A presente pesquisa visa a uma articulação entre o campo artístico da performance e a prática cênica de um dos mais importantes e longevos grupos de teatro em atividade no Brasil: o Teat(r)o Oficina, de São Paulo, dirigido por José Celso Martinez Corrêa. Recorrendo à história do grupo a título de uma genealogia, procuro apontar os traços de uma pulsão performativa que acompanha o Oficina desde a montagem de Roda Viva, de Chico Buarque de Hollanda, em 1968. Em 2012, integrei o elenco da companhia nos espetáculos Macumba Antropófaga - uma devoração do Manifesto Antropófago, de Oswald de Andrade e Acordes, adaptação do texto de Bertolt Brecht e da música de Paul Hindemith, ambos dirigidos por José Celso. Esta vivência como ator constitui parte fundamental da metodologia deste trabalho, que contou ainda com uma extensa arqueologia de matérias jornalísticas, entrevistas, manifestos, documentos, registros fotográficos e videográficos (alguns inéditos) e textos teóricos sobre a atividade do grupo entre os anos de 1968 e 2012. O texto aqui apresentado está dividido em duas partes. Na primeira, busco um esclarecimento teórico das noções de \"performance\" e \"performativo\" na cena contemporânea tomando o \"corpo real\" (Fischer-Lichte) como um dos seus principais dispositivos, para em seguida avançar sobre a história do Oficina, reconhecendo aproximações e distanciamentos de sua prática cênica em relação ao legado de autores como Marvin Carlson, Richard Schechner, RoseLee Goldberg, Renato Cohen, Hans-Thies Lehmann, Óscar Cornago e, principalmente, Erika Fischer-Lichte. A segunda parte deste trabalho consta de uma análise da pulsão performativa no espetáculo Macumba Antropófaga, bem como no processo de montagem de Acordes. A título de conclusão, a pesquisa pondera que esta releitura da história do Teat(r)o Oficina à luz da performance, além de contribuir com as reflexões sobre teatro e performance na cena contemporânea, faz uma correção histórica ao colocar em termos de uma pulsão performativa aquilo que parte significativa da crítica teatral brasileira, entre os anos 60 e 70, julgou ser um teatro agressivo e irracionalista. / The purpose of this study is to articulate the artistic field of performance with the stagecraft of one of the most important and long-lived theater groups in Brazil: Teat(r)o Oficina, from São Paulo, directed by José Celso Martinez Corrêa. Analysing the theater group history in order to obtain its origins, I intend to show traces of a performative pulse, which is perceived since Oficina has performed Roda Viva, written by Chico Buarque de Hollanda, in 1968. In 2012, I joined Oficina cast for two plays: Macumba Antropófaga - uma devoração do Manifesto Antropófago, by Oswald de Andrade, and Acordes, adaptation of Bertolt Brecht\'s text and Paul Hindemith\'s music, both directed by José Celso. This experience as an actor of Oficina constitutes an essential aspect of methodology of this study, which is also based on extensive archeology of newspaper articles, interviews, manifestos, documents, photography and videography records (some of them are unpublished) and theoretic texts on group activity from 1968 to 2012. The following study is divided into two parts. In the first one, I conduct a research on clarifying theory notions of \"performance\" and \"performative\" in contemporary scene, taking the \"real body\" (Fischer-Lichte) as one of the main concept instruments. Afterwards, I continue to study on the history of Oficina, recognizing similarities and differences between its stagecraft and the legacy of researchers such as Marvin Carlson, Richard Schechner, RoseLee Goldberg, Renato Cohen, Hans-Thies Lehmann, Óscar Cornago and, mainly, Erika Fischer-Lichte. The second part of this study consists in analyzing the performative pulse on the production of Macumba Antropófaga, as well as on the process of production of Acordes. In conclusion, this research considers that this reinterpretation on the history of Oficina, based on performance, in addition to contributing to the reflections upon theater and performance in contemporary scene, also makes a correction to the history of Oficina when the performance pulse aspect is considered, whereas significant part of Brazilian Theater Criticism, in 1960\'s and 1970\'s, reviewed it as an aggressive and unreasonable kind of theatre

Margaret Sweatmans novel, <i>When Alice Lay Down With Peter</i>, plays with the British Empires adventure story and its creation of manhood. Mimicking this creative process in the Canadian Northwest, Sweatman conceives and births a womans previously erased passion back into the adventure story in a playful, erotic, and politically-charged presentation of the performing female body. Although appreciating the magic realism element to the novel (157), Nicole Markotic suggests that Sweatmans characters, like the readers, become History Tourists and are mere backdrop for the last century or so of Current Events that take precedence over their stories (156). The McCormack women, Markotic argues, have few stories other than going to war, having one momentous sex scene, giving birth (156). Indeed, Sweatmans whirlwind tour through 109 years of well-documented, and already too many times rehashed, rebellions, labour strikes, and world wars, seems to reflect this sentiment, but to limit Sweatman and her characters to only the Empires gender performative is to miss the female body performing as its own Big Bang.<p>Since a womans contingency and agency within the Empires gender performative has been vigorously debated by post modern and cultural theorists, Sweatman chooses to birth her characters into a world of/as performance. Richard Schechner, a pioneer in the field of performance theory, argues in his earlier work, Essays on Performance Theory (1977), that performance is a very inclusive notion of action, in which the performance workshop and the performance strategy of play are much more important than previously imagined (1,61). Sweatman draws on this discovery in order to free her characters to explore passion beyond Imperial and textual constraints. Four generations of McCormack women mimic, mock, and sidewind their way into, around, and beyond the Empires warring narrative and its heterosexual imperative. They are savvy, sexy, and provocative, playing simultaneously as shameless voyeurs, plagiarists, and war artists.

Grave X was found in 1952 during construction work in Tuna in Badelunda parish, in the province of Västmanland. Objects from this 3rd Century grave were dispersed and the stone grave covering and cist-like wooden burial chamber were cut almost in half as a result of the construction work that unearthed it. The purpose of this dissertation is to create a better understanding of Tuna in Badelunda and to place Grave X and the person buried there in context. Due to my interest in Grave X and the person in this grave, the scope of the study is limited to Tuna during the Late Roman Iron Age. What kind of place may Tuna in Badelunda have been during that time? Which kinds of knowledge may the person in Grave X have possessed and what roles may this person have had in local society? How may this person have acted in Tuna in Badelunda in particular? Why was this person buried in the specific type of structure that was Grave X? To answer these questions, ancient monuments and phenomena in the Tuna area, objects from the grave and construction details of the grave are discussed. Specifically, I examine the name Tuna, stone enclosures, hillforts of Bejby borg-character and travel routes, beads, golden rings in the shape of snakes, vessels and serving utensils, and the stone grave covering and cist-like chamber. Since Grave X was partly ruined when discovered, comparisons are made to about 20 similar graves from other parts of Scandinavia in order to get an idea of what may have been lost from Grave X. A performative-constructive gender perspective is of importance in this dissertation, as well as the concept of creolization. The kinds of knowledge and the societal roles the person in Grave X may have had can be summarized in five categories or contexts of action: production within the (social-political) economy of the farm, ritual performances, physical communication, textile production, and oral performances with the telling of stories and relating of memories. Possible personal strategies in relation to the activities the person in question was involved in are seen as important. One way this dissertation takes up this subject is through the discussion of the role the person may have had in greetings and farewells in the yard of the farm (Sw. tun, gårdsplan). Greetings and farewells were probably of importance, and Tuna is discussed as a crossroads. This means that although a local perspective is advocated in this dissertation, Tuna may not be seen as an isolated community, but rather as a small place that to a great extent partook in the larger world. This can also be seen in Grave X; when the person in this grave was buried, the living made choices that both expressed local traditions and made reference to far-away places. In contrast to the surrounding graves, the person in Grave X was not cremated. One of many possible reasons may have been a desire to emphasize the person’s personality and gender as well as roles in society. / <p>Auktoriserad namnform i LIBRIS: Fernstål, Charlotte, 1974-</p>

Margaret Sweatmans novel, <i>When Alice Lay Down With Peter</i>, plays with the British Empires adventure story and its creation of manhood. Mimicking this creative process in the Canadian Northwest, Sweatman conceives and births a womans previously erased passion back into the adventure story in a playful, erotic, and politically-charged presentation of the performing female body. Although appreciating the magic realism element to the novel (157), Nicole Markotic suggests that Sweatmans characters, like the readers, become History Tourists and are mere backdrop for the last century or so of Current Events that take precedence over their stories (156). The McCormack women, Markotic argues, have few stories other than going to war, having one momentous sex scene, giving birth (156). Indeed, Sweatmans whirlwind tour through 109 years of well-documented, and already too many times rehashed, rebellions, labour strikes, and world wars, seems to reflect this sentiment, but to limit Sweatman and her characters to only the Empires gender performative is to miss the female body performing as its own Big Bang.<p>Since a womans contingency and agency within the Empires gender performative has been vigorously debated by post modern and cultural theorists, Sweatman chooses to birth her characters into a world of/as performance. Richard Schechner, a pioneer in the field of performance theory, argues in his earlier work, Essays on Performance Theory (1977), that performance is a very inclusive notion of action, in which the performance workshop and the performance strategy of play are much more important than previously imagined (1,61). Sweatman draws on this discovery in order to free her characters to explore passion beyond Imperial and textual constraints. Four generations of McCormack women mimic, mock, and sidewind their way into, around, and beyond the Empires warring narrative and its heterosexual imperative. They are savvy, sexy, and provocative, playing simultaneously as shameless voyeurs, plagiarists, and war artists.

Este trabajo propone un acercamiento doble a la novela La Revuelta de Sonia Montecino, donde pensamos que tanto la teoría queer como el origen mapuche son de gran importancia en la construcción identitaria de la protagonista. Nuestro análisis consiste en un intento de relacionar la búsqueda de una identidad por parte de la protagonista, mediante una subversión del sexo, por un lado, y mediante la vuelta a los ancestros, por otro. La hipótesis principal de nuestro trabajo es que La Revuelta presenta una propuesta alternativa sobre la construcción identitaria femenina. Para abarcar nuestra investigación nos empleamos de diferentes herramientas metodológicas, como la teoría queer desarrollada por Judith Butler y la cultura mapuche sintetizada por el antropólogo Rolf Foerster. Al igual que nos detenemos en los estudios del sociólogo chileno Jorge Larraín que nos sirven para comprender el contexto en el que se sitúa la trama de la novela, asimismo como recurrimos a Genette y Greimas para llevar a cabo un estudio narratológico, dado que nuestro cuerpo de investigación ha sido un texto narrativo. / This paper proposes the use of a dual approach of queer theory and the importance of the indigenous Mapuche identity, to analyze the identity construction of the protagonist in the novel La Revuelta. The analysis is an attempt to relate the search for identity by the protagonist, through a subversion of gender on the one hand and the return to the ancestral past on the other. The main hypothesis of our work is that La Revuelta presents an alternative proposal on female identity construction. To execute our research we employ different methodological tools, such as queer theory developed by Judith Butler and the theories on Mapuche culture compiled by anthropologist Rolf Foerster. We also focus on the studies of the Chilean sociologist Jorge Larraín, which allow us to understand the context in which the plot of the novel is set, as well as referring to Genette and Greimas in order to conduct a narratological study.

[pt] Esta pesquisa investiga a contemporaneidade da obra do escritor irlandês Samuel Beckett. A investigação privilegia três eixos, em três ensaios que articulam aspectos historiográficos, filosóficos e cênicos. O primeiro ensaio pensa de que forma a poética do tempo em Beckett participa do debate atual sobre o contemporâneo. O segundo ensaio, voltado para a produção televisiva de Beckett e atentando em especial às leituras que dela fez Gilles Deleuze, reflete sobre a produção de um pensamento entre, sobre ecos e ressonâncias geradas por este encontro. Por fim, o terceiro ensaio explora a recepção norteamericana da obra de Beckett, a partir da criação cênica e performática desenvolvida em parcerias com o diretor Alan Schneider, nas montagens de Not I e Rockaby, e com grupo Mabou Mines/NY, nas adaptações dos textos não teatrais The lost ones, Company, e Worstward Ho. / [en] This research investigates the contemporary vigor of Samuel Beckett s work. It moves along three main paths, in three essays where historiographical, philosophical and scenic aspects are articulated. The first essay reflects on how Beckett s poetics of time participates in the current debate on the contemporary. The second, focusing on Beckett s plays for television and paying special attention to Gilles Deleuze s readings of it, reflects on the concept of thinking in between, on echoes and resonances generated by this powerful encounter. Finally, the third essay explores the North American reception of Beckett s work, attending to the scenic and performative creations developed in partnership with director Alan Schneider, in the productions of Not I and Rockaby, and with the Mabou Mines Group/NY, in their adaptions of The lost ones, Company, and Worstward Ho.

Denna studie utgår från barns möten i förskolan och undersöker ålder som ett görande. Studiens data utgör 18 timmars videoobservationer på en förskoleavdelning i en större svensk stad där sexton barn deltar från åldrarna ett till sex år. Studien utgår från en posthumanistisk grundsyn genom agentisk realism (se Barad, 2007 och Lenz Taguchi, 2012) och tematisk analysmetod har tillämpats i analysdelen (se Braun &amp; Clarke, 2006). Studiens resultat visar att barn, språk, diskurser, material och miljö intra-aktivt samhandlar och performativt producerar ålder som fenomen i förskolan. Studiens bidrag är att med stöd i agentisk realism introducera sätt att förstå ålder som ett socialt och materiellt fenomen. Detta skapar en förskjutning från barnet som ensam aktör i förklarandet av normerande ålderspraktiker i förskolan för att mer tillgängligt möjliggöra ett förklarande av aktörskap inom sociala och materiella praktiker och hur dessa samkonstituerar ålder som fenomen i förskolan. / This agential realist study aims to explore age as a social and material doing in children’s meetings in preschool. The data consists of eighteen hours of video observations in a preschool located in a larger city in Sweden. The study works theoretically with agential realism (see Barad, 2003, 2007 and Lenz Taguchi, 2012) and the analysis was conducted thematically (see Braun &amp; Clarke, 2006). The study shows that children, language, discourses, materiality and the surrounding environment intra-actively co-operates and performatively produces age as a phenomenom in preschool. The study contributes with support in agential realism to introduce a way to understand age as a socially and materially constructed phenomena. This produces a consequential shift from the child as the only responsible actor in the explanations of childrens normative age practices in the preschool and enables a possible explanation of agency within the social and material practices where these collaboratively produces age as a phenomena in preschool.

Dès la fin du XIXe siècle, la Lebensreform (« réforme de vie ») recouvre trois aspects qui sont la modernité (ère industrielle), la crise des valeurs et l'émergence de nouvelles pratiques artistiques, culturelles et sociales dans les pays de l'espace germanophone. La Lebensreform est une réponse aux ruptures de la modernité ; de nouvelles formes de vie collectives voient le jour. Les espaces d'accueil fondent leur propre mode de vie autour du programme d'une réconciliation avec la nature, en adoptant plusieurs réformes de la vie. Parallèlement, l'Inde artistique et spirituelle évolue et influence l'art moderne occidental, d'où l'apparition de passerelles transculturelles. Les artistes de la Lebensreform adoptent de nouveaux modes d'expression corporelle qui s'inspirent de l'art indien (mudrâs, rythme, etc.). Il s'agit dans notre thèse d'aborder l' « esthétique du performatif » ; l’art de la danse moderne devient un mode de communication à part entière, c'est-à-dire un langage non verbal, traité sous l'angle du concept de performatif. L'art moderne, qui se développe dans l'espace germanophone, conduit à une nouvelle quête, celle d'une recherche de sa propre identité à travers l'exploration du mouvement. / From the end of the 19th century, the Lebensreform (Life reform) covers three aspects which are modernity (industrial era), crisis in values, and the emergence of new artistic, cultural and social practices in German-speaking countries. The Lebensreform is a response to the break with modernity; new collective lifestyles are born. Hosting places build their own lifestyle around a program of renewals and reconciliation with nature, adopting several reforms of life. At the same time, artistic and spriritual India evolved and influenced modern Western art from whence grew cross-cultural gateways and bridges. Artists from the Lebensreform adopted new corporal forms of expression inspired by Indian art (mudrâs, rythm, etc.). This thesis concerns itself with the « esthetic performative » with the knowledge that the art of modern dancing, viewed from the angle of the performative concept, may be said to have emerged as a global mode of communication, and a non verbal language. Modern art as developed in German-speaking community has also led to a new quest, a search for our own identity through an exploratory movement.

A presente pesquisa visa a uma articulação entre o campo artístico da performance e a prática cênica de um dos mais importantes e longevos grupos de teatro em atividade no Brasil: o Teat(r)o Oficina, de São Paulo, dirigido por José Celso Martinez Corrêa. Recorrendo à história do grupo a título de uma genealogia, procuro apontar os traços de uma pulsão performativa que acompanha o Oficina desde a montagem de Roda Viva, de Chico Buarque de Hollanda, em 1968. Em 2012, integrei o elenco da companhia nos espetáculos Macumba Antropófaga - uma devoração do Manifesto Antropófago, de Oswald de Andrade e Acordes, adaptação do texto de Bertolt Brecht e da música de Paul Hindemith, ambos dirigidos por José Celso. Esta vivência como ator constitui parte fundamental da metodologia deste trabalho, que contou ainda com uma extensa arqueologia de matérias jornalísticas, entrevistas, manifestos, documentos, registros fotográficos e videográficos (alguns inéditos) e textos teóricos sobre a atividade do grupo entre os anos de 1968 e 2012. O texto aqui apresentado está dividido em duas partes. Na primeira, busco um esclarecimento teórico das noções de \"performance\" e \"performativo\" na cena contemporânea tomando o \"corpo real\" (Fischer-Lichte) como um dos seus principais dispositivos, para em seguida avançar sobre a história do Oficina, reconhecendo aproximações e distanciamentos de sua prática cênica em relação ao legado de autores como Marvin Carlson, Richard Schechner, RoseLee Goldberg, Renato Cohen, Hans-Thies Lehmann, Óscar Cornago e, principalmente, Erika Fischer-Lichte. A segunda parte deste trabalho consta de uma análise da pulsão performativa no espetáculo Macumba Antropófaga, bem como no processo de montagem de Acordes. A título de conclusão, a pesquisa pondera que esta releitura da história do Teat(r)o Oficina à luz da performance, além de contribuir com as reflexões sobre teatro e performance na cena contemporânea, faz uma correção histórica ao colocar em termos de uma pulsão performativa aquilo que parte significativa da crítica teatral brasileira, entre os anos 60 e 70, julgou ser um teatro agressivo e irracionalista. / The purpose of this study is to articulate the artistic field of performance with the stagecraft of one of the most important and long-lived theater groups in Brazil: Teat(r)o Oficina, from São Paulo, directed by José Celso Martinez Corrêa. Analysing the theater group history in order to obtain its origins, I intend to show traces of a performative pulse, which is perceived since Oficina has performed Roda Viva, written by Chico Buarque de Hollanda, in 1968. In 2012, I joined Oficina cast for two plays: Macumba Antropófaga - uma devoração do Manifesto Antropófago, by Oswald de Andrade, and Acordes, adaptation of Bertolt Brecht\'s text and Paul Hindemith\'s music, both directed by José Celso. This experience as an actor of Oficina constitutes an essential aspect of methodology of this study, which is also based on extensive archeology of newspaper articles, interviews, manifestos, documents, photography and videography records (some of them are unpublished) and theoretic texts on group activity from 1968 to 2012. The following study is divided into two parts. In the first one, I conduct a research on clarifying theory notions of \"performance\" and \"performative\" in contemporary scene, taking the \"real body\" (Fischer-Lichte) as one of the main concept instruments. Afterwards, I continue to study on the history of Oficina, recognizing similarities and differences between its stagecraft and the legacy of researchers such as Marvin Carlson, Richard Schechner, RoseLee Goldberg, Renato Cohen, Hans-Thies Lehmann, Óscar Cornago and, mainly, Erika Fischer-Lichte. The second part of this study consists in analyzing the performative pulse on the production of Macumba Antropófaga, as well as on the process of production of Acordes. In conclusion, this research considers that this reinterpretation on the history of Oficina, based on performance, in addition to contributing to the reflections upon theater and performance in contemporary scene, also makes a correction to the history of Oficina when the performance pulse aspect is considered, whereas significant part of Brazilian Theater Criticism, in 1960\'s and 1970\'s, reviewed it as an aggressive and unreasonable kind of theatre

This dissertation aims to position train surfing as a visual spectacle that is practised by Sowetan train surfers within the context of post-authoritarian Johannesburg. The author argues that train surfing is a visual and spatial phenomenon that is theoretically under-researched. As such, this study aims to decode seven train surfing videos to establish what train surfing looks like, where train surfing occurs and why individuals participate in such a high risk activity. This study, furthermore, aims to frame train surfing as a spectacle by investigating the similarities between train surfing and rites of passage (initiation rites). The author also regards train surfing as a very specific form of storytelling. The narratives conveyed in the seven videos are, therefore, interpreted to establish that train surfing is practised to ‘voice’ fatalistic feelings, societal as well as individual crises. After establishing the visual aspects of train surfing, the author focuses on the spatial context of train surfing. Johannesburg is described as both an authoritarian and post-authoritarian construct by tracing the spatial and political history of the city. When the discussion turns to the post-authoritarian city, townships and squatter settlements are analysed as being both marginal and hybrid spaces. It is argued that townships are marginal spaces due to their location, they are inhabited by the underclass and they are formed by processes of capitalism and urbanisation, and as a result of these factors, township residents might have fatalistic mindsets (Gulick 1989). The author, however, contends that township space is an ambivalent construct, and as such, it can also be read as hybrid space. Here, hybrid space is interpreted as a platform from which township residents can resist oppressing spatial and political ideologies. In this context, train surfing is regarded as one way in which train surfers use hybrid space to express tactics of resistance. After establishing the spatial context of train surfing, the socio-economic and material living conditions of train surfers are investigated. The discussion firstly, explores the underclass, as theorised by Jencks and Peterson (1990), and thereafter highlights why train surfers can be classified as being part of this sub-category. It is, furthermore, argued that Sowetan train surfers are part of a new lost generation due to high unemployment rates, the HIV/AIDS pandemic and bleak future outlooks. The author aims to establish that, as a result of their socio-economic status and material living conditions, train surfers are fatalistic, and practice an extreme activity to exert control over one area of their lives, namely their bodies. Lastly, the dissertation aims to explore train surfing as being both a risk-taking activity and a new spatial practice. The dynamics of adolescent risk-taking behaviour is explored by emphasising the psychological motivations behind high risk activities. The author argues that alienating space can be regarded as an additional factor that usher adolescents into risk-taking activities. As such, the place(s) and space(s) inhabited by train surfers, namely Johannesburg, Soweto and township train stations, are discussed as alienating spaces. Moreover, it is argued that alienating spaces create opportunities for resistance (following the power-resistance dialectic inherent to space), and as such, train surfing is interpreted as a de-alienating spatial practice that enables the marginalised train surfer to exert control over his surroundings. / Dissertation (MA)--University of Pretoria, 2012. / Visual Arts / unrestricted