Thesis (M.A.)--York University, 2006. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 209-212). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR19743

Zugl.: München, Univ., Diss., 2006

This diploma work entitled The Naked Actor or Adventure Time is not an academic, scientific thesis to all intents and purposes. It is more personal search and enquiry of the motifs of nakedness, exposedness and adventure which further proceeds to more distant, yet relevant ideas as are authenticity, ease, play, states of consciousness, improvisation, sexuality, abashment, corporality etc. Certain parts of the study utilize some ideas of Jerzy Grotowski and the author also uses individual experiences and examples from her own professional career. On that account the form of the work itself is structured to make the best record of the very process of enquiry and thinking.

Submitted by Thiago Miguel Lopes Ribeiro Cunha Sabino null (miguelyaacov@gmail.com) on 2016-10-25T22:20:00Z No. of bitstreams: 1 THIAGO_FINAL com ficha.pdf: 2004598 bytes, checksum: 467f9774e7faf3b12e7a0f29b69218f7 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-11-03T16:13:15Z (GMT) No. of bitstreams: 1 sabino_tmlrc_me_ia_par.pdf: 549209 bytes, checksum: cf448cde87e8ab9ebc00ea104fcf0314 (MD5) / Made available in DSpace on 2016-11-03T16:13:15Z (GMT). No. of bitstreams: 1 sabino_tmlrc_me_ia_par.pdf: 549209 bytes, checksum: cf448cde87e8ab9ebc00ea104fcf0314 (MD5) Previous issue date: 2016-06-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O percurso artístico de Jerzy Grotowski é marcado pela constante transformação e revisão de procedimentos. Ainda na fase em que o artista dedicou-se à elaboração de espetáculos, pode-se identificar esse movimento. Contudo, apesar de transformações e rupturas, é possível encontrar certas constantes. Frequentemente, Grotowski buscou aproximar seu trabalho artístico a questões ligadas ao ritual. Ao adotar, como perspectiva de análise, as temáticas da espiritualidade e do ritual, a pesquisa visa a encontrar as continuidades sob as rupturas em alguns processos de espetáculos de Grotowski. Pautado em Pierre Hadot e Michel Foucault, o trabalho utiliza a noção de espiritualidade em sentido amplo, não restrito a religião. A partir de Victor Turner e Richard Schechner, a pesquisa propõe refletir sobre as relações e as fricções entre cena e ritual nas propostas de Grotowski. Para a compreensão dos trabalhos do artista, além da análise dos textos dele próprio, o estudo embasa-se na pesquisa de Tatiana Motta Lima sobre as "palavras praticadas" do encenador. / The artistic path of Jerzy Grotowski is marked for constant transformation and revision of procedures. Even in the moment that the artist devoted his work to creation of performances, it is possible to identify this movement. However, despite of changes and ruptures, it can be found certain constants. Frequently, Grotowski tried to approximate his artist work to issues related to ritual. Adopting as analytical perspective the themes of spirituality and ritual, this research seeks to find the continuities behind the ruptures in some Grotowski‘s performances. Based in Pierre Hadot and Michel Foucault, the work uses the notion of spirituality in broad sense, not restricted to the religion. From Victor Turner and Richard Schechner, the research proposes to discuss about the relationship and the frictions between scene and ritual in Grotowski‘s proposals. In order to comprehend his works, beyond of the analysis of Grotowski‘s texts, this study was based on the research of Tatiana Motta Lima, about the "Palavras praticadas" of Polish director.

Thesis (Ph. D.)--Uniwersytet Warszawski, 1986. / Includes bibliographical references and index.

Thesis (Ph. D.)--Uniwersytet Warszawski, 1986. / Includes bibliographical references and index.

Cette étude aborde le thème de la quête de vérité menée par l’acteur. Partant du « paradoxe de l’acteur » qui met en lumière la tension qui se joue entre Forme et Spontanéité, ainsi que sa difficulté à être simultanément artiste et œuvre d’art. Or une recherche comparative sur le théâtre Occidental/Oriental, et d’autres sources telles que les pensées de Georges Gurdjieff et de François Delsarte nous ont conduit à considérer le travail du comédien d’un point de vue trinitaire, en prenant en compte les trois éléments essentiels que sont son corps, son émotion et son esprit. La quête de vérité que mène l’acteur tout au long de sa vie doit s’enraciner dans une compréhension de sa propre nature trinitaire et d’un éventuel manque d’harmonie qui peut résulter dans des comportements automatiques et stéréotypés. Cette vision nous a servi de base pour mener une étude de la pensée de certains grands réformateurs du théâtre du XXe siècle. Ainsi, les méthodes de Jerzy Grotowski et d’Etienne Decroux sont analysées à partir des approches de l’organicité et de l'artificialité selon la perspective de Grotowski. Notre but est de trouver une possible complémentarité entre les travaux de ces deux investigateurs, dans la quête de l’équilibre du trinôme corps-émotion-esprit. Finalement, l’acteur doit cultiver simultanément ses trois centres pour unifier le créateur, l’artisan et la matière de son œuvre, et retrouver ainsi sa vraie Présence sur scène. / This study begins with the actor’s quest for truth. Starting from the « actor’s paradox » which shines light on the tension that plays between Form and Spontaneity, and the difficulty of being simultaneously artist and work of art. A comparative research of Occidental/Oriental theatre, and other sources such as the thoughts of George Gurdjieff and François Delsarte led us to consider the work of the actor from the point of Trinitarian view, taking into account the three essential elements that are his body, his emotion and his mind. The quest for the truth that drives the actor has to begin with the comprehension of his own nature of this human trinity; before the understanding of its fragmentation, that is, the lack of harmony that can exist between these three principle functions and the danger of falling into automatic and stereotypic behaviors and reactions. This study allows us to observe the thought of certain great theatre reformers of the 20th century. Therefore, methods of Jerzy Grotowski and Etienne Decroux are analyzed using approaches of organicity and artificiality from the perspective of Grotowski. Our objective is to find a possible complementarity between the works of these two researchers in the quest for balance of the trinity body/emotion/intellect. Finally, the actor must simultaneously cultivate the three centers in order to unify the creator, the artisan and the matter of his work, and find his true presence on stage.

Thesis (M.A.)--Miami University, Dept. of Theatre, 2009. / Title from first page of PDF document. Includes bibliographical references (p. 59-61).

[pt] A partir de uma perspectiva transdisciplinar entre os estudos de literatura e os estudos teatrais, a presente dissertação investiga a última fase da trajetória artística de Jerzy Grotowski (1933-1999), a Arte como Veículo, criada com a fundação em Pontedera, na Itália, do Workcenter of Jerzy Grotowski (1986), posteriormente rebatizado de Workcenter of Jerzy Grotowski and Thomas Richards (1996). Neste âmbito, a pesquisa propõe um estudo da Action The Living Room (Richards: 2008-), obra da Arte como Veículo, baseada na prática com os cantos de tradição e com as ações físicas estruturadas. Ao ingressar numa escrita do corpo atravessada pela memória reconstruída - falhada - projetada - imaginada da própria autora enquanto atriz no Master Course ministrado pelo Workcenter (2014), este trabalho oferece um modelo de análise estético-crítico, que acentua a investigação e experimentação de conceitos de teatro performativo (Fischer-Lichte: 2004) e teatro pós-dramático (Lehmann: 1999), articulados com noções de performance e ritual (Schechner: 2003) em tensão com a Arte como Veículo, através de The Living Room. Neste contexto, a dissertação se configura igualmente como um experimento literário fundado no deslocamento da palavra no espaço enfatizando escritas outras, inseridas visual, plástica, tátil e auditivamente, no interior de um sistema literário- artístico contemporâneo experimental. / [fr] À partir d une perspective transdisciplinaire entre les études de littérature et les études théâtrales, ce mémoire de Master réfléchit sur la dernière phase de la trajectoire artistique de Jerzy Grotowski (1933-1999), l Art comme Véhicule, créée avec la fondation du Workcenter of Jerzy Grotowski (1986) à Pontedera (Italie), rebaptisé par la suite Workcenter of Jerzy Grotowski and Thomas Richards (1996). À cet égard, la recherche propose une étude de l Action The Living Room (Richards: 2008-), l oeuvre de l Art comme Véhicule, basée sur la pratique avec les chants de tradition et les actions physiques structurées. Ce travail, tout en rejoignant une écriture du corps traversée par la mémoire reconstruite – faillée – projetée – imaginée de l auteur elle-même en tant qu actrice au Master Course du Workcenter (2014), offre un modèle d analyse esthétique-critique, qui met en relief la recherche et expérimentation des concepts de théâtre performatif (Fischer-Lichte: 2004) et de théâtre postdramatique (Lehmann: 1999). Ces concepts sont articulés à leur tour à des notions de performance et rituel (Schechner: 2003) en tension avec l Art comme Véhicule, à travers The Living Room. Dans ce contexte, cette recherche se configure également comme une expérimentation littéraire fondée sur le déplacement des mots dans l espace soulignant d autres écritures, visuellement, plastiquement, tactilement, auditivement insérées à l intérieur d un système littéraire-artistique expérimental contemporain.

Com esse trabalho, investiga-se a noção de técnica em relação à função artística do ator, visando à ampliação do conhecimento sobre processos de ensino/aprendizagem da voz no teatro, principalmente, por meio do estudo da obra Freeing the Natural Voice, de Kristin Linklater comparando-a com as publicações de Jerzy Grotowski, referentes ao período de seu trabalho de 1965 a 1969. Entende-se \"o ator\" como um \"corpo que age em cena\". Por meio da elaboração da noção de \"corpo\" e \"voz\", em relação com o ambiente sociocultural, a técnica do ator é concebida como uma \"técnica corporal de transmissão\". Essa concepção ilumina a investigação e a comparação entre o pensamento de Linklater e Grotowski, inclusive as ideias-chave como a \"voz natural\", a \"organicidade\" e a \"via negativa\". O estudo possibilita a exposição da obra de Linklater, ainda pouca conhecida no Brasil, bem como a criação de novos processos para o ensino-aprendizagem da técnica vocal no teatro. / This work investigates the notion of technique in relation to the artistic function of the actor with a view to broaden knowledge about processes for teaching/learning voice for the theatre, principally through a study of the book Freeing the Natural Voice, by Kristin Linklater, in comparison with the publications of Jerzy Grotowski, that refer to the period of his work between 1965 e 1969. \"The actor\" is understood as \"a body that acts in a scenic space\" and, through the elaboration of the notion of \"body\" and \"voice\" in relation to the sociocultural environment, the \"actor\'s technique\" is conceived as \"a body transmission technique\". This conception illuminates the comparison of Linklater and Grotowski, including key ideas such as \"the natural voice\", \"organicity\" and the \"via negativa\". The study makes possible the exposition of Linklater\'s work in Brasil, where she is still little known, as well as the creation of new processes for the teaching/learning of vocal technique for the theatre.