Tesi--Storia del teatro e dello spettacolo, 2004. / Catalogue raisonné des scènes comiques de la Commedia dell'arte.

Orientadores: Veronica Fabrini Machado de Almeida, Sara Pereira Lopes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-09T04:01:13Z (GMT). No. of bitstreams: 1 Lopes_MellissadosSantos_M.pdf: 4038421 bytes, checksum: fa045aac10721fcd44750d7c8ad1dac1 (MD5) Previous issue date: 2006 / Resumo: A presente dissertação busca rastrear um processo de criação em Artes Cênicas que tem como ponto de partida a conjugação entre ação comunitária e criação cênica. Baseia-se na análise do personagem peão boiadeiro, criado por meio da prática em mímesis corpórea, a partir da observação de moradores de rua da cidade de Campinas/SP e da personagem Nina, criada a partir da observação de mulheres em assentamentos rurais. Neste sentido, essa investigação prática/teórica tem como foco o estudo dos limites entre personagem e tipo, apoiando-se na Commedia dell' Arte e na Mímesis Corpórea. Já como proposta, essa dissertação procura apontar a importante colaboração entre teatro e ação comunitária, tanto do ponto de vista da investigação da linguagem cênica, quanto da atuação do artista cênico junto à sociedade / Abstract: This work seaks to trace a creation process in the Scenic Arts which has as leaving point the interaction between comunity action and scenic creation. The study was based in the analysis of the character peão boiadero, created through the practice in mímesis corpórea, observin homeless of the city of Campinas as well as observing Nina, a character created based on the behaviour of women landless which have been settled in rural areas. Therefore, this practicle/theoretical investigation focuses the study of the limits between character and type, basing itself in the Commedia dell'Arte and in the Mímesis Corpórea. Already as a proposal, this work searches to point out the important colaboration obtained by the interaction of theater and community action may it be in the point of view of the scenic language, may it be result of the scenic artist's action on the society / Mestrado / Mestre em Artes

Diss.--Berlin--Technische Universität, 1998. / Bibliogr. p. 275-292.

Thesis--Freie Universität Berlin. / Includes bibliographical references (p. 217-222).

Thesis--Freie Universität Berlin. / Includes bibliographical references (p. 217-222).

Inaug.-Diss.--Cologne. / Vita. Bibliography: p. 232-247.

Thesis (M.F.A.)--University of Massachusetts Amherst, 2009. / Open access. Includes bibliographical references (p. 37-38).

Thesis (M.A.)--Brigham Young University. Dept. of Theatre and Media Arts, 2007. / Includes bibliographical references (p. 140-147).

Thèse--Lettres--Aarhus, 1990. / Résumé en français. Bibliogr. p. 263-265. Index.

My thesis proposal is to research, workshop, develop, script, direct and produce my own commedia dell'arte. This proposal stems from my desire to explore improvisational comedy theoretically and practically. The genre of commedia dell'arte is not only timeless, but continues to further our ability to create characters and scenario for future projects as the root of improvisation. By coupling research on commedia components (character, lazzi and scenario) with the creation of an improvisational troupe, a commedia piece will be developed, documented and performed. The first part of my thesis will consist of research on the history of improvisational comedy. The earliest traces of improvisational comedy are seen in 800 B.C., when Susarion and his troupe of comedians of Icaria wandered throughout Greece. Many other comedic performance troupes were later formed, some expressing their comedies through acrobatics, like the schoenobates of Greece and funambuli of Rome. During the sixteenth century, improvisational comedy became a flourishing art form, known as the commedia dell'arte. It is the sixteenth-century commedia dell'arte form that will be my primary focus of research. A bibliography and outline will serve as the preliminary guidelines. The research should be in a coherent enough form to share with a cast by mid-January. The second part of my thesis will involve practical application of this research. By mid-January, I will have selected a troupe with which to workshop the commedia. The workshop will consist of adopting commedia stock characters for each troupe member and creating lazzi and scenario around these characters. Improvisational satire continues to be the most difficult theatrical form to master. Pierre Louis Duchartre in his book The Italian Comedy states: The success of the commedia dell'arte depended almost entirely on the acting rather than the scenarios. In the opinion of Gherardi and Riccoboni it was easier to train ten actors for the regular theatre than one for the extemporaneous stage. Moreover, a good improvisator had to practise a kind of self-abnegation and refrain from indulging in his own conceit or overplaying his part to the detriment of other roles. (Duchartre 30) The art of listening and sharing the stage as a performer is the basis of modern performance techniques and the primary skill of a great actor. The purpose for this workshop is not only to develop the commedia piece, but also to further the troupe's understanding of the commedia tradition as we continue our exploration. This will be a three- to four-week process. The end results of this workshop will be a scripted commedia that will be used for production and documentation of the process itself. By mid-March, the research, process of the workshop, and script will be documented in clear and concise terms for the purpose of this thesis. April will focus on production elements based on approval from the department on venue and budget details. The performance will take place in April or May. The final conclusions will be completed at the same time. This commedia will serve as a comprehensive experience in theatrical studies, culminating my academic and production work at University of Central Florida Conservatory Theatre. It will be an educational and collaborative effort for all involved, as well as enjoyable and entertaining for those who see it.