Thesis (M.Phil.) - University of Queensland, 2005. / Includes bibliography.

Zugl.: Hamburg, Universiẗat, Diss., 2006.

Zugl.: Hamburg, Univ., Diss., 2007

Submitted by Automação e Estatística (sst@bczm.ufrn.br) on 2018-07-02T22:10:52Z No. of bitstreams: 1 FrankDuesberg_DISSERT.pdf: 4609176 bytes, checksum: 177b112624afd63e80879bdd8aa1fce9 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-07-09T13:31:25Z (GMT) No. of bitstreams: 1 FrankDuesberg_DISSERT.pdf: 4609176 bytes, checksum: 177b112624afd63e80879bdd8aa1fce9 (MD5) / Made available in DSpace on 2018-07-09T13:31:25Z (GMT). No. of bitstreams: 1 FrankDuesberg_DISSERT.pdf: 4609176 bytes, checksum: 177b112624afd63e80879bdd8aa1fce9 (MD5) Previous issue date: 2018-03-22 / Esta pesquisa indaga a possibilidade de uma experiência trágica de um espectador ou do autor no teatro contemporâneo. O objetivo é questionar a possibilidade da concentração do trágico, por exemplo, em um gesto performático. Hans-Thies Lehmann, no seu livro ‘Tragödie und dramatisches Theater’ (2014), reflete sobre a experiência trágica, que envolve vários aspectos, como a estetização de um acontecimento trágico, a cisão dessa estetização e uma reflexão. Foram criados e pesquisados múltiplas reescritas, experimentos e fragmentos reunidos sob o nome de ‘Estrada V’, baseados principalmente na obra ‘A Estrada de Volokolamsk’, de Heiner Müller e nas experiências do presente autor. O foco ficou nas reflexões e práticas em relação ao público e da possibilidade de uma experiência trágica vir a ocorrer. Constatou-se que no mundo moderno, a mística do excesso não precisa ser mais grandiosa, porém exige-se uma aumentada atenção com o comum. O teatro da tragédia contemporâneo é um local de conscientização intensa de perda, onde o sujeito é confrontado com a dissolução inevitável do ser e com uma experiência da própria finitude. Neste contexto, o trágico no teatro contemporâneo investiga o sujeito fragmentado do mundo atual, tocando na antiga e sempre renovada experiência do excesso. O destino fundamental do caráter trágico é seu desejo de investigação por uma verdade maior, em um mundo onde não há certezas e postulados irrefutáveis. Foi verificado que na arte performática a criação do trágico nasce do afeto, estabelecendo uma conexão específica entre o performador e o receptor, permitindo o surgimento de uma experiência trágica. / This research investigates the possibility of a tragic experience of a spectator or the author in contemporary theater. The objective is to question the possibility of the concentration of tragic, for example, in a performance gesture. Hans-Thies Lehmann, in his book 'Tragödie und dramatisches Theater' (2014), reflects on the tragic experience, which involves several aspects, such as the aestheticization of a tragic event, the breakup of this aesthetization and a reflection. Multiple re-writings, experiments and fragments were collected and researched organized under the name of 'Estrada V', based mainly on Heiner Müller's 'The Road of Volokolamsk' and the experiences of the present author. The focus was on reflections and practices of the relationship between stage and the public and the possibility of a tragic experience to occur. It has been found that in the modern world, the mystique of excess need not be grand, but an increased attention to the common is demanded. The theater of contemporary tragedy is a place of intense awareness of loss, where the subject is confronted with the inevitable dissolution of being and with an experience of one's own finitude. In this context, the tragic in contemporary theater investigates the fragmented subject of the present world, touching on the old and always renewed experience of excess. The fundamental destiny of the tragic character is its desire to investigate for a greater truth in a world where there are no certainties and irrefutable postulates. It was verified that in performance art the creation of the tragic arises from affection, establishing a specific connection between the performer and the receiver, allowing the emergence of a tragic experience.

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Eine Reihe literaturwissenschaftlicher Arbeiten seit Anfang der Neunzigerjahre bezeugt das lebhafte Interesse an der subjektiven Verfasstheit von Müllers Schreiben. Keine jedoch widmet sich erschöpfend Müllers als Autobiografie ausgewiesenem Text KRIEG OHNE SCHLACHT – LEBEN IN ZWEI DIKTATUREN. Zu Ehren kam der Text bislang nur als Zitatsteinbruch, Interpretationshilfe und umfangreiche poetologische Materialsammlung. Zumeist wird das Werk als gültiger Beleg der Intention müllerschen Schreibens herangezogen und erlangt damit einen unzulässigen Grad an Deutungshoheit. Dabei wird die poetische Dimension des Textes oft nur unzureichend reflektiert oder gänzlich missachtet. Die vorliegende textkritische Untersuchung soll dazu beitragen, die Forschungslücke in der einschlägigen Sekundärliteratur zu schließen und dazu anregen, das Potenzial Müllers enormen und vielgestaltigen Werkes jenseits seiner als Theaterarbeiten ausgewiesenen Texte wahrzunehmen und in Bewegung zu setzen. Nach einführenden Darstellungen zu Rezeptionssituation und Forschungsstand, der Diskussion spezifischer poetologischer Fragestellungen im Allgemeinen wie solcher der Autobiografieforschung im Besonderen, der Untersuchung der Genese und formaler Besonderheiten des Textes, analysiert die vorliegende Arbeit vor allem die strukturellen Wirkungsmechanismen, die Müllers disparate Selbstexplikation zum Auto-Drama werden lassen. Die Rückführung der Bedeutungsgeneration auf die strukturästhetischen Wirkungsmechanismen scheint insofern geeignet, als sie durch Textnähe und punktuelle Analyse der Textgenese Müllers Strategie der Selbst-Dekonstruktion sehr nahe kommt. Zumal Müller seine »Lebenserzählung« nach ähnlichen Strukturprinzipien aufbaut, wie seine anderen »poetischen« Texte auch. Aus der Beschreibung der disparaten Äußerungsformen des autobiografischen Ichs ergeben sich die textimmanenten Strategien der überaus komplexen Selbstinszenierung Müllers, sein »Theater der Schrift«. / Since the early 1990s a number of literary papers testify the vivid interest in the subjective composition of Müller’s writing. But none of these detailed devotes to Müller’s as autobiography assigned text WAR WITHOUT BATTLE – LIFE IN TWO DICTATORSHIPS. Until now the text has been only used as quarry of quotations, aid of interpretation and extensive poetological collection of material. Mainly the work is used as evidence of the intention of Müller’s writing and therefore receives an inadmissible degree of sovereignty of interpretation. The poetical dimension of the text is often inadequately reflected or even totally neglected and ignored. This text-critical examination will contribute to close this gap of research within the relevant secondary literature and encourage the recognition and discussion of the potential of Müller’s enormous and multifarious work beyond his as theatre work assigned texts. After the introduction of the situation of reception and the status of current research, the discussion of specific poetological questions in general such as autobiographical research, examination of genesis and formal specific features of texts, this paper will analyse the structural mechanisms of effect, which turn Müller’s disparate self-explication into an auto-drama. It seems suitable to return the meaning of generation on the structure-esthetical mechanisms of effect, as the proximity of text and selective analysis of the genesis of text is very close to Müller’s strategy of self-deconstruction. Particularly as Müller constructs his »Lebenserzählung« to similar structural principals as well as others of his »poetical« texts. The description of the disparate form of expression of the autobiographic I result in the text-immanent strategies of the enormous complex self-dramatisation of Müller; his »Theater der Schrift«.

Este trabalho propõe uma reflexão sobre o teatro contemporâneo em embate com as transformações sociais pelas quais estamos passando. Neste momento de incertezas e inversão de valores, o teatro incorpora as discussões e temáticas ligadas à experiência sensível dos seres humanos, ao mesmo tempo em que inova sua linguagem, recorrendo a dispositivos tecnológicos que propiciam diferentes modos de interação com o público. Propostas sem atores em cena aportam o questionamento sobre que elementos, afinal, definem o teatro, enquanto que o compartilhamento de experiências busca expandir o entendimento da inserção do real em cena. A partir da aproximação a aspectos que observamos recorrentes na cena atual, abordamos dois espetáculos em cada uma das três partes que constituem a pesquisa. Recorremos ao conceito da teatralidade como ferramenta imbatível para a exposição de uma prática teórica construída no momento mesmo dos acontecimentos que se pretende analisar. Pretendemos, desse modo, responder às exigências da área de Teoria e Prática do teatro, que privilegia pesquisas que fundem o fazer e o refletir teatral. / The thesis proposes a reflection on contemporary theatre\'s confrontation with current social transformations. In this moment of uncertainty and inversion of values, theatre incorporates discussions on sensitive themes while innovating its language, using technological devices that provide different modes of interaction with the public. The absence of actors on stage raises questions about what ultimately defines the theatre, while the sharing of personal experiences by actors, expands the understanding of the insertion of the real into the scene. We seek to approach reoccurring aspects of the current scene, analyzing two shows in each of the three parts of this research. We turn to the concept of theatricality as a unique tool to explore a very contemporary practice. In this way, it seeks to respond to the demands of theatre Practice and Theory field, which favors researches that combine practice and reflection.

The goal of the Master Thesis is to analyse the performance Eraritjaritjaka created by the leading director of German experimental theatre Heiner Goebbels. The first part exposes the new theatrical genre Théâtre musical as a theoretical framework. The following text focuses on Goebbels's theoretical views and the basics characetrs of his theatre poetics. The main part of this study is devoted to analysis of performance Eraritjaritjaka. The analysis itself focuses on the functioning of basic components of the performance, its principles and shifts in overall structure.

Este trabalho propõe uma reflexão sobre o teatro contemporâneo em embate com as transformações sociais pelas quais estamos passando. Neste momento de incertezas e inversão de valores, o teatro incorpora as discussões e temáticas ligadas à experiência sensível dos seres humanos, ao mesmo tempo em que inova sua linguagem, recorrendo a dispositivos tecnológicos que propiciam diferentes modos de interação com o público. Propostas sem atores em cena aportam o questionamento sobre que elementos, afinal, definem o teatro, enquanto que o compartilhamento de experiências busca expandir o entendimento da inserção do real em cena. A partir da aproximação a aspectos que observamos recorrentes na cena atual, abordamos dois espetáculos em cada uma das três partes que constituem a pesquisa. Recorremos ao conceito da teatralidade como ferramenta imbatível para a exposição de uma prática teórica construída no momento mesmo dos acontecimentos que se pretende analisar. Pretendemos, desse modo, responder às exigências da área de Teoria e Prática do teatro, que privilegia pesquisas que fundem o fazer e o refletir teatral. / The thesis proposes a reflection on contemporary theatre\'s confrontation with current social transformations. In this moment of uncertainty and inversion of values, theatre incorporates discussions on sensitive themes while innovating its language, using technological devices that provide different modes of interaction with the public. The absence of actors on stage raises questions about what ultimately defines the theatre, while the sharing of personal experiences by actors, expands the understanding of the insertion of the real into the scene. We seek to approach reoccurring aspects of the current scene, analyzing two shows in each of the three parts of this research. We turn to the concept of theatricality as a unique tool to explore a very contemporary practice. In this way, it seeks to respond to the demands of theatre Practice and Theory field, which favors researches that combine practice and reflection.