Made available in DSpace on 2014-12-17T14:00:16Z (GMT). No. of bitstreams: 1 RodrigoCNX_DISSERT.pdf: 2125715 bytes, checksum: af08f814b4492642e0f887f419e8806b (MD5) Previous issue date: 2012-05-25 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One- Man Show, not only by the absence of theoretical references concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon and a description of the practical exercise titled Experimento One-person Show: Damas / Desde a d?cada de 1970, o mundo observa a fragmenta??o, o hibridismo, a pluralidade e a miscigena??o que v?m tomando conta das artes da cena. A poesia contempor?nea sente-se livre das regras cl?ssicas; o teatro j? n?o mais obedece ?s prescri??es dos manuais po?ticos; desaparecem as fronteiras r?gidas entre os g?neros; os artistas deixam de representar para o p?blico para dialogar com ele. Como consequ?ncia dessa evolu??o das artes c?nicas, emerge nas ?ltimas d?cadas do s?culo XX e in?cio do s?culo XXI na cena brasileira o fen?meno derris?vel objeto de estudo dessa pesquisa, o One-man Show. Trata-se de um formato teatral que despontou no cen?rio brasileiro arrebatando a aten??o do p?blico em espa?os alternativos, teatros e, como n?o poderia deixar de ser, tamb?m na internet, sendo muitas vezes confundido com o Stand-up Comedy. Uma pesquisa que delimite e busque identificar as caracter?sticas fundamentais do One-man Show brasileiro, fazse necess?ria n?o somente pela aus?ncia de estudos sobre o referido assunto, mas tamb?m para se compreender alguns aspectos da cena brasileira e da situa??o do riso e do c?mico dentro dela. No primeiro cap?tulo, apresenta-se uma discuss?o sobre a com?dia e o riso na Antiguidade cl?ssica, tomando os escritos de Plat?o e Arist?teles como ponto de partida; no segundo, s?o analisadas algumas das principais teorias cl?ssicas do riso procurando identificar caracter?sticas gerais que permitam entender tamb?m a constru??o da comicidade; no terceiro, aborda-se de um modo geral o momento da cena teatral brasileira em que emerge o One-man Show e, no quarto cap?tulo, h? a explana??o acerca de tal fen?meno e a descri??o do exerc?cio pr?tico intitulado Experimento One-person Show: Damas