Η παρούσα μελέτη αποτελεί προσπάθεια συλλογής και ανάλυσης των αρχαιολογικών μαρτυριών σχετικά με την εμφάνιση των αρχαίων Ελλήνων δραματικών ποιητών και των τρόπων με τους οποίους αυτοί απεικονίζονται τόσο στην αρχαία ελληνική όσο και στη Ρωμαϊκή τέχνη. / This study is an attempt to collect and analyse the archaeological finds related with the look of the ancient Greek dramatists and the way they were presented.

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Made available in DSpace on 2015-08-20T17:10:10Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-04-17. Added 1 bitstream(s) on 2015-08-20T17:25:51Z : No. of bitstreams: 1 000841184.pdf: 3358374 bytes, checksum: 0c6362892f7b33a184256c8d8c69d255 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Depois do término da Segunda Guerra, o teatro português, tendo como meta a negação do naturalismo, inicia um processo de renovação da dramaturgia e da cena; no entanto, as atividades da arte dramática eram totalmente controladas pela censura imposta pelo regime político ditatorial (1926-1974), forçando dramaturgos e encenadores a buscar formas teatrais que fossem ao mesmo tempo inovadoras do panorama cênico e autorizadas pela censura. No final dos anos de 1950, o teatro épico-brechtiano e o teatro do absurdo constituíram as duas principais tendências teatrais que interessaram sobremaneira os dramaturgos portugueses; o primeiro foi intensamente interditado pela censura e o segundo alcançou os palcos a partir de 1959, influenciando a criação dramatúrgica dos novos autores que surgiam, dentre eles Helder Prista Monteiro (1922-1994), que teve algumas de suas peças encenadas durante a ditadura e foi considerado pela crítica um dos expoentes do teatro do absurdo em Portugal. Considerando os pressupostos do teatro do absurdo, as relações desse teatro com a censura e as questões discutidas no âmbito da crítica acerca das formas teatrais em voga no país, a obra dramática de Prista Monteiro constitui o corpus da presente tese, cujo principal objetivo é a análise das peças escritas antes da Revolução dos Cravos, com o intuito de lançar uma nova luz sobre a dramaturgia do autor e comprovar que nela estão refletidas as tentativas de renovação teatral e de objeção ao regime político vigente na altura de sua produção / After the end of World War II, portuguese theater refused the conventions of naturalism theater and started a renewal process of dramaturgy and scene. These Dramatic Art activities, however, were totally controlled by the censorship practiced by the dictatorial political regime (1926-1974), thus forcing playwrights and directors to quest for theatrical forms that could at the same time innovate the theatrical background and be approved by the censorship committee. By the end of the 1950's, the Brechtian epic theater and the theater of the absurd were the two main theatrical tendencies that interested portuguese playwrights. While the first one was sorely forbidden by the censors, the second one reached the stage since 1959, influencing the dramaturgical creations of new emerging playwrights. Among them was Helder Prista Monteiro (1922-1994) who had some of his plays presented during the dictatorial period and was considered by critics one of the exponents of the theatre of the absurd in Portugal. Considering the assumptions of the theater of the absurd, the relationship of that theater with censorship and the issues discussed by critics about the theatrical forms in vogue in the country, the theatrical work of Prista Monteiro constitutes the corpus of this thesis. Its main goal is to analise the plays written before the Carnation Revolution, with the intention of shedding a new light over the dramaturgy of this author and to prove that on it are reflected the attempts of a theatrical renewal along with the opposition to the political regime present on the time of its production

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This thesis argues that prominent in the purposes of the dramaturgy of Irish playwright Sean O'Casey was the promotion of his political causes - most notably socialism. In his avidity for the cause of establishing a workers' paradise, following the Soviet model, in Ireland, his ire was drawn to the movements and institutions he perceived as distracting the masses from pursuit of this ideal: republicanism and the Church. These political ideals are prominent themes in his collected works - both fiction and non-fiction. The work is essentially divided into two sections. The first examines the development of O'Casey's ideologies - his socialism, anti-nationalism and anti-clericalism - and the backdrop against which they developed. The purpose is to establish just how passionately O'Casey felt about these ideals and how, in his letters, histories and autobiographies, he dedicated much of his effort to promoting them. Having dedicated so much time and energy to championing socialism and attacking the Church in these texts, it is little wonder they should appear so prominently in his plays. The thesis argues that O'Casey distorted the content of his Autobiographies to reinforce his role as self appointed champion of Dublin's "bottom fifth" and his beloved working class. It contends that O'Casey embellished the suffering of his childhood and the hardship endured by his family to fortify his credentials as a "socialist hero" - to be "for them" he sought to be "of them," and to provide a model for how learning and conversion to the socialist ideal would liberate them from the economic oppression that kept them low. A number of facts, even elementary ones like the number of children in the Casey brood and particular dates and addresses where he had lived, were changed to cultivate the working class hero image, the disadvantaged boy who rose up against all that an unjust and unsympathetic world could throw at him, that he so coveted. The more abject the origins, the greater the final triumph. The thesis then looks briefly at the origins and purposes of the Abbey Theatre, and its part in the Irish Renaissance that gave O'Casey his start. It focuses particularly on the role of Yeats, and his desire to build a dramatic movement which created work free from opinion. His famous determination to "reduce the world to wallpaper" brought him into conflict with O'Casey, who saw his plays as a legitimate vehicle for the expression of his own world view. It is important, in terms of the objective of this study, to establish that O'Casey's works were deliberately constructed pieces of didacticism, to demonstrate just how inimical to the original intent of the movement his purposes were. With this in mind, it is instructive to compare him with the other great Irish dramatist of the period, John Millington Synge, whose works, with their more rustic focus, promoted the kind of impressionistic 'slice of life' theatre the Abbey founders were championing. For O'Casey, the cause was paramount. He wrote morality plays. The study examines how O'Casey's dominant ideological position evolved by examining his own changing perspective about the world around him. It shows how O'Casey began to see all struggles in terms of the economic one between classes, and how he came to be converted to the tenets of socialism. His opposition to nationalism and his anti-clericalism essentially reflected his belief that they were hostile to the interests of the workers, and therefore must be engaged. The dominant sources in this section are O'Casey's letters, his Autobiographies, and his book, The Story of the Irish Citizen Army. The second section of the thesis focuses on the first seven extant plays: The Harvest Festival, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, The Silver Tassie, Within the Gates, and The Star Turns Red, and examines how each promotes O'Casey's causes. The purpose of the thesis is not to promote a reworking of the biographical detail of O'Casey's life, but to trace the shift in the playwright's ideology - from Protestant Orange to Republican Green and finally, and most steadfastly, Socialist Red - and examine how these beliefs found voice in the characters and construction of his earlier plays.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-27T18:51:13Z No. of bitstreams: 1 Dissertação final.pdf: 1186771 bytes, checksum: 36bc34689cf78f33dfbc1cab1699191e (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-28T00:49:02Z (GMT) No. of bitstreams: 1 Dissertação final.pdf: 1186771 bytes, checksum: 36bc34689cf78f33dfbc1cab1699191e (MD5) / Made available in DSpace on 2018-08-28T00:49:02Z (GMT). No. of bitstreams: 1 Dissertação final.pdf: 1186771 bytes, checksum: 36bc34689cf78f33dfbc1cab1699191e (MD5) / O objeto da dissertação é a poética do jornalista, poeta, escritor, diretor teatral, dramaturgo e cineasta Armand Gatti, tendo como critério norteador do presente trabalho sua atuação como dramaturgo. No universo de suas peças escritas e publicadas, me concentro naquelas que compõem o Pequeno manual de guerrilha urbana (1968), uma compilação de quatro peças curtas de temática política, escritas pelo autor durante e logo após os eventos de maio de 1968 na Europa. A partir das quatro peças que compõem o Pequeno Manual, comparo a produção gattiniana com a de dois outros autores, o alemão Bertolt Brecht e o brasileiro Augusto Boal, apresento uma amostra da produção dramatúrgica gattiniana - por meio da tradução integral do texto A máquina escavadora ou para entrar no plano de cerceamento da Colônia de Invasão Che Guevara - e demonstro os esforços do autor para prever a participação do espectador teatral desde o momento de escrita de seus textos. Através de suas teorias, Anne Ubersfeld, Jean-Jacques Roubine, Luiz Fernando Ramos, J. Austin e Umberto Eco são os principais autores que oferecem suporte para meu trabalho, em especial na análise das marcas paratextuais inscritas na escrita gattiniana e na relação de sua escrita dramatúrgica com a participação dos espectadores das encenações que dela resultam. / L'objet de ce travail est la poétique du journaliste, poète, écrivain, metteur en scène, dramaturge et cinéaste Armand Gatti. Les critères de orientation adoptés a cette étude sont son travail notamment aux textes théâtrales de cet artiste monégasque basée en France depuis 1924. Dans l'univers de ses écrits et pièces publiées je me concentre sur ceux qui composent Le Petit Manuel de Guérilla Urbaine (1968), une compilation de quatre pièces courtes de thème politique, écrites par l'auteur pendant et peu après les événements de mai 1968 en Europe. En utilisant les parties qui composent le Petit Manuel pour extraire un échantillon de la production de l’auteur, je compare ses oeuvres avec des deux autres hommes: l'allemand Bertolt Brecht et le brésilien Augusto Boal. Par ici je présent une traduction intégrale du texte La Machine Excavatrice – Pour entrer dans le plan de défrichement de la colone d'invasion Che Guevara afin de démontrer les efforts de l'auteur pour assurer la participation du spectateur à partir de la création de leurs textes. Par leurs théories, Anne Ubersfeld, Jean-Jacques Roubine, Luiz Fernando Ramos, J. Austin et Umberto Eco sont les principaux auteurs qui soutiennent mon travail, en particulier dans l'analyse des marques paratextuels de Gatti entrés par écrit et par rapport à leur dramaturgie.

I argue that lyricism, prevalent on the Irish stage from the inception of the national dramatic theatre tradition, is invoked, subverted, and exhausted by contemporary Irish playwrights. Lyric art had an evident nation-building function on the Irish stage, but the capacities of lyric language also included the expression and containment of painful material that otherwise could not easily be represented or voiced, but which, by the second half of the twentieth century, could not be comfortably repressed. In the period 1960-2010 (from Tom Murphy to Mark O’Rowe), playwrights of national significance—Murphy, Marina Carr, Martin McDonagh, Enda Walsh, and O’Rowe—increasingly associate the Hiberno-English lyric register with social fracture, emotional and psychic disturbance, and loss, until the lyric mode itself is exposed as inherently traumatized. I call this later mode, at the close of the twentieth century, “black lyric.” Black lyric operates as a travesty of lyric expression. Black lyrical writing is lyrical text containing, but also produced by, pain, and at its fullest power, it operates as a grotesque parody of poetic expressiveness. It confronts the audience with trauma and psychic suffering attached to national expression rather than offering sonorous comfort. This project uses a combination of close reading, historical research, and theoretical analysis to argue that the playwrights who deploy heightened Hibernicized English at the end of the twentieth century are commenting upon and challenging the canon of Irish drama, which depended on a lyric register not only to console but to conceal. Commentators of twentieth-century Irish drama routinely remark on the dramatic tradition’s visceral poetry, yet it is rarely the subject of any sustained analysis outside of considerations of “language” or “style” generally. This dissertation seeks to partly address that omission.

Without consciousness we become victim instead of actors- even if it is only a question of acting victims. And in the make belief of our lives, the audience is self (Fugard in Frank 2004: 53). The primary concern of this study is the comparison of video interpretations of Athol Fugard with their adaptations as visual texts. It has been argued that 'the playwright's creative labour ends with the completion of the script' (Kidnie 2009: 15).Therefore, amongst other issues this dissertation will explore the politics of production at play during adaptation from printed version to screenplays. My assumption is that a comparison between the printed texts and video versions will add to the understanding of the effectiveness of Fugard's dramatic techniques and comprehension of literary texts; images are easy to decipher by inexperienced interpreters if guided. For the purpose of my presentation I adapt the reader response theoretical position of Stanley Fish based on a comparison that will be explored in terms of my own response to both the written text and visual texts, and in line with other responsed to the play. / English Studies / M.A.

Thesis (Ph. D.)--University of Hawaii at Manoa, 1990. / Includes bibliographical references (leaves 275-298) / Microfiche. / x, 298 leaves, bound 29 cm

The focus of this thesis is contemporary Polish playwriting after Poland's accession to the European Union in 2004. From a broad reading of plays by many new writers, four playwrights were selected for study on the basis of prominence and artistic merit: Pawel Demirski, Dorota Maslowska, Malgorzata Sikorska-Miszczuk and Przemys law Wojcieszek. Their plays were studied as texts and in performance, and twelve main plays became the focus of closer analysis. The thesis identifies and examines three major concurrent themes in the works of these playwrights. Remembering versus forgetting the past is discussed through the lens of selected aspects of memory studies, including Nora's lieux de mémoire, Hirsch's postmemory and Assman's mnemohistory. The playwrights are shown to share an endorsement of the de-politicisation of collective memory and to advocate a cessation of the passing down of trauma to post-war generations. The human body is highlighted as another concurrent thematic concern and is illuminated by certain tenets of Catholic doctrine as well as Merleau-Ponty's phenomenology. The playwrights' rejection of the tabooisation of the body is demonstrated and the shared notion of the body as both sentient and unifying is exemplified. Social marginalisation is examined as the final concern, with an emphasis on the notion of the 'other', particularly in relation to socio-economic status, sexuality, and religious beliefs. The plays are shown to support and promote a rejection of the myth of homogeneity in favour of openness to diversity. Major dramatic techniques are then closely examined. It is demonstrated that the plays share traits with Lehmann's theory of postdramatic theatre, including a rejection of Aristotelian unities. Key commonalities are evidenced, particularly comedy, bad language, intertextualities with the outside world, and an engagement with Polish social realities. The playwrights' approach to the spectator as a socio-political being is shown to be of paramount importance.