The main motive for undertaking this thesis was the exploration of the special relation between space and word, a relation which has recently concerned architectural theory from various aspects. However it was for us important to explore this relation inside the framework of a special system, a system which allows the production of 'real' three dimensional space; drama. Our choice to deal with classical drama was based in its attribute of producing organised space in co-existence and interdependence with articulated speech. It was for us significant that we are not dealing with an internal imaginary space but with a space which is generated and materialised during performance on stage. This thesis's claim that its analysis takes its bearings from aspects of architectural theory requires clarification since it may set up in the mind of a reader from classical studies that the object of the thesis is purely architectural or relates to the physical fabric of the theatre. This is emphatically not the case. The aspect of architectural theory which we are concerned with, concerns the evolution of the analysis of space and spatial relationships. This type of analysis, which gradually achieved an almost autonomous field by the end of the twentieth century, is one which is not so much concerned with the physical or geometrical relations of space but of the experience of space as it is synthesised in the subject. Inthe first of our chapters we deal with those different readings attempting a critical presentation ofthe existing scholarship. Obviously it is the performance and all the conventions which govern it that fully defme the space of drama. It is the 'event' (of architectural theories) - as this is realised through the characters of drama that make space exist. That space cannot be equated or reduced to the space of the theatre building. It was through this perspective that in the second chapter of our thesis we were concerned to identify the role and action of the main 'subj ects' (or the main participants, as we use to call them) of drama. Thus it was necessary to investigate the role of the poet, the actor and the audience, not so much in order to understand how they experience theatrical space, but in reverse, in order to explore the way they influence the production of theatrical space. In order to understand performance, we need to confront the issues of representation in antiquity through the notion of mimesis and the possible application of the term eidolon to the theatrical space. One further target is then to reveal the importance of theatrical space as an innovative genre of space- the first representational space - the analysis of which could contribute to the understanding of the different notions of space in antiquity, especially the Platonic Khora. Those issues are confronted in the third chapter of this thesis where we argue that what we call the 'space in drama' depends upon a combination of different types of representations; representations that their referents can not be identified as they belong to the domain of myth. Thus our positive reason for using the resources of Greek philosophy to render the mechanisms of dramatic representation intelligible rests upon our wish to find material which would validate the proposition that these mechanisms were thinkable. Clearly a central question in the investigation of theatrical space in terms of the arguments put forward above is the relationship between space and language. Inthe fourth and last of our chapters we attempt to investigate the nature of what we call dramatic speech and its ability to create three- dimensional space on stage, in any of its forms (dialogue, monologue, direct, indirect). Recent theories of architecture have been preoccupied with the exploration of the interrelation of architecture with different disciplines mainly with language itself. The relation of architecture with language becomes more complex in two main ways which concisely refer on the one hand to the influence the analysis of the structure of language has on the development of architectural discourse and on the other, to the influence architectural discourse has on architectural practice. We see then that recent architecture criticism is not limited to the reading of buildings and the marking off of historical periods, but contributes to the development of architecture practice itself.The investigation of theatrical space's relation with word would have never been complete without the study of certain examples from the trilogy Oresteia. Those examples, dealt with in the last part of the fourth chapter gave us the opportunity to validate our approach and enrich our conclusions concerning the issues which this thesis intented to clarify

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Made available in DSpace on 2016-07-27T14:20:26Z (GMT). No. of bitstreams: 1 Flavia Nasciutti.pdf: 714535 bytes, checksum: ddfa95788bdc0454f19d5e2808e51325 (MD5) Previous issue date: 2005-08-29 / This work consists of a research of the subjectivity in subjects that experience, in the social contingent, the participation in groups of gangs. Under the optics of theories of Vigotski and González Rey problematical the movement of formation of groups of gang in the capitalist society, as well as the expression as for the types of relations established between the social world and the man in this way, allowing to study the phenomenon of the gangs understanding its place of mediator of the development of the subjects. Considering the subjective constitution firmed a dialect and complex process in historical-cultural bases. Amongst the objectives of this mastership word of is: 1) Know as if it produces the subjective senses from the visualization of the phenomenon of the gangs; 2) Comprehension as the individual subjectivity if it articulates with the social subjectivity in the constitution of the subject and the society with the institutions or groups (family, school and gang, for example); 3) Look the ways of collective individual expression of the subject of gang in different social contexts, as well as this live deeply constitute its subjectivity. The information had been constructed by means of analysis of interaction moments and dialogue with participant subjects of gangs, interview with familiar of these subjects and educators who share or already had shared of ways pertaining to school experiences. The talk situations in this research are characterized for half-structuralized interviews, focal group and situations of dialogues. The information produced during the research indicates that the currrent society and its socio-cultural conditions generate situations of development in the men. Thus disclosing questions as the production of the social exclusion and the guarded mechanisms of its reproduction appearing, for example, in the manifestation of the violence in some levels. One becomes necessary to understand the multiple points implied in the formation of gangs in our society, since practical of violence they are partial questions of the subjectivity space created by a group of gang. Psychology has a very important paper in the deepening of social matters as this and so to propitiate possibilities of transformation of the dispatches by post. / Este trabalho consiste em uma pesquisa sobre a constituição da subjetividade em sujeitos que experienciam, no contexto social, a participação em grupos de gangue. Sob a ótica das teorias de Vigotski e de González Rey problematiza-se o movimento de formação de grupos de gangue na sociedade capitalista, assim como sua expressão no que se refere aos tipos de relações estabelecidas entre o mundo social e o homem. Desta maneira, permite-se estudar o fenômeno das gangues, compreendendo seu lugar de mediador do desenvolvimento dos sujeitos, considerando a constituição subjetiva um processo dialético e complexo firmado em bases histórico-culturais. Dentre os objetivos deste trabalho de mestrado estão: 1) Conhecer como se produz os sentidos subjetivos a partir da visualização do fenômeno das gangues; 2) compreender de que forma a subjetividade individual se articula com a subjetividade social na constituição do sujeito e da sociedade, com suas instituições ou grupos (família, escola e gangue, por exemplo); 3) visualizar os modos de expressão individual e coletiva do sujeito de gangue em diferentes contextos sociais, assim como essa vivência constitui sua subjetividade. As informações foram construídas por meio de análise de momentos de interação e diálogo com sujeitos participantes de gangues, entrevistas com familiares desses sujeitos e educadores que compartilham ou já compartilharam de vivências escolares com esses sujeitos. As situações dialógicas nesta pesquisa caracterizam-se por entrevistas semi-estruturadas, grupo focal e situações de diálogos. As informações produzidas durante a pesquisa indicam que a sociedade atual e suas condições sócio-culturais geram situações de desenvolvimento nos homens, em que se revelam questões, como a produção da exclusão social e os mecanismos velados de sua reprodução, manifestando-se, por exemplo, sob forma de violência em vários níveis. Faz-se necessário compreender os múltiplos pontos implicados na formação e afirmação de gangues em nossa sociedade, visto que práticas de violência são questões parciais do espaço de subjetivação criado por um grupo de gangue. A Psicologia tem importante papel no entendimento de questões sociais como esta para, só assim possibilitar transformações na realidade posta.