação ateniense da época. Compõe-se de duas partes, a primeira dedicada ao estudo da peça e de suas possíveis relações com o ensino da filosofia em Atenas e a segunda dedicada ao relato do trabalho com alunos, desenvolvido durante duas experiências com o Curso Experimental. A metodologia utilizada baseia-se em três pilares, a pesquisa bibliográfica, a análise textual e a aplicação experimental em sala de aula. A avaliação final do trabalho mostra que As Nuvens possui um caráter altamente heurístico e que a sua aplicação em sala de aula apresenta resultados altamente satisfatórios. / The aim of this thesis is to show that the comedy Clouds (423 b. C.) by Aristophanes has a heuristic value to the graduation students in Education, i. e., that this play allows a text comparative work in order to form a complex scene of the Athenian education at Aristophanes time. It consists of two parts, the first one shows the play study and its possible relations with the philosophy teaching at Athens and the second one is the report of the work whit graduation students, during two Experimental Course. The methodology used is founded in three cornerstones, the bibliographical research, the textual analysis and the experimental application in class. The conclusive evaluation of this work shows that The Clouds has a highly heuristic character and the use in classrooms has highly satisfactory results.

Made available in DSpace on 2016-08-16T18:10:17Z (GMT). No. of bitstreams: 1 Dissertacao_STELLA PEREIRA ARANHA.pdf: 2122508 bytes, checksum: 15d33009778f111856b916eead96cab6 (MD5) Previous issue date: 2014-08-28 / This lecture discuss how the comedy and the cinematographical language work as intermediary cathegories of Brazilian cinema. It shows a theorical review about an interdisciplinary perspective that envolves art, communication and sociology, clearing the various meanings of the term mediation. It defines by what point of view the mediation of Brazilian cinema is broached at this research. It explains how the public become familiar with the esthetics of TV language, transposed to the Brazilian movies, it stipulates the look of the spectator in the country. It establishes how the humor tradition is one of the most best received cultural manifestation by Brazilian spectator, demonstrating how comedy, in the history of the cinema in Brazil, developed a way of operation to make the sector lucrative in progressive humor cycles on national cinema. It relates the difficulties found in the research, reinforcing the confirmation of the inicial theories and indicating the courses to continue the investigation. / Discute como o gênero comédia e a linguagem cinematográfica atuam enquanto categorias mediadoras do cinema brasileiro. Apresenta revisão teórica acerca de uma perspectiva interdisciplinar que envolve arte, comunicação e sociologia, esclarecendo as diversas acepções do termo mediação. Define sob qual ponto de vista a mediação do cinema brasileiro é abordada na presente pesquisa. Explica como a familiaridade do público com a estética da linguagem televisiva, transposta para os filmes brasileiros, condiciona o olhar do espectador no país. Estuda como a tradição do humor tornou-se uma das manifestações culturais mais bem recebidas pelo espectador brasileiro, demostrando como o gênero comédia, no decorrer da história do cinema no país, desenvolveu um modus operandi capaz de gerar rentabilidade para o setor em sucessivos ciclos de humor no cinema nacional. Narra as dificuldades encontradas no decorrer da pesquisa, reforçando a confirmação das hipóteses iniciais e indicando os caminhos para continuidade da investigação.

Esta pesquisa desenvolve um estudo em torno do teatro escrito por Machado de Assis, privilegiando a análise das formas de comicidade utilizadas pelo autor em suas peças. Quatro comédias são analisadas no presente trabalho: O caminho da porta e O protocolo, publicadas em 1863, e Não consultes médico e Lição de botânica, publicadas, respectivamente, em 1896 e 1906. Além da análise formal das peças e de seus recursos cômicos, abordamos o contexto histórico e estético em que seu teatro foi escrito, o gênero do provérbio dramático - utilizado como modelo na criação das comédias estudadas - e a forma como a crítica especializada tem recebido, ao longo dos anos, a produção teatral de Machado de Assis. / This research develops an analysis of the plays written by Machado de Assis, specially reflecting upon the comical forms used by the author in his plays. Four comedies are analyzed in this research: O Caminho da Porta (The Way to the door) and O Protocolo (The Protocol), published in 1863, Não consultes Médico (Dont Consult Doctors), published in 1896, and Lição de Botânica (Botany Lesson), published in 1906. Besides analyzing the formal construction of the plays and their comic resources, we also investigate the historical and aesthetic context in which these plays were written, the dramatic proverb genre used as a model in the creation of the comedies and the understanding the critics built concerning Machado de Assiss theater through the years.

Orientador: Isabella Tardin Cardoso / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-26T06:53:49Z (GMT). No. of bitstreams: 1 Costa_LilianNunesda_D.pdf: 2914692 bytes, checksum: 7790a7f30cd6441d68b56c4fb18a7cf8 (MD5) Previous issue date: 2014 / Resumo: A obra do comediógrafo romano Tito Mácio Plauto (c. 254 ¿ 184 a.C.) é marcada pela presença dos gêneros trágico, épico e mesmo lírico em determinadas passagens, que têm sido identificadas por diversos critérios, como menção, alusão e associação por paralelos formais. Estudos teóricos sobre "mescla" ou "cruzamento de gêneros" vêm se desenvolvendo ao menos desde a proposição do conceito de "Kreuzung der Gattungen" por W. Kroll (Studien zum Verständnis der römischen Literatur, 1924). No entanto, estudiosos como A. Barchiesi ("The crossing", 2001) passam a questionar premissas do trabalho do filólogo alemão, que tomava a "miscigenação" como "decadência" da cultura literária helenística e romana. Em nossa pesquisa sobre as mesclas genéricas na comédia plautina, também nos afastamos da perspectiva de W. Kroll e não propomos, como ponto de partida, que as peças que abrigam outros gêneros resultem necessariamente em híbridos. Na verdade, preferimos uma abordagem como a de S. J. Harrison, que lida com a noção de "generic enrichment" (Generic enrichment in Vergil and Horace, 2007). A sistematização da presença de outros gêneros poéticos no corpus de Plauto selecionado (a peça Cativos, bem como passagens de Báquides, O cabo, O soldado fanfarrão, dentre outras) nos interessa no sentido de explorar o quanto a comédia é enriquecida precisamente por meio de elementos perceptíveis pelo público plautino como "alheios" a esse gênero. Assim, nosso método envolve a identificação de aspectos (temáticos e formais) sob os quais esses gêneros aparecem ou transparecem, bem como uma reflexão sobre a possibilidade de, a partir da observação das convenções poéticas com que ele brinca em seus textos, pensar em uma poética imanente em Plauto / Abstract: The presence of the tragic, the epic, and even the lyric genre in the work of the Roman comic poet Titus Maccius Plautus (c. 254 ¿ 184 BC) has been already noted in the field of classical studies. Among the various criteria used in the identification of those poetic genres there is not only direct mention of elements of the works pertaining to them, but also (thematic or formal) allusion to such elements. Theoretical studies about "genres miscellany" or "genres crossing" have been developed at least since the proposition of the concept of "Kreuzung der Gattungen" by W. Kroll (Studien zum Verständnis der römischen Literatur, 1924). However, scholars such as A. Barchiesi ("The crossing", 2001) now question premises from Kroll¿s work, which considered the "miscegenation" as a "decadence" on the Hellenistic and Roman literary cultures. The present research does not assume Kroll¿s perspective, i.e. it does not presuppose that the plays in which the presence of other genres is evinced are necessarily hybrids. Rather, it favors an approach like that of S. J. Harrison, which deals with the notion of "generic enrichment" (Generic enrichment in Vergil and Horace, 2007). While systematizing such a presence of different poetic genres in the selected Plautine corpus (the play Captiui, as well as passages from Bacchides, Miles gloriosus, Rudens, among others) this study intends to appreciate to what extent comedy is enriched precisely by the elements perceived by the plautine public as extraneous to this genre. The method is based on the identification of (thematic and formal) aspects under which such genres emerge as the play goes on. The observation of the poetic conventions with which the Roman dramatist plays in his texts may also provide a reflexion on an imanent poetics in Plautus / Doutorado / Linguistica / Doutora em Linguística

Orientador: Neyde de Castro Veneziano Monteiro / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T12:07:12Z (GMT). No. of bitstreams: 1 Carrico_Andre_D.pdf: 1783260 bytes, checksum: c9a5a18ffa00d8e2a3758ff220df8120 (MD5) Previous issue date: 2013 / Resumo: O principal objetivo da tese Os Trapalhões no Reino da Academia: Revista, Rádio e Circo na poética trapalhônica é analisar as raízes da formação do ator cômico brasileiro a partir de três tradições da cena nacional, presentes na poética do grupo cômico Os Trapalhões: o Teatro de Revista (Mussum), o Humorismo Radiofônico (Zacarias) e o Circo (Dedé e Didi). Para isso, localizamos os elementos dessas vertentes nos personagens-tipo desse grupo por meio do registro cênico em sua obra cinematográfica e televisiva. O projeto trapalhônico nos permitiu apontar a permanência de procedimentos universais de tradição popular, aportados pela formação desses cômicos, e a clareza na transmissão de princípios cênicos de artistas que os antecederam. Alicerçados por esses saberes, Os Trapalhões naturalizaram a figura do palhaço e souberam conjugar as potencialidades individuais de cada integrante do grupo, misturando e atualizando códigos e configurando uma poética reveladora da vitalidade de nossas escolas cômicas / Abstract: The main objective of the thesis The Trapalhões in the Academy Kingdom: Revue, Radio and Circus in trickster poetic is to analyze the roots of the education of Brazilian comic actors from three traditions of the national scene in the poetics of the comedy group The Trapalhões: Revue (Mussum), Radio Comedy (Zacarias) and Circus (Dedé and Didi). To this end, we have located the elements of these characters in the scenic register of their work in Cinema and TV. The project of The Trapalhões allowed us to show the permanence of universal procedures of the popular tradition, wich were brought from the origin of these comics, and the clarity in conveying the scenic principles from artists who preceded them. Substantiated by those knowledge, The Trapalhões have naturalized the figure of the clown and have combined the individual strengths of each member of the group, mixing and updating codes and configuring a poetic telling of our comic schools / Doutorado / Artes Cenicas / Doutor em Artes

Yasmina Reza, auteur de théâtre français, reconnue dans le monde entier, a reçu les prix les plus prestigieux : trois Molières (FR), un Laurence Olivier Award (GB), deux Tony Award (USA), le Die Welt (All), pour ne citer qu’eux. En France, elle est encore souvent considérée comme un auteur à succès, n’offrant au public qu’une forme de théâtre de boulevard contemporain. L’étude précise des textes dramatiques de Yasmina Reza, de sa langue, de ses personnages et des structures de ses pièces, laisse apparaître sous le masque de la comédie une richesse et une complexité plus profondes. Elle met en scène des personnages bourgeois dont la vie se caractérise par une certaine facilité, tout en levant le voile sur des préoccupations métaphysiques universelles. Il s’agit toujours de la confrontation de l’homme avec le monde ou avec ses semblables. Cette pensée de l’individu inquiet s’accompagne dans la forme d’une réflexion sur le pouvoir de l’art dramatique. La caractérisation bourgeoise de son théâtre est autant un miroir tendu au public qu’un masque qui voile une interrogation permanente sur le sens de la vie et de l’art, dans la continuité du travail de l’avant-garde du milieu du XXe siècle dont elle se révèle être une relève inattendue. / The Famous French playwright Yasmina Reza received some of the most prestigious prices in the world : three Molières (FR), a Laurence Olivier Award (UK), two Tony Award (USA), a Die Welt (DE). Nevertheless, in France she is still considered as merely a successful author, with some kind of new farce to offer. A specific study of Yasmina Reza’s drama, including her language, her characters and the architecture of her plays, brings out other meaningful and complex colors from under the mask of comedy. She stages middle-class characters whose life is quite easy; in the meantime she reveals universal metaphysical issues. It is always about a clash between a person and the world or a person and his kind. This reflection about the anxious being goes on stage with a reconsideration of the power of theater. The middle-class characterization is a mirror for the audience as well as it is a mask that covers a constant questioning about the meaning of life and art, continuing the work of the avant-garde of the middle of the 20th century, of which she appears to be an unexpected new recruit.

Le corpus des ‘comédies élégiaques’ ou ‘comédies latines’ du XIIe et du XIIIe siècle a été perçu comme un ensemble de textes étranges, dont la place dans la tradition littéraire était, pourtant, clairement définie. La notion de ‘comédie élégiaque’ désigne en effet la tradition théâtrale comme point de référence essentiel dans la formation du ‘genre’. L’objectif de la présente thèse est de déconstruire le concept de ‘comédie élégiaque’ et de décrire les textes du corpus, composés au XIIe siècle, tout en respectant leur historicité. Le mot ‘comique’ se rapporte ici à comoedia en tant que phénomène historique et non pas aux catégories anthropologique, philosophique ou psychologique ; ‘faire rire’ n’est ici qu’une des réponses possibles. La révision des sources fondamentales pour la formation des savoirs médiévaux de la comédie antique, ainsi que la lecture des poetriae du XIIe et XIIIe siècle, permet de préciser le sens du terme comoedia, employé par les auteurs des comoediae du Val de Loire et par leurs lecteurs. L’étude des rapports des comédies élégiaques avec la tradition de la comédie antique implique, en outre, l’examen de leurs paratextes et de leurs cotextes, dont l’ensemble est déterminé par les manuscrits conservés. Ainsi, l’analyse du contexte historique, idéologique et théorique, ajoutée à l’étude des manuscrits des comédies élégiaques, permet de définir ces compositions en tant que textes qui forment et incarnent les règles rhétoriques et éthiques exposées dans les poetriae. / The corpus of ‘elegiac comedies’, or 12th and 13th-century ‘Latin comedies’, was perceived as an anthology of some curious texts, the literary tradition of which was, nevertheless, clearly defined. Indeed, the notion of 'elegiac comedy’ designates the theatrical tradition as a point of reference, which is essential for the formation of' the ‘genre’. The objective of this thesis is to deconstruct the concept of ‘elegiac comedy’ and to describe the 12th-century texts of the corpus in exact accordance with their historicity. The word ‘comic’ refers here to comoedia as a historical phenomenon and not to some categories of anthropological, philosophical or psychological nature; the ‘laughter’ is not but one of the possible answers. The revision of the sources fundamental for the formation of medieval knowledge of ancient comedy as well as the interpretation of 12th- and 13th-century poetriae help to shed light on the meaning of the term comoedia employed both by the authors of comoediae from the Loire Valley and by their readers. The study of the relations of the elegiac comedies with the tradition of ancient comedy involves, moreover, the examination of their paratexts and co-texts, the body of which is determined by the preserved manuscripts. Thus, the analysis of the historical, ideological and theoretical context, as well as the study of manuscripts of the elegiac comedies, define these compositions as the texts that form and embody the rhetorical and ethical rules exhibited in the poetriae.