Orientador: Marcelo Ramos Lazzaratto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T18:33:58Z (GMT). No. of bitstreams: 1 Bordinhon_EduardoMoraes_M.pdf: 3845537 bytes, checksum: 82fb436c7a3c64c012d0ee44bed936d6 (MD5) Previous issue date: 2015 / Resumo: Essa dissertação teve como objetivo estudar os procedimentos técnicos que envolvem o trabalho a interpretação para cinema. Para isso, tivemos como objeto de pesquisa a filmografia do ator Marlon Brando (1924 ¿ 2004), com enfoque nos filmes "Uma Rua Chamada Pecado" (Elia Kazan, 1951), "Sindicato de Ladrões" (Elia Kazan, 1954), "A Face Oculta" (Marlon Brando, 1961), "O Grande Motim" (Lewis Milestone, 1962), "O Poderoso Chefão" (Francis Ford Coppola, 1972) e "Apocalipse Now" (Francis Ford Coppola, 1979). Verificamos, ao longo desses filmes, os procedimentos de construção de cena e personagens apoiados nos escritos de Stella Adler (2002) e Constantin Stanislavski (2001) sobre o trabalho do ator, com enfoque nas ações físicas no uso da imaginação e observação. Além disso, analisamos os temas e personagens recorrentes na filmografia de Brando identificando uma padronização de seu aparecimento na tela. Tal padrão está intimamente ligado à própria personalidade do ator e chega em duas figuras essenciais: o "jovem rebelde", presente nos filmes dos anos 1950 e caracterizado por sua postura contra o sistema vigente e o "padrinho", consolidado nas obras da década de 1970, marcado por sua relação de mentor de um personagem ou grupo de personagens. Para investigarmos essa padronização, utilizamos o conceito de ator-autor proposto por Patrick McGuiligan (1975) e desenvolvido por Luc Moullet (1993) e Pedro Maciel Guimarães (2012), com o qual se analisa a filmografia de um ator em busca de aspectos formais e temáticos que o possam nomeá-lo como co-autor de um filme / Abstract: This dissertation aim was studying the technical procedures of acting in cinema. In order to do this, we took as research material the filmography of the actor Marlon Brando (1924 ¿ 2004), focusing in the films "A Streetcar Named Desire" (Elia Kazan, 1951), "On The Waterfront" (Elia Kazan, 1954), "One-Eyed Jacks" (Marlon Brando, 1961), "Moutiny on the Bouty" (Lewis Milestone, 1962), "The Godfather" (Francis Ford Coppola, 1972) and "Apocalipse Now" (Francis Ford Coppola, 1979). Through those movies, we verified the procedures of creating a scene and a character supported by the writings of Stella Adler (2002) and Constantin Stanislavski (2001) on acting, focusing on physical actions, imagination and observation. Furthermore, we analysed the recurrent themes and characters on Brando¿s filmography investigating a pattern in his appearance on screen which is linked with the personality of the actor himself. Thus, we find two essential figures, the "young rebel", in the movies of the 1950s and characterized by his position against the hegemonic system, and the "godfather", consolidated in the 1970s, characterized by his relation as a mentor of a character or a group of characters. To investigate this standardization, we used the concept of the actor-author, proposed by Patrick McGuiligan (1975) and further developed by Luc Moullet (1993) and Pedro Maciel Guimarães (2012), in which one analyses an actor¿s filmography searching thematic and formal aspects that can categorize the actor as a co-author of a film / Mestrado / Teatro, Dança e Performance / Mestre em Artes da Cena

Screenplay

This dissertation proposes that West Indian contemporary male writers develop literary authority, or a voice that represents the nation, via a process of individuation. This process enables the contemporary male writer to unite the disparities of the matriarchal and patriarchal authorial traditions that inform his development of a distinctive creative identity. I outline three stages of authorial individuation that are inspired by Jung’s theory of individuation. The first is the contemporary male writer’s return to his nationalist forebears’ tradition to dissolve his persona, or identification with patriarchal authority; Fred D’Aguiar’s “The Last Essay About Slavery” and Feeding the Ghosts illustrate this stage. The second is his reconciliation of matriarchal (present) and patriarchal (past) traditions of literary authority via his encounter with his forebears’ feminized, raced shadow; Robert Antoni’s Blessed Is the Fruit evidences this process. The third is the contemporary male writer’s renunciation of authority defined by masculinity, which emerges as his incorporation of the anima, or unconscious feminine; Marlon James’s The Book of Night Women exemplifies this final phase of his individuation. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2013.