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

Folk art is the art of everyday life. Framing homes can be artistic when done with a degree of exemplary expertise. Jerry Saville is a master folk artist because of his special skills and techniques exhibited in his trade of carpentry. This research provides a glimpse into a carpenter’s life to discover what creates and sustains a master carpenter. Through desire, drive, dedication (time/practice), life experience/opportunity (apprenticeship), purpose, and a community of support, Jerry Saville became a master folk artist.

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.

Babe Ruth, American Herois a one-person play that chronicles the life of sport's greatest legend and first superstar. The manuscript and performance represent over a year of research, writing and rehearsing. The process to produce a first draft of a manuscript began by researching biographies, autobiographies, documentaries, and the websites including Babe Ruth, the Babe Ruth Museum, and the Baseball Hall of Fame. A production staff was assembled and on April 27, 2002, at the Veterans Memorial Theatre, in Johnson City, TN, a staged reading of the play was performed before an audience. The manuscript underwent a series of rewrites, and the play premiered on October 18 and 19, 2002, at the Bud Frank Theatre, East Tennessee State University Campus. The article that follows contains the first and final drafts of the play, as well as supplemental, promotional, and program information.

O trabalho tem por objetivo abordar a adoção da sociedade unipessoal como forma organizativa da micro e pequena empresa, demonstrando não só a viabilidade jurídica de sua inserção no ordenamento brasileiro como também a conveniência de seu estabelecimento como uma das alternativas de organização do empresário singular. / The essay deals with the subject of the acceptance of the one-man partnership as an alternative for structuring micro and small companies in Brazil, evidencing not only that it is possible to insert this kind of partnership within the Brazilian legal system, but also the convenience of adopting such option for the organization of the sole entrepreneur.

La présente recherche porte sur l’histoire coloniale canadienne des peuples autochtones, plus précisément celle du développement économique et de l’exploitation des richesses hydrauliques. En 1957, l’augmentation de la demande d’électricité par la population et les industries à distance lointaine mène à la construction de la centrale hydroélectrique de Caribou Falls, située sur la rivière English, localisée dans le nord-ouest de l’Ontario. Au cours des trente années suivantes, la population ojibwée de One Man Lake subit des séquelles d’effets direct et indirect entraînées par le barrage. La création du réservoir provoque plus spécifiquement des impacts environnementaux qui produisent des effets néfastes sur la sécurité, la santé, l’économie et le tissu social de la communauté et entraînent la réinstallation forcée de la population et la destruction d’un cimetière ancestral. Cette thèse tente de prouver que la relation intime que les Ojibwes entretiennent avec leur terre ancestrale est perturbée et que les structures sociales et économiques sont désagrégées lorsque la commission d’hydroélectricité de l’Ontario termine la construction de la centrale en 1958. Dans le but d’enrichir ce projet, plusieurs cartes ont été créées à l’aide des logiciels de système d’information géographique (SIG) afin de démontrer visuellement l’histoire de la région et le bouleversement que la centrale impose sur la communauté de One Man Lake.

O trabalho tem por objetivo abordar a adoção da sociedade unipessoal como forma organizativa da micro e pequena empresa, demonstrando não só a viabilidade jurídica de sua inserção no ordenamento brasileiro como também a conveniência de seu estabelecimento como uma das alternativas de organização do empresário singular. / The essay deals with the subject of the acceptance of the one-man partnership as an alternative for structuring micro and small companies in Brazil, evidencing not only that it is possible to insert this kind of partnership within the Brazilian legal system, but also the convenience of adopting such option for the organization of the sole entrepreneur.

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.

L’étiquette « homme-orchestre » est apposée à une grande variété de musiciens qui se distinguent en jouant seuls une performance qui est normalement interprétée par plusieurs personnes. La diversité qu’a pu prendre au cours du temps cette forme n’est pas prise en compte par la culture populaire qui propose une image relativement constante de cette figure tel que vue dans les films Mary Poppins (1964) de Walt Disney et One-man Band (2005) de Pixar. Il s’agit d’un seul performeur vêtu d’un costume coloré avec une grosse caisse sur le dos, des cymbales entre les jambes, une guitare ou un autre instrument à cordes dans les mains et un petit instrument à vent fixé assez près de sa bouche pour lui permettre d’alterner le chant et le jeu instrumental. Cette thèse propose une analyse de l’homme-orchestre qui va au-delà de sa simple production musicale en situant le phénomène comme un genre spectaculaire qui transmet un contenu symbolique à travers une relation tripartite entre performance divertissante, spectateur et image. Le contenu symbolique est lié aux idées caractéristiques du Siècle des lumières tels que la liberté, l’individu et une relation avec la technologie. Il est aussi incarné simultanément par les performeurs et par la représentation de l’homme-orchestre dans l’imaginaire collectif. En même temps, chaque performance sert à réaffirmer l’image de l’homme-orchestre, une image qui par répétitions est devenue un lieu commun de la culture, existant au-delà d’un seul performeur ou d’une seule performance. L’aspect visuel de l’homme-orchestre joue un rôle important dans ce processus par une utilisation inattendue du corps, une relation causale entre corps, technologie et production musicale ainsi que par l’utilisation de vêtements colorés et d’accessoires non musicaux tels des marionnettes, des feux d’artifice ou des animaux vivants. Ces éléments spectaculaires divertissent les spectateurs, ce qui se traduit, entre autres, par un gain financier pour le performeur. Le divertissement a une fonction phatique qui facilite la communication du contenu symbolique. / The term one-man band is applied to a number of different types of performers who use a variety of technological means to perform by themselves what is usually played by several different musicians. Repeated use of similar representations in popular culture and movies such as in Walt Disney’s Mary Poppins (1964) and Pixar’s One-man Band (2005) point to a particular image of the one-man band as a shared point of cultural reference. This image is of a solitary performer dressed in a colourful costume with a bass-drum on his back, cymbals between his legs, a guitar or other string-instrument in his hands, and some small wind-instrument attached close enough to his mouth to allow him to alternate signing and playing. This thesis seeks to understand the one-man band as more than simply a musical phenomenon by situating it as a spectacular form in which symbolic content is communicated through a three-part relationship between spectator, image, and entertaining performance. In so doing, the one-man band becomes a representation of ideals associated with the Enlightenment such as liberty, the individual, and a relationship with technology. At the same time, each performance reaffirms the image of the one-man band, reconfirming and maintaining its place as a shared cultural space which exists beyond any one performer or any one performance. All of this is achieved in part through the important place accorded to the visual elements of the performance such as causal use of technology and the important place given to the performer’s body as well as through the use of colourful costumes and accessories such as puppets, fireworks, or live animals. The musical and visual aspects of the performance entertain the audience which rewards performers by positively impacting the audience resulting notably in material gain. Entertainment also fulfils a phatic function facilitating communication of the performance’s symbolic content.

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