Made available in DSpace on 2016-12-08T16:52:06Z (GMT). No. of bitstreams: 1 PaulaRojasAmador2009.pdf: 1974150 bytes, checksum: 2895b01b886732e96569cce9c912a0a6 (MD5) Previous issue date: 2009-02-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research has as its object the analysis of theatrical interpretation in anti-naturalists performances. It also studies the existence of some principles in the mask theater; marionette theater, and nô theater, such as: economy of means, focus, score of gestures and actions, neutrality, immobility and the relation of the actor with his energetic center, also known as gravity center. The study centers its analysis in two contemporaneous spectacles played in Brazil: Agreste directed by Márcio Aurélio and played by Cia. Razões Inversas in the year of 2004 in São Paulo-SP; and O Pupilo quer ser tutor´, written by the Austrian playwright Peter Handke and played by the Cia. Teatro sim... Por que não?! in the year of 2007 in Florianópolis-SC, under the direction of Francisco Medeiros. The research includes the concept of theatricality and its relations with the mimesis as concrete elements to discuss the interpretative work which distances itself from the naturalistic way of playing / A presente pesquisa tem como objeto a análise da interpretação teatral em encenações antinaturalistas. Também estuda a existência de alguns dos princípios presentes no teatro de máscara, no teatro de marionetes e no teatro nô, tais como: a economia de meios, o foco, a partitura de gestos e ações, a neutralidade, a imobilidade e a relação do ator com seu centro energético, também conhecido como centro de gravidade. O estudo centra suas análises em dois espetáculos contemporâneos encenados no Brasil: Agreste dirigido por Márcio Aurélio e encenado pela Cia. Razões Inversas, no ano de 2004 em São Paulo-SP; e O Pupilo quer ser tutor, peça do dramaturgo austríaco Peter Handke encenado pela Cia. Teatro sim... Por que não?! no ano de 2007, em Florianópolis-SC, sob a direção de Francisco Medeiros. A pesquisa incorpora o conceito de teatralidade e suas relações com a mimese como elementos concretos para discutir o trabalho interpretativo que se distancia do modo naturalista de atuar

Paul Alexis (1847-1901) est souvent cité comme le meilleur ami de Zola, c’est là sa principale caractéristique. Presque son unique définition. On a tendance à oublier qu’il est aussi un écrivain engagé dans une cause qui est le principe même de son existence : le naturalisme. Ce travail tente d’explorer cette double perspective. En étudiant un certain nombre d’ouvrages et d’articles de journaux de cet auteur, il essaie de comprendre d’un côté ses rapports avec Zola, et de l’autre, ses conceptions personnelles, ses convictions profondes ainsi que ses relations avec les autres membres du mouvement. Pour cela, il scrute, tout d’abord, ses liens à la fois littéraires et intimes avec Zola. Il montre le quotidien d’une amitié qui connaît tumultes et mutations. Il analyse les moments marquants qui ont rythmé le cours de leur vie. Il note les convergences et tente de mettre en lumière les divergences entre le rédacteur de Germinal et celui de Madame Meuriot qui se présentait comme le tenant quasi ultime des thèses naturalistes. Ensuite, il s’efforce d’exposer précisément les idées personnelles de cet écrivain à partir de ses prises de position théoriques et de ses ouvrages de fiction. Il observe son implication dans ses domaines de prédilection : le journalisme, les arts, le théâtre, la politique... Enfin, il décrit son action menée au côté de Zola, au cœur du cercle de Médan, mais aussi d’une façon autonome, face aux grands événements qu’il a rencontrés, face aux grands problèmes qu’il a affrontés, comme l’émergence du naturalisme ou l’Affaire Dreyfus, par exemple. Le but ultime de cette thèse est de s’intéresser à ce personnage décrié souvent, parfois négligé, qui fut plus qu’un compagnon de route de Zola. / Paul Alexis (1847-1901) is mainly known as the closest friend of Zola. This is quoted as his main characteristic, almost as his unique definition. He is usually forgotten to be mentioned as also a writer who was very dedicated to a cause which had a huge significance in his life : Naturalism. This thesis tries to explore this double perspective. By studying books and newspaper articles written by this author, this work aims on the one hand, to explore his relationship with Zola, and, on the other hand, to focus on his personal designs, his deep convictions, as well as his connections with the other members of the movement. Primarily, in order to achieve this, this thesis scrutinises his personal and literary links with Zola. It shows the everyday life of a friendship which went through many challenges and changes. It analyses the striking moments which occurred during the course of their lives. It emphasises their common points of thought and tries to highlight the differences between the author of Germinal and the writer of Madam Meuriot, the last appearing to be the ultimate upholder of the naturalistic theories. Then, this project strives to precisely explain the personal ideas of this novelist, according to his theoretical views and to his works of fiction. It observes his restless involvement and the fights he led for the sake of his favourite topics such as : journalism, arts, theatre, politics... Finally, this work describes the actions Alexis carried out at the side of Zola, at the heart of the circle of Médan, but also in a more autonomous way, during major events in which he participated. This paper aims to clarify the huge issues he faced, such as the rise of naturalism or the Dreyfus affair, for example. The ultimate purpose of this PhD is to consider this character often slandered, sometimes neglected, a man who was more than a fellow traveller of Emile Zola.