Esta dissertação propõe analisar os diálogos da peça Glengarry Glen Ross, de David Mamet, um dos principais dramaturgos do teatro norte-americano contemporâneo. A hipótese sugerida é que esses diálogos substituem a ação dramática e representam o substrato social que serviu de ponto de referência para a criação do enredo. São neles que as \"relações venais\" e o jogo de poder entre os personagens se concretizam, numa linguagem ilusória e ambígua, na qual valores individuais e comunitários, como a confiança, a amizade, a afeição, a lealdade e a verdade se subverteram, diante da necessidade de sobrevivência ou do sucesso a qualquer preço, ditados pelas práticas comerciais, pelas relações de poder, por uma mentalidade de negócios predatória e se transformaram em mercadoria, lucro e roubo. Glengarry Glen Ross (1983) faz parte da chamada \"trilogia do poder\", que abarca ainda American Buffalo (1975) e Speed-the-Plow (1985). As personagens dessas peças ou vivem à margem da sociedade capitalista norteamericana, como o triângulo masculino em American Buffalo, ou são representantes da baixa classe média, como os corretores de imóveis de Glengary Glen Ross, submetidos a uma competição feroz imposta pela direção da firma, onde os vencedores são promovidos e os perdedores, demitidos. Nessas circunstâncias, o contato humano entre eles foi corrompido pela ganância, pelo dinheiro, pela necessidade de sobrevivência. Essas peças são um exercício de crítica ao darwinismo social. / This dissertation aims to analyze the speeches in Glengarry Glen Ross, a play by David Mamet, one of the leading playwrights of the contemporary American theatre. The hypotheses suggested are that these speeches replace the dramatic action and that they represent the social stratum which has served as reference point for the creation of the plot. They also make the \'venal relations\' and the power game between the characters concrete, but they do so through the use of a deceptive and ambiguous language, in which individual and communal values, such as trust, friendship, affection, loyalty and truth, are subverted, in face of the need for survival or success at any cost, determined by commercial practices, power relations, predatory business mindset, and are turned into commodities, profit and theft. Glengarry Glen Ross (1983) is part of the \"power trilogy\", which also comprises American Buffalo (1975) and Speed-the-Plow (1985). The characters in these plays either live on the margins of the American capitalist society, as the ones in the masculine triangle in American Buffalo, or are representatives of the lowermiddle- class, such as the realtors in Glengarry Glen Ross, subjected to a cutthroat competition by the corporation owners, in which the winners are promoted and the losers are fired. In these circumstances, genuine human contact among them is corrupted by greed, money, and the need for survival. These plays are an exercise of criticism of social Darwinism.

Esta dissertação propõe analisar os diálogos da peça Glengarry Glen Ross, de David Mamet, um dos principais dramaturgos do teatro norte-americano contemporâneo. A hipótese sugerida é que esses diálogos substituem a ação dramática e representam o substrato social que serviu de ponto de referência para a criação do enredo. São neles que as \"relações venais\" e o jogo de poder entre os personagens se concretizam, numa linguagem ilusória e ambígua, na qual valores individuais e comunitários, como a confiança, a amizade, a afeição, a lealdade e a verdade se subverteram, diante da necessidade de sobrevivência ou do sucesso a qualquer preço, ditados pelas práticas comerciais, pelas relações de poder, por uma mentalidade de negócios predatória e se transformaram em mercadoria, lucro e roubo. Glengarry Glen Ross (1983) faz parte da chamada \"trilogia do poder\", que abarca ainda American Buffalo (1975) e Speed-the-Plow (1985). As personagens dessas peças ou vivem à margem da sociedade capitalista norteamericana, como o triângulo masculino em American Buffalo, ou são representantes da baixa classe média, como os corretores de imóveis de Glengary Glen Ross, submetidos a uma competição feroz imposta pela direção da firma, onde os vencedores são promovidos e os perdedores, demitidos. Nessas circunstâncias, o contato humano entre eles foi corrompido pela ganância, pelo dinheiro, pela necessidade de sobrevivência. Essas peças são um exercício de crítica ao darwinismo social. / This dissertation aims to analyze the speeches in Glengarry Glen Ross, a play by David Mamet, one of the leading playwrights of the contemporary American theatre. The hypotheses suggested are that these speeches replace the dramatic action and that they represent the social stratum which has served as reference point for the creation of the plot. They also make the \'venal relations\' and the power game between the characters concrete, but they do so through the use of a deceptive and ambiguous language, in which individual and communal values, such as trust, friendship, affection, loyalty and truth, are subverted, in face of the need for survival or success at any cost, determined by commercial practices, power relations, predatory business mindset, and are turned into commodities, profit and theft. Glengarry Glen Ross (1983) is part of the \"power trilogy\", which also comprises American Buffalo (1975) and Speed-the-Plow (1985). The characters in these plays either live on the margins of the American capitalist society, as the ones in the masculine triangle in American Buffalo, or are representatives of the lowermiddle- class, such as the realtors in Glengarry Glen Ross, subjected to a cutthroat competition by the corporation owners, in which the winners are promoted and the losers are fired. In these circumstances, genuine human contact among them is corrupted by greed, money, and the need for survival. These plays are an exercise of criticism of social Darwinism.

THIS PAPER AIMS to research historical artistic events such as Theatre and Cinema, theater text Oleanna by David Mamet (1992), as well as the film adaptation (1994) and the stage adaptation Brazilian (1995) by Ulysses Cruz. Through the work and its adaptations is made a detailed analysis of each language and the context in which they were reworked. For this it was necessary to think of the role of the author and theater director and film as well as the aesthetic and thematic choices in making an adaptation, among the questions: who wins materiality in this process? Moreover, among the discussions, such work also focuses the thematic study of the work, involving topics such as: the power, the politically correct, the student-teacher ratio in university and the issue of harassment, which allow us to think in contemporary society while a society increasingly fragmented and individualized, in which conflicts are increasingly evident, particularly the lack of otherness. In this context, where the ideals of social transformation? Where are the utopias? These are some more of the issues present in this work. / O PRESENTE TRABALHO tem como proposta a investigação histórica de manifestações artísticas como o Teatro e o Cinema, através do texto teatral Oleanna de David Mamet (1992), bem como a adaptação cinematográfica (1994) e a adaptação para o palco brasileiro (1995) por Ulysses Cruz. Através da obra e suas adaptações é feita a análise minuciosa de cada linguagem e o contexto em que foram reelaboradas. Para isso foi necessário pensar no papel do autor e diretor teatral e cinematográfico, bem como nas escolhas estéticas e temáticas na feitura de uma adaptação, considerando, entre outras questões: o que ganha materialidade nesse processo? Além disso, o trabalho se debruça também no estudo temático da obra, que envolve temas como: o poder, o politicamente correto, a relação professor-aluno nas universidades e a questão do assédio, que nos permitem pensar na sociedade contemporânea como cada vez mais fragmentada e individualizada, apresentando conflitos cada vez mais evidentes, sobretudo pela falta de alteridade. Nesse contexto, onde estão os ideais de transformação social? Onde estão as utopias? Essas são mais algumas das questões presentes neste trabalho. / Mestre em História

1 Thesis Abstract The present thesis explores six plays written by three (post)modern American playwrights - David Mamet's Sexual Perversity in Chicago and Oleanna, Sam Shepard's Buried Child and True West, and Suzan-Lori Parksʼ The America Play and Topdog/Underdog in order to define and analyze the functions of performative storytelling in the dramatic texts as well as its effects on the characters' identity. In Reading Narrative, J. Hillis Miller analyzes performative storytelling as a human shaped process that people use in order to translate events into meaning and meaning into shared information. Moreover, in Narrative as Performance, Marie Maclean demonstrates the importance of this device in recalibrating human memory and communication and in enriching the traditional mimetic process used in theatre. These ideas are closely followed in the aforementioned American plays through the lenses of the most prominent themes of the end of the twentieth century American theatre. Each of the three American writers uses performative storytelling to delineate socio-political themes. David Mamet comments on the artificiality of the American self, Sam Shepard speaks about the importance of familial past and relationships, whereas Suzan-Lori Parks describes the impact of major national narratives on the...

In my thesis I focused on the matter of the relationship of Americans during the decades after World War II to their own identity, as well as to the myths of the West or consumer society. I wanted to compare these aspects on plays by Sam Shepard and David Mamet, two playwrights concerned with similar issues in 1960s and 1970s. In the theoretical part of the thesis I concentrated on the development of the American theater off Broadway. I described three significant theater groups of the era and the differences in their approach. I based the comparison of the plays on Richard Schechner's performance theory and J. L. Austin's theory of the so-called "performatives." Later I discussed the matters of rituals and myths in the postmodern society where I based my theory especially on Victor Turner's and Marie Maclean's work. The two main chapters are dealing with comparing two plays by each author with regard to the way Shepard and Mamet work with rituals and modern myths. Those are considered commonplace, insufficient, almost misleading in a modern society, and the plays' characters thus cannot cope with the society. They end up being on its outer edge and do not seem to be able to find the way back. As a result of the comparison of the plays based on the theoretical part I concluded that even though from the...

Reproduction de : Thèse de doctorat : Langues, littératures et civilsations étrangères : Paris 4 : 2006. / Titre provenant de l'écran titre. 222 références bibliographiques.

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 251-271). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 251-271). Also available on the Internet.

This submission falls into two sections: a thesis and a screenplay. My thesis presents an original approach to screenwriting using storytelling dynamics found in film editing; I call this “writing-for-the-cut”. This section also contains my software experiments that hold the promise of innovative digital tools for screenwriters. In the second section I apply both my editing strategy and my software experiments in the production of an original screenplay called Rush the Sky. In the history of the screenplay, the advent of the master scene format, which gained fairly wide circulation from the early 1950s (Price 11), marked a moment of separation of the screenwriter from the film production process. Up to this point most screenwriters worked closely with studios and were steeped in the contiguous crafts of filming and editing. But the master scene format freed the script from all references to the ‘factory’ and in so doing fundamentally transformed film writing culture; now a new generation of largely non-specialists were writing for the big screen. To fill the ‘film school’ void occasioned by the loss of studio apprenticeships and mentoring, a lively market in guru screenwriting manuals emerged, particularly from around the 1970s. Taking their cue from the ‘no camera angles’ injunction on screenplays, the manual-writers tended to delineate the territory of screenwriting as a craft detached from production; in this way manual-readers have been discouraged from any serious consideration of the follow-on crafts (filming and editing) as potential modifiers of the screenplay. The perhaps unintended consequence has been that ‘manual culture’ has come to foster a view of film as a finished, projected product: we are ‘writing for cinema’. I propose an alternative strategy: the edit suite, not the cinema, is the real destination for our screenplay. This is a view of film as a constructed product: we are ‘writing for the cut’. This idea finds its roots in the lively theories and debates advanced by the early Soviet filmmakers such as Lev Kuleshov and Sergei Eisenstein in the 1910s and 1920s. For them, as Pudovkin declared “The foundation of film art is editing” (Pudovkin xiii). They viewed editing as a juxtapositional dynamic, one that engaged the inductive capacities of the audience to ‘discover’ the story. From this Hegelian notion of juxtaposition to its more nuanced application today, I identify three kinds of editorial juxtaposition that are essential to cinematic storytelling: poetry, puzzle, and kinesis. I suggest that these juxtapositions are interrelated and on axes of intensity: Poetry to Prose, Puzzle to Exposition, and Kinesis to Stasis. Finally, I identify how each of these editing terms can be adapted for use by screenwriters. In the second part of this submission, Rush the Sky is a demonstration of how the techniques of writing-for-the-cut can be applied in practice. This is a fast moving thriller in the style of British Indie films such as Trainspotting (wr: John Hodge dir: Danny Boyle1996), Sexy Beast (wrs: Louis Mellis, David Scinto dir: Johanthan Glazer 2000), and Dead Man’s Shoes (wrs: Paddy Considine, Shane Meadows dir: Shane Meadows 2004). Rush the Sky tells the story of two adrenaline-addicted lovers: Ella and Luke. Luke is a young base-jumper who has witnessed a gangland murder. Desperate to escape the mob and the police, he climbs a high mast and base-jumps into a storm cloud. Struck by lightning, he falls to earth in a coma. Ella joins forces with Luke’s feral brother Jared and together they ‘rescue’ Luke from hospital and attempt to wake him up. Rush the Sky is a non-linear story that interweaves a present-day road movie with a darkly euphoric backstory. Some of the specific editing figures I employ include parallel action, ‘split-edit’, non-linear shuffle, scene-scripted montage, and ellipsis. In the development of the treatment, I devised a hybrid writing-editing interface that allowed me to ‘mount’ and sequence the beats of my story. This is a kinetic environment where the beats are displayed as text, proxy images and film clips. In this way the familiar write/read/revise process of screenwriting moved closer to the play/watch/edit process of the cutting room. I strongly believe this approach could herald a fresh way of both composing a screenplay and ‘proving’ the cinema-worthiness of the story before filming commences.

abstract: This dissertation uses constructivist pedagogy to teach acting via Practical Aesthetics, a system of actor training created in the mid/&ndash1980s; by David Mamet and his college acting students. Primarily taught at the Atlantic Theatre Acting School in New York City, Practical Aesthetics has been the focus of little academic research. The same lack of research regarding constructivist pedagogy exists in academic theatre scholarship. The author takes a step toward rectifying this situation. Using an action research methodology, based on approximately thirteen years of teaching experience, the author suggests that Practical Aesthetics and his accompanying voice and movement exercises can be effective in training novice actors. The author melds theory and practice into the educational approach called Praxis to create specific detailed lesson plans which can be used to implement Practical Aesthetics. These lessons constitute primary research on this topic. Compatible voice and movement exercises are also included to provide a comprehensive semester length digest. The first chapter is an introduction, the second outlines Practical Aesthetics, the third focuses on constructivism, the fourth discusses teaching acting using Constructivist Learning Design, the fifth provides narrative lessons that can be used in the classroom, and the closure provides a review as well as suggestions for further research. An intriguing point made in the closure is a call for studies that might determine Practical Aesthetics' applicability and usability in other fields such as law, business, politics, public speaking, and even non-profit work. Although the primary audience for this dissertation is secondary school and college acting instructors, any scholar studying acting theory or constructivist pedagogy may find value in its contents. / Dissertation/Thesis / Ph.D. Theatre 2014