Spelling suggestions: "subject:"one main show""
1 |
Da po?tica das l?grimas a uma po?tica do riso: de Arist?teles ao One-man showXavier, Rodrigo C?sar do Nascimento 25 May 2012 (has links)
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
|
2 |
9/11: We Will ForgetNettle, Jason 01 January 2013 (has links)
This study is based on the events of September 11, 2001. I will be writing a one man show containing fictional characters that I will write based on research of that day. The show will consist of numerous characters cut from different ages, religions, genders, and points of view. I will be portraying these characters using the tools I have acquired in studio and on stage. The challenge will be to make each character different and bring their experience and unique point of view to the performance. This study will begin at conception of the idea and follow the journey all the way to the final performance. It will show the struggles I encounter as a writer, performer, and producer.
|
3 |
Le Ludique et l'absurde dans la littérature du XXè siècle : Raymond Devos et Raymond Queneau / The "Ludic" and absurd in the literature of the XXth Century : Raymond Devos and Raymond QueneauBencze-Rovez, Ludovic 27 April 2011 (has links)
L'amorce repose sur une contradiction quasi-résorbée : Les ludique et absurde négligés par la littérature, s'imposent au XXe siècle, comme composants utiles à une manifestation intellectuelle plus en phase avec la pensée humaine contemporaine. L'analyse littéraire repose sur l'observation d'aptitudes que manifestent les notions de ludique et d'absurde pour s'adapter aux contraintes inhérentes aux écritures romanesques, théâtrales et poétiques, aujourd'hui. Pour définir les compétences accrues d'un message littéraire en contexte ludique et/ou absurde, la première partie est une relecture ciblée d'auteurs que la critique ne classe pas dans un registre ludico-absurde. La seconde précise et illustre la nature de ces nouvelles compétences, par l'étude d'expérimentations de R. Devos et R. Queneau, dont les rhétoriques ludico-absurdes renvoient à une surréalité toujours populaire car déjà intellectuellement intégré par le récepteur. La dernière aborde la dimension socioculturelle de la littérature, témoin-artisan d'une pensée collective férue de valeurs ludico-absurdes, et qui après s'être souvent fait le chantre de la philosophie de l'absurde, esquisse de l'individu, sa nouvelle manière d'être au monde. / The absurd along with that of the “ludic” can no longer be confirmed to the domain of literary prose, but are in fact essential elements to twentieth-century intellectual thought at large. The literary fundamentals are based on the observation of the capacity of the absurd and the “ludic” to adapt to inherent constraints of the novelistic, theatrical and poetic. Our first section argue for a re-evaluation of that message focusing on specific writers that critics thus far have failed to appreciate as part of a distinctive “ludico-absurd” form. The second section focus on this emerging capacity based on studies of the work of R. Devos and R. Queneau, whose “ludico-absurd” rhetoric holds in common a surrealism. It remains popular as audiences are ever sensitive to the message of the “ludico-absurd”, while the latters having integrated it intellectually. The third section focus on the socio-cultural dimensions of the literature, concentrating on the position of the artist as well as that of the beholder. Ultimately, this paper look at the way in which the philosophy of the Absurd continue to elaborate and indeed herald a new relationship between the individual and the contemporary world.
|
Page generated in 0.1298 seconds