Este trabalho de caráter teórico-­‐prático propõe-­‐se a discutir sobre os espaços situados entre as artes performáticas e o comportamento do mundo contemporâneo centrando-­‐se nos processos de criação do performer, tendo o próprio corpo do artista como objeto de estudo. Inserido numa sociedade que dita padrões corporais através da mídia, o performer quer refletir sobre a cultura do corpo utilizando princípios da Performance art e do Teatro pós-­‐dramático na construção de uma obra artística. Inspira-­‐ se nas noções de “corpo-­‐mito” e “imagens geradoras” para investigar em que medida – e através de quais procedimentos -­‐ o performer consegue desconstruir/corrigir/transformar/reconstruir seu próprio corpo. Compreende a Performance art como uma arte híbrida, e, para tanto, utiliza-­‐se de um grupo de pesquisa cuja interação entre teatro, artes plásticas e video art estruturam os processos criativos. / This theoretical-­‐practical work proposes to discuss the spaces placed between performing arts and the behavior of contemporary world focusing on the performer’s creative processes, with the artist's own body as an object of study. Within a society that dictates standards body through the media, the performer wants to reflect on the culture of the body using the principles of Performance art and Postdramatic theater in the construction of an artistic work. It is based on notions of "body-­‐myth" and "generator images" to investigate how -­‐ and through what procedures -­‐ the performer can deconstruct/fix/change/rebuild his own body. It understands Performance art as a hybrid art, and, therefore, makes use of a research group whose interaction between theater, visual arts and video art structure creative processes.

Este trabalho de caráter teórico-­‐prático propõe-­‐se a discutir sobre os espaços situados entre as artes performáticas e o comportamento do mundo contemporâneo centrando-­‐se nos processos de criação do performer, tendo o próprio corpo do artista como objeto de estudo. Inserido numa sociedade que dita padrões corporais através da mídia, o performer quer refletir sobre a cultura do corpo utilizando princípios da Performance art e do Teatro pós-­‐dramático na construção de uma obra artística. Inspira-­‐ se nas noções de “corpo-­‐mito” e “imagens geradoras” para investigar em que medida – e através de quais procedimentos -­‐ o performer consegue desconstruir/corrigir/transformar/reconstruir seu próprio corpo. Compreende a Performance art como uma arte híbrida, e, para tanto, utiliza-­‐se de um grupo de pesquisa cuja interação entre teatro, artes plásticas e video art estruturam os processos criativos. / This theoretical-­‐practical work proposes to discuss the spaces placed between performing arts and the behavior of contemporary world focusing on the performer’s creative processes, with the artist's own body as an object of study. Within a society that dictates standards body through the media, the performer wants to reflect on the culture of the body using the principles of Performance art and Postdramatic theater in the construction of an artistic work. It is based on notions of "body-­‐myth" and "generator images" to investigate how -­‐ and through what procedures -­‐ the performer can deconstruct/fix/change/rebuild his own body. It understands Performance art as a hybrid art, and, therefore, makes use of a research group whose interaction between theater, visual arts and video art structure creative processes.

Este trabalho de caráter teórico-­‐prático propõe-­‐se a discutir sobre os espaços situados entre as artes performáticas e o comportamento do mundo contemporâneo centrando-­‐se nos processos de criação do performer, tendo o próprio corpo do artista como objeto de estudo. Inserido numa sociedade que dita padrões corporais através da mídia, o performer quer refletir sobre a cultura do corpo utilizando princípios da Performance art e do Teatro pós-­‐dramático na construção de uma obra artística. Inspira-­‐ se nas noções de “corpo-­‐mito” e “imagens geradoras” para investigar em que medida – e através de quais procedimentos -­‐ o performer consegue desconstruir/corrigir/transformar/reconstruir seu próprio corpo. Compreende a Performance art como uma arte híbrida, e, para tanto, utiliza-­‐se de um grupo de pesquisa cuja interação entre teatro, artes plásticas e video art estruturam os processos criativos. / This theoretical-­‐practical work proposes to discuss the spaces placed between performing arts and the behavior of contemporary world focusing on the performer’s creative processes, with the artist's own body as an object of study. Within a society that dictates standards body through the media, the performer wants to reflect on the culture of the body using the principles of Performance art and Postdramatic theater in the construction of an artistic work. It is based on notions of "body-­‐myth" and "generator images" to investigate how -­‐ and through what procedures -­‐ the performer can deconstruct/fix/change/rebuild his own body. It understands Performance art as a hybrid art, and, therefore, makes use of a research group whose interaction between theater, visual arts and video art structure creative processes.

Le théâtre d'Elfriede Jelinek et de Peter Wagner s'inscrit dans la (re/con)quête d'une identité mise à mal par les traumatismes successifs de l'histoire austro-allemande ainsi que par les relations contradictoires qu'entretient le peuple germanique avec son passé fasciste. A la montée des commémorations officielles depuis le début des années 1990, qui va de pair avec la disparition des derniers témoins de la Shoah, les textes, tout comme les mises en scènes et performances vocales qu'ils suscitent, opposent un théâtre des lieux et des milieux de la mémoire. L'analyse des stratégiestextuelles et scéniques, sous l'angle des formes, structures et des enjeux de la mémoire et du souvenir, met au jour une esthétique théâtrale particulière de ce que l'on peut appeler un art du « remembrement». / Elfriede Jelinek and Peter Wagner's plays are part of the quest for—or conquest of—an identity shaken by the traumas of Austro-German history, and by the contradictory relationship between the Germanic peoples and their fascist past. The 1990s saw the deaths of many of the last Holocaust witnesses, and an increase in official commemorations to which the texts, as well as their staging and their vocal performance, respond through sites of memory and real environments of memory. The analysis of textual and scenic strategies, in particular the forms, structures and implications of memory, shedslight on a special theatrical aesthetic belonging to what may be called an art of « rememberment». / Das Theater von Elfriede Jelinek und Peter Wagner trägt zur Wieder(an)erkennung und Wiederfindung einer Identitätbei, die durch die sukzessiven Traumata der österreichischdeutschen Geschichte sowie durch das widersprüchlicheVerhältnis Deutschstämmiger zu ihrer faschistischen Vergangenheit beeinträchtigt wurde. Den offiziellen Gedenkfeiernseit Anfang der 1990er Jahre, die mit dem allmählichen Verschwinden der letzten Holocaust-Zeitzeugen einhergehen,setzen die von ihnen hervorgerufenen Texte, Inszenierungen und stimmlichen Performances ein Theater derGedächtnisorte und -räume entgegen. Die Analyse der textuellen und szenischen Strategien unter dem Blickwinkelder Formen, Strukturen und Funktionen von Erinnerung und Gedächtnis bringteine spezielle Theaterästhetikdessen an den Tag, was alseine Kunst «erinnernderWieder-Holung» bezeichnetwerden kann.

LIVE BED SHOW is an autoethnographic practice as research thesis exploring the apparent theoretical impossibility of reconciling the "unbridgeable gaps" of traumatic memory within autobiographical performance. Embracing an embodied poetics of failure, LIVE BED SHOW considers the possibility of employing the "ghosts" and "echoes" inherent to vinyl turntablism as a tool to represent traumatic memory in autobiographical performance. In doing so, it tests Karen Jürs-Munby's hypothesis that post-traumatic experience might share an affinity with the fragmented, non-linear, and repetitive structure of postdramatic performance.

This thesis examines an approach to directing Mac Wellman and David Lang’s opera, The Difficulty of Crossing a Field; in addition, the paper reflects on my artistic development as a Master of Fine Arts in Directing student in the Department of Theatre and Dance at the University of Texas at Austin. As a director I seek a balance between form and content. Similar to Installation Art, I consider the relationship between space/architecture (the stage/theatre) and sculpture, i.e., anything that can be used to create shape: performers, props, scenery, wardrobe, makeup, light, sound, music, language, etc. As a deviser, not a dictator, the success of my work depends greatly on interdisciplinary collaboration and strategies that promote understanding and appreciation among both artists and audiences. My aim is to create structures for formal elements that when arranged uniquely and sophisticatedly have the ability to provoke emotion, thought, and memory in vivid and compelling ways. This paper explores selected stages of directing The Difficulty of Crossing a Field, the strategies that I employed, and concludes with an artistic statement. / text

The thesis gives a comprehensive picture of Werner Schwab, Austrian playwright and performer. He ranked among the most performed German-speaking authors at the time of his death in 1994. The main objective of this work, whose basis lies in Schwab's dramatic production, is to provide a comprehensive monographic study. The thesis deals not only with the dramas, but also with their relationship to the theatrical production of Thomas Bernhard and Elfriede Jelinek. The chapter on the author's personal life is followed by chapters "Postdramatic Theatre", "Theatre of Cruelty", and "Folk Play", where you can find the answer to the question of the place of Schwab's drama in the overall concept of literature at the end of the 20th century. Particular attention is paid to the unique language usage he developed, called "Schwabisch" after the author.

In this research I have explored the performance making process of world renowned director Robert Lepage. This exploration informed my own process, creating an original performance called GAIJIN, where my roles included producer / director / designer and co-writer. The practice-led research strategy employed in this research has allowed me to navigate the sometimes slippery slope of connecting various performance discourses with the pragmatics of the performance making process. The reason for this research is my strong interest in the director’s role and my affinity with the practice of Robert Lepage. My observation of the performance making process of Robert Lepage prompted the creation of a conceptual framework informed by Hans-Thies Lehmann’s work Postdramatic Theatre. These theoretical concerns were then further investigated in the creation of my own show. This research process has uncovered a performance making process that foregrounds the working principles of simultaneity and synaesthesia, which together offer a changed conception of the performance text in live performance. Simultaneity is a space of chaotic interaction where many resources are used to build a perpetually evolving performance text. Synaesthesia is the type of navigation required – an engagement consisting of interrelated sense-impressions that uniquely connect the performance makers with the abundance of content and stimulus; they search for poetic connections and harmonious movement between the resources. This engagement relies on intuitive playmaking where the artists must exhibit restraint and reserve to privilege the interaction of resources and observe the emerging performance. This process has the potential to create a performance that is built by referential layers of theatrical signifiers and impressions. This research offers an insight into the practices of Robert Lepage as well as a lens through which to view other unique devising processes. It also offers a performance making language that is worthy of consideration by all performance makers, from directors to performers. The significance of this process is its inherent qualities of innovation produced by all manner of art forms and resources interacting in a unique performance making space.

Dès les années 2000 à aujourd’hui, la présence est au coeur d’un nouvel intérêt théorique.Cette thèse porte sur les recherches en arts vivants et sur des créations récentes à lalumière des enjeux corporels, perceptifs et théoriques résonnant avec ce concept. Lesdéfinitions courantes sont relues et intégrées, dans une approche phénoménologique, parl’analyse du geste dansé, l’épistémologie des pratiques somatiques, l’écologie despratiques (Stengers 2005) et une pensée politique sur les affects (Massumi 1995 ; 2015).Dans la première partie on articule cette approche en fonction d’un regard critique sur lesdiscours théoriques, qu’on met en dialogue avec notre corpus d’oeuvres théâtrales etchorégraphiques. Ici on considère, parmi d’autres pièces, Il principe Amleto du metteur enscène et comédien italien Danio Manfredini. La seconde partie rassemble les analysesd’Ouverture Alcina, monologue de la Compagnie italienne Teatro delle Albe ; de récentescréations chorégraphiques de Virgilio Sieni ; de la pièce Déperdition, crée par MyriamGourfink et d’une reprise de Self Unfinished de Xavier Le Roy dans le cadre du projet« Rétrospective ». Chaque analyse porte sur le travail physique et perceptif de l’interprète,en considérant les processus de création et d’apprentissage, et sur le rapport entre oeuvreet milieu de production et de circulation. Ainsi, l’expérience personnelle de spectatricechercheuseet la centralité du regard se mettent en avant. Il en résulte une perspectiveépistémologique sur les pratiques de la présence, entendues comme pratiquesperformatives, et sur les figurations de la présence, à savoir les effets perceptifs etaffectifs de la performance. / Since the early 2000s, the concept of presence is at the core of a renewed interest in theperforming arts field. This dissertation reviews recent theoretical debates and explorestheatrical and choreographic works resonating with the corporeal and aesthetic qualitiesassociated with this notion. Within a phenomenological framework, current definitions arereconsidered through the lenses of dance gesture analysis, expanding on theepistemology of somatic practices, the ecology of practices (Stengers 2005), and politicalfocus on affects (Massumi 1995; 2015). The academic discourses are also examinedthrough a brief outlook of the works, including Il Principe Amleto – a piece by Italian actorand stage director Danio Manfredini. The pieces considered in the second part of thedissertation include Ouverture Alcina, a monologue by the Italian theatre company Teatrodelle Albe; recent projects by Italian choreographer Virgilio Sieni; a dance performanceentitled Déperdition, by French artist Myriam Gourfink; and a recent rerun of Xavier LeRoy’s Self Unfinished within his project « Rétrospective ». Each analysis emphasizes thephysical and perceptive work of the performers and considers the artist’s creative process,as well as the relation between the pieces and their broader staging context. In addition,the personal experience of the scholar/spectator is given prominence, as well as of hergaze. The resulting investigation is thus fundamentally epistemological, focusing at onceon practices of presence – understood as performative in nature –, and on figurations ofpresence, the perceptive and affective implications of performance.

In his analysis of modern theatre aesthetics, Hans-Thies Lehmann notes that performance has the ability to "destabilize the spectator's construction of identity and the 'other' " (Lehmann 5). This research project endeavours to test Lehmann's statement by applying it to the hybrid diasporic identity. Through the creation of a postdramatic performance text that focuses on the Palestinian diaspora and what Salman Rushdie refers to the longing for the 'imaginary homeland,' this thesis documents the creation of a performance text inspired by Edward Said's contrapuntal analysis. In the first chapter, I define diaspora and hybridity and I provide the necessary context for my hybrid identity: Palestine and its diaspora. I detail the relationship between postdramatic theatre and identity, and I explore how the hybrid identity can be embodied in performance through an understanding of counterpoint and Said's contrapuntal analysis. In the second chapter, I explain the methods I used to create my performance text and to analyze my research and creative process. Finally, in my third chapter, I articulate the successes and failures of my research process and performance text through a final reflection.