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.

Italian commedia dell'arte in 18th century Russia is a phenomenon which demands careful attention from students of the Russian theatre, particularly since comedy was the most important dramatic development of this century. It is significant that Russian dramaturgy vaulted from infancy to maturity in the short space of a century. This remarkable literary feat was contingent upon the influence of commedia dell'arte on Russian comedy. One hundred years, before the Italian Comics first graced the Russian stage, commedia dell'arte-inspired interludes which came from Poland with the Church School Theatre entertained the Slavic indigenes. Later, German players offered the Russian public their adaptations of Italian improvised comedy, and finally, the Comic Masks accepted an invitation to animate the court. The Masks quickly won a large appreciative, audience and, as a result, distinguished Italian comic artists were attracted to Russia. In their wake followed a host of minor comic performers who flooded the country with productions of commedia dell'arte, opera buffa and intermezzi. This cultural 'invasion' which lasted well into the next century, left a permanent impression on the Russian comic repertory. Works of 18th century Russia's most typical comic dramatists, Ya. B. Knyazhnin and I. A. Krylov, have been selected for analysis since they harbour the key principles of Italian commedia dell'arte and therefore facilitate a fruitful comparison. The inclusion of a short section dealing specifically with commedia dell'arte is intended to outline briefly its artistry in order to make more evident the relationship between the Russian comedy and the Italian Comedy of Masks. The comprehensive bibliography presents a spectrum of works concerning this topic but not necessarily referred to in the thesis. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate