A tecnologia, na sua evolução e transformação, influencia novos desdobramentos da técnica, dos processos e de aplicações, não somente na indústria, mas, também, em processos sociais e culturais. Salienta-se o uso de Tecnologia de Informação e Comunicação na Educação, Engenharia e de modelos da Computação Afetiva como recurso de ação mediadora para promoção do ser humano social. Neste contexto, a presente Tese desenvolveu, à luz da Teoria Sócio-Histórica, uma Plataforma Educacional Assistiva capaz de possibilitar a promoção do estado afetivo de interesse em crianças com Transtorno do Espectro Autista (TEA) dos anos iniciais do Ensino Fundamental. O TEA leva a uma condição de déficit no desenvolvimento, em escala de manifestação, nos domínios comportamental, comunicativo e ou cognitivo. O déficit de “atenção conjunta”, de reciprocidade emocional, de interesse, e prejuízo qualitativo na comunicação verbal e não verbal são características mencionadas largamente na literatura. Para “compensar” esse gap, o professor (assim como pais e terapeutas) precisa enfrentar o desafio de projetar estratégias de interação que possam promover cenas de atenção conjunta. Além disso, segundo dados do censo de educação básica de 2015, das quase 8 milhões de matrículas na Educação Infantil, cerca de 900 mil são para Educação Especial, sendo 700 mil no Ensino Fundamental e o preocupante afunilamento para 30 mil no 1º ano do Ensino Médio. Esses números reafirmam a importância da inclusão social e acredita-se que este decréscimo esteja relacionado à necessidade de um apoio tecnológico contextualizado nas atividades comunicativas e de atenção conjunta A metodologia de pesquisa é de natureza qualitativa, e utilizou o método de estudo de caso, de múltiplos casos. A atividade educativa foi desenvolvida por meio da contação de história infantil e uso de recurso tecnológico, dispositivo robótico, de ação mediadora, denominado de Fantoche Eletrônico, especialmente projetado para esta investigação. A práxis teve como base sociocognitiva as três etapas de intenção comunicativa da aquisição da linguagem proposta por Tomasello e de indicadores para a análise do estado afetivo de interesse. Os dados foram coletados por meio de instrumentos de entrevistas e observação sob a contação de quatro histórias infantil para quatro estudantes com autismo do 7º e 8º anos do ensino fundamental, totalizando 16 casos. Os resultados demonstraram que o uso do Fantoche Eletrônico promoveu mais de 80% de cenas de atenção conjunta, e um aumento, de três casos positivos com fantoche não eletrônico para quase 10 com o Fantoche Eletrônico, representado um ganho de mais de 200%. Além disso, 83% dos casos apresentaram indicativo positivo de estado afetivo de interesse. A Plataforma Educacional Assistiva foi denominada de Asistranto, assistência em Esperanto, e se mostrou adequada para o desenvolvimento de diferentes atividades acadêmicas com o objetivo de incluir estudantes com autismo em espaços escolares. / Technology, in its evolution and transformation, influences new developments in the techniques, processes and applications, not only in industry, but also in social and cultural processes. The use of Information Technology and Communication in Education, Engineering and Affective Computing models as a resource of mediating action to promote the social human being. In this context, the present developed, in the light of Socio-Historical Theory, an Assistive Educational Platform capable of to promote the affective state of interest in children with Autistic Spectrum Disorder(ASD) of the initial years of Elementary School. The ASD leads to a condition of development, demonstration scale, behavioral, communicative and or cognitive. The deficit of "joint attention", emotional reciprocity, of interest, and qualitative impairment in verbal and non-verbal communication verbal characteristics are widely mentioned in the literature. To "compensate" this gap, the teacher (as well as parents and therapists) must face the challenge of designing interaction strategies that can promote scenes of joint attention. Besides that, according to data from the 2015 basic education census, of the almost 8 million enrollments in the Education, about 900 thousand are for Special Education, of which 700 thousand are Elementary School and the worrying bottleneck for 30 thousand in the first year of high school. Those reaffirm the importance of social inclusion and it is believed that this related to the need for technological support contextualized in the activities communicative and joint attention. The research methodology is qualitative in nature, and used multiple cases study technique The educational activity was developed through the account of children's history and the use of technological resources, device robotic, of mediating action, denominated of Electronic Puppet, specially designed for this research. The praxis was based on sociocognitive three stages of communicative intention of language acquisition proposed by Tomasello and of indicators for the analysis of the affective state of interest. The data were collected by medium of instruments of interviews and observation under the account of four children's stories for four students with autism in the 7th and 8th years of elementary school, totaling 16 cases. The results showed that the use of the Electronic Puppet promoted more than 80% of scenes of joint attention, and an increase, of three positive cases with non-electronic puppet for almost 10 with the Electronic Puppet, represented a gain of over 200%. In addition, 83% of the cases presented positive indicative affective status of interest. The Assistive Educational Platform was denominated Asistranto, assistance in Esperanto, and proved adequate for the development of different activities with the aim of including students with autism in school settings.

Ce travail porte sur ce qu'il définit comme des États fantoches ou encore des exemples d'occupation masquée. Afin d’éviter les conséquences politiques et particulièrement les obligations légales qu'imposent le droit international humanitaire et le droit international en général au pouvoir d'occupation, de plus en plus d'États créent des entités sécessionnistes à l'intérieur d'autres ¬États. Ces entités sécessionnistes, qui ont tous les aspects d'un État de fait, sont en réalité contrôlées par l’État commanditaire. En outre, ce dernier non seulement utilise la force militaire pour établir un État fantoche, mais contrôle sa vie quotidienne par des moyens militaires, économiques et politiques. Cinq régions dans le monde sont dans cette situation, tandis qu'une sixième est en cours de création en Ukraine de l'Est. En effet, la Chypre du Nord, le Haut Karabakh, la Transnistrie, l'Ossétie du Sud et l'Abkhazie peuvent tous être définis comme des États fantoches. Le statut peu clair de ces régions en fait des lieux d'impunité totale, des régions qui échappent à l'application du droit international. Non seulement les commanditaires de ces entités échappent au droit international humanitaire, mais les États fantoches sont des trous noirs dans le droit international en matière de protection des droits de l'homme, et des lieux où il est facile de se livrer à du trafic et à de la vente illégale d'armes pour le compte des États commanditaires – des zones d'impunité presque totale. La thèse analyse ce phénomène dans une perspective critique et dévoile les lacunes juridiques qui permettent l'utilisation d'états fantoche pour échapper à la charge du droit international humanitaire, tout en traçant les moyens possibles de résoudre ce problème. / This research deals with what it defines as puppet states or instances of covert occupation. In order to bypass the political burden and especially the legal obligations which international humanitarian law and general international law impose on the occupying power, a growing trend has come into place for states to create secessionist entities within another state. These secessionist entities, which have all outside aspects of a de facto state, are in fact effectively controlled by their sponsor state. Furthermore, the sponsor state not only establishes the puppet state through military force, but also controls its everyday life through the use of military, economic and political means, leading to a de facto annexation of the given territory. Five regions in the world are in this situation, while a sixth is under creation in Eastern Ukraine. Northern Cyprus, Nagorno Karabakh, Transnistria, South Ossetia and Abkhazia can all be defined as puppet states. The unclear status of these regions makes them areas of impunity, regions which largely fall outside the implementation of international humanitarian law. The present research analyzes this phenomenon from a critical perspective and unveils the legal gaps that enable the use of puppet states for escaping the burden of international humanitarian law, while mapping possible ways of tackling this problem.

Baigiamajame magistro darbe apžvelgiami pasakos „Eglė žalčių karalienė“ mitologiniai ir tautosakiniais niuansai, šią pasaką vertina kaip viena svarbiausių lietuvių ir daugelio kitų šalių mitą, kuris apima visą Dievų panteoną, pasakoja žmogaus, vandens ir žemės pradžios istoriją. Šis mitas glaudžiai susijęs su žalčio, kaip šeimos saugotojo ir globėjo kultu, todėl aptinkama daug skirtingų šios pasakos variantų ir tęsinių įvairių kultūrų mitologijoje. Remiamasi tik lietuvių autorių atlikta šios pasakos analize. Pagrindinė pasakos analizė skirta šios pasakos atsiradimo ir dominavimo įvairiose pasaulio kultūrose ir variantų gausumo problemai. Apsistojama ties mitologiniu „Eglė žalčių karalienė“ kontekstu, lyginant ją su kūrybiniam darbui pasirinkta pasaka „Dvylika brolių juodvarniais lakstančių“, nagrinėjant šios pasakos interpretaciją teatre remiamasi Vitalijaus Mazūro spektakliu „Eglė žalčių karalienė“ (2007). / The myth overlooks entire Gods pantheon, talks about mankind’s, water’s and earth’s origin stories. This folk tale is valued as one of the most important Lithuanian myths which is as much valued in other countries, so the final paper of masters degree overlooks folk tale „Eglė the queen of serpents“ mythological and folk shadings. In mythological culture many other versions of this tale can be seen, that is because this myth is closely associated with serpents, as a family guardian cult. Only Lithuanian author’s analyses of the folk tale are used in this final paper. The main analyses of the folk tale are dedicated to analyze the folk tales origins and domination in many cultures of the world. Vitalijus Mazuras play “Eglė the queen of serpents” (2007) is used in other to analyze folk tales interpretation in theatre, while mythological context of the folk tale “Eglė the queen of serpents” is used in other to compare it with the tale “The Twelve Brothers, Twelve Black Ravens”.

Rachel Corrie was a young American woman who died at the age of twenty-three in Gaza in 2003. She was killed when an Israeli Occupation Force bulldozer ran over her while she was defending a Palestinian house from demolition. Her martyr's death, combined with the force of her descriptions of her experiences as an activist in Palestine, not only provoked response from other activists; it became material for a number of theatrical projects, among them productions by the Royal Court Theatre in London, Bread and Puppet Theatre in the US, and in a production I recently wrote and directed here in New Zealand. This thesis considers the example of Rachel Corrie's activism in Palestine and the theatrical performances it engendered in order to examine the role of theatre in and as an activist project. The theatre is an important component of the ongoing movement for social change. It assembles temporary communities and it portrays issues in ways that are both accessible and open to debate. But theatricality is just as often a key component of activist actions outside the theatre building: in street performances and demonstrations, and also in the way some activists can be seen to pursue their political objectives on a daily basis. Finally, the theatre is a material act of production which can challenge the dominant model of production and thus has the potential to be become an activist project as itself. As a result of my analyses of this material, I hope to provide a framework of understanding both for myself and others, of the likely role of theatre in and as an activist project, and this understanding will be of assistance in the cultural task of shifting beliefs in the movement for social change. The key theorists used in this thesis are Walter Benjamin and Raymond Williams.

A tecnologia, na sua evolução e transformação, influencia novos desdobramentos da técnica, dos processos e de aplicações, não somente na indústria, mas, também, em processos sociais e culturais. Salienta-se o uso de Tecnologia de Informação e Comunicação na Educação, Engenharia e de modelos da Computação Afetiva como recurso de ação mediadora para promoção do ser humano social. Neste contexto, a presente Tese desenvolveu, à luz da Teoria Sócio-Histórica, uma Plataforma Educacional Assistiva capaz de possibilitar a promoção do estado afetivo de interesse em crianças com Transtorno do Espectro Autista (TEA) dos anos iniciais do Ensino Fundamental. O TEA leva a uma condição de déficit no desenvolvimento, em escala de manifestação, nos domínios comportamental, comunicativo e ou cognitivo. O déficit de “atenção conjunta”, de reciprocidade emocional, de interesse, e prejuízo qualitativo na comunicação verbal e não verbal são características mencionadas largamente na literatura. Para “compensar” esse gap, o professor (assim como pais e terapeutas) precisa enfrentar o desafio de projetar estratégias de interação que possam promover cenas de atenção conjunta. Além disso, segundo dados do censo de educação básica de 2015, das quase 8 milhões de matrículas na Educação Infantil, cerca de 900 mil são para Educação Especial, sendo 700 mil no Ensino Fundamental e o preocupante afunilamento para 30 mil no 1º ano do Ensino Médio. Esses números reafirmam a importância da inclusão social e acredita-se que este decréscimo esteja relacionado à necessidade de um apoio tecnológico contextualizado nas atividades comunicativas e de atenção conjunta A metodologia de pesquisa é de natureza qualitativa, e utilizou o método de estudo de caso, de múltiplos casos. A atividade educativa foi desenvolvida por meio da contação de história infantil e uso de recurso tecnológico, dispositivo robótico, de ação mediadora, denominado de Fantoche Eletrônico, especialmente projetado para esta investigação. A práxis teve como base sociocognitiva as três etapas de intenção comunicativa da aquisição da linguagem proposta por Tomasello e de indicadores para a análise do estado afetivo de interesse. Os dados foram coletados por meio de instrumentos de entrevistas e observação sob a contação de quatro histórias infantil para quatro estudantes com autismo do 7º e 8º anos do ensino fundamental, totalizando 16 casos. Os resultados demonstraram que o uso do Fantoche Eletrônico promoveu mais de 80% de cenas de atenção conjunta, e um aumento, de três casos positivos com fantoche não eletrônico para quase 10 com o Fantoche Eletrônico, representado um ganho de mais de 200%. Além disso, 83% dos casos apresentaram indicativo positivo de estado afetivo de interesse. A Plataforma Educacional Assistiva foi denominada de Asistranto, assistência em Esperanto, e se mostrou adequada para o desenvolvimento de diferentes atividades acadêmicas com o objetivo de incluir estudantes com autismo em espaços escolares. / Technology, in its evolution and transformation, influences new developments in the techniques, processes and applications, not only in industry, but also in social and cultural processes. The use of Information Technology and Communication in Education, Engineering and Affective Computing models as a resource of mediating action to promote the social human being. In this context, the present developed, in the light of Socio-Historical Theory, an Assistive Educational Platform capable of to promote the affective state of interest in children with Autistic Spectrum Disorder(ASD) of the initial years of Elementary School. The ASD leads to a condition of development, demonstration scale, behavioral, communicative and or cognitive. The deficit of "joint attention", emotional reciprocity, of interest, and qualitative impairment in verbal and non-verbal communication verbal characteristics are widely mentioned in the literature. To "compensate" this gap, the teacher (as well as parents and therapists) must face the challenge of designing interaction strategies that can promote scenes of joint attention. Besides that, according to data from the 2015 basic education census, of the almost 8 million enrollments in the Education, about 900 thousand are for Special Education, of which 700 thousand are Elementary School and the worrying bottleneck for 30 thousand in the first year of high school. Those reaffirm the importance of social inclusion and it is believed that this related to the need for technological support contextualized in the activities communicative and joint attention. The research methodology is qualitative in nature, and used multiple cases study technique The educational activity was developed through the account of children's history and the use of technological resources, device robotic, of mediating action, denominated of Electronic Puppet, specially designed for this research. The praxis was based on sociocognitive three stages of communicative intention of language acquisition proposed by Tomasello and of indicators for the analysis of the affective state of interest. The data were collected by medium of instruments of interviews and observation under the account of four children's stories for four students with autism in the 7th and 8th years of elementary school, totaling 16 cases. The results showed that the use of the Electronic Puppet promoted more than 80% of scenes of joint attention, and an increase, of three positive cases with non-electronic puppet for almost 10 with the Electronic Puppet, represented a gain of over 200%. In addition, 83% of the cases presented positive indicative affective status of interest. The Assistive Educational Platform was denominated Asistranto, assistance in Esperanto, and proved adequate for the development of different activities with the aim of including students with autism in school settings.

A tecnologia, na sua evolução e transformação, influencia novos desdobramentos da técnica, dos processos e de aplicações, não somente na indústria, mas, também, em processos sociais e culturais. Salienta-se o uso de Tecnologia de Informação e Comunicação na Educação, Engenharia e de modelos da Computação Afetiva como recurso de ação mediadora para promoção do ser humano social. Neste contexto, a presente Tese desenvolveu, à luz da Teoria Sócio-Histórica, uma Plataforma Educacional Assistiva capaz de possibilitar a promoção do estado afetivo de interesse em crianças com Transtorno do Espectro Autista (TEA) dos anos iniciais do Ensino Fundamental. O TEA leva a uma condição de déficit no desenvolvimento, em escala de manifestação, nos domínios comportamental, comunicativo e ou cognitivo. O déficit de “atenção conjunta”, de reciprocidade emocional, de interesse, e prejuízo qualitativo na comunicação verbal e não verbal são características mencionadas largamente na literatura. Para “compensar” esse gap, o professor (assim como pais e terapeutas) precisa enfrentar o desafio de projetar estratégias de interação que possam promover cenas de atenção conjunta. Além disso, segundo dados do censo de educação básica de 2015, das quase 8 milhões de matrículas na Educação Infantil, cerca de 900 mil são para Educação Especial, sendo 700 mil no Ensino Fundamental e o preocupante afunilamento para 30 mil no 1º ano do Ensino Médio. Esses números reafirmam a importância da inclusão social e acredita-se que este decréscimo esteja relacionado à necessidade de um apoio tecnológico contextualizado nas atividades comunicativas e de atenção conjunta A metodologia de pesquisa é de natureza qualitativa, e utilizou o método de estudo de caso, de múltiplos casos. A atividade educativa foi desenvolvida por meio da contação de história infantil e uso de recurso tecnológico, dispositivo robótico, de ação mediadora, denominado de Fantoche Eletrônico, especialmente projetado para esta investigação. A práxis teve como base sociocognitiva as três etapas de intenção comunicativa da aquisição da linguagem proposta por Tomasello e de indicadores para a análise do estado afetivo de interesse. Os dados foram coletados por meio de instrumentos de entrevistas e observação sob a contação de quatro histórias infantil para quatro estudantes com autismo do 7º e 8º anos do ensino fundamental, totalizando 16 casos. Os resultados demonstraram que o uso do Fantoche Eletrônico promoveu mais de 80% de cenas de atenção conjunta, e um aumento, de três casos positivos com fantoche não eletrônico para quase 10 com o Fantoche Eletrônico, representado um ganho de mais de 200%. Além disso, 83% dos casos apresentaram indicativo positivo de estado afetivo de interesse. A Plataforma Educacional Assistiva foi denominada de Asistranto, assistência em Esperanto, e se mostrou adequada para o desenvolvimento de diferentes atividades acadêmicas com o objetivo de incluir estudantes com autismo em espaços escolares. / Technology, in its evolution and transformation, influences new developments in the techniques, processes and applications, not only in industry, but also in social and cultural processes. The use of Information Technology and Communication in Education, Engineering and Affective Computing models as a resource of mediating action to promote the social human being. In this context, the present developed, in the light of Socio-Historical Theory, an Assistive Educational Platform capable of to promote the affective state of interest in children with Autistic Spectrum Disorder(ASD) of the initial years of Elementary School. The ASD leads to a condition of development, demonstration scale, behavioral, communicative and or cognitive. The deficit of "joint attention", emotional reciprocity, of interest, and qualitative impairment in verbal and non-verbal communication verbal characteristics are widely mentioned in the literature. To "compensate" this gap, the teacher (as well as parents and therapists) must face the challenge of designing interaction strategies that can promote scenes of joint attention. Besides that, according to data from the 2015 basic education census, of the almost 8 million enrollments in the Education, about 900 thousand are for Special Education, of which 700 thousand are Elementary School and the worrying bottleneck for 30 thousand in the first year of high school. Those reaffirm the importance of social inclusion and it is believed that this related to the need for technological support contextualized in the activities communicative and joint attention. The research methodology is qualitative in nature, and used multiple cases study technique The educational activity was developed through the account of children's history and the use of technological resources, device robotic, of mediating action, denominated of Electronic Puppet, specially designed for this research. The praxis was based on sociocognitive three stages of communicative intention of language acquisition proposed by Tomasello and of indicators for the analysis of the affective state of interest. The data were collected by medium of instruments of interviews and observation under the account of four children's stories for four students with autism in the 7th and 8th years of elementary school, totaling 16 cases. The results showed that the use of the Electronic Puppet promoted more than 80% of scenes of joint attention, and an increase, of three positive cases with non-electronic puppet for almost 10 with the Electronic Puppet, represented a gain of over 200%. In addition, 83% of the cases presented positive indicative affective status of interest. The Assistive Educational Platform was denominated Asistranto, assistance in Esperanto, and proved adequate for the development of different activities with the aim of including students with autism in school settings.

Le cabaret de l’Écluse est une petite salle de spectacles, ouverte entre 1951 et 1974 au 15, quai des Grands Augustins à Paris, et dont la particularité est de programmer chaque soir des numéros variés — chant, sketch comique, poésie récitée, marionnettes, mime et projection de dessins. Au fil des vingt ans d’existence de ce cabaret, s’y produisent des artistes aussi divers que Barbara, Raymond Devos, Marcel Marceau, Yves Joly, Philippe Noiret et Jean-Pierre Darras ou Cora Vaucaire. À rebours de l'éclectisme déroutant du spectacle qu'il accueille, c'est en tant que lieu que le cabaret de l'Écluse semble le mieux « donner prises », construisant son identité à partir d'une localisation parisienne qui l'insère dans un paysage urbain, social et culturel soutenu par une tradition historique complexe. Il fait ainsi partie des cabarets dits « rive gauche », qui fleurissent près de la Seine après la Seconde Guerre mondiale et affichent spatialement leur refus du divertissement commercial qu’offrent par ailleurs les « boîtes » plus luxueuses de la rive droite. Cette lecture déterminée de l’espace qui fait du cabaret un mot-valeur doit être comprise dans une histoire plus longue. Se construit en effet depuis le XIXe siècle, loin des premières représentations du lieu, d’abord attaché à une inquiétude sociale, l’image du cabaret comme un espace refuge où la poésie trouverait à s’épanouir contre l’affirmation croissante d’une culture industrielle et commerciale.En dépit d’un tel patrimoine axiologique, le cabaret de l’Écluse présente une réalité plus métissée. S’il rend hommage à des modèles littéraires prestigieux, comme le Chat Noir ou le Lapin Agile, dont il contribue à prolonger le mythe, il intègre pourtant, pour chacun de ses numéros, les apports du café-concert, du music-hall et du cinéma — autant de manifestations associées à une culture du divertissement souvent bannie du champ littéraire. Cette hétérogénéité est soulignée par la formule même du spectacle, qui érige la variété en principe de composition. À la diversité des modes d’expression convoqués répond ainsi le caractère composite de leurs héritages. L’Écluse apparaît donc comme un objet pluriel qui exige, pour être pensé, de fonder de nouvelles catégories d’analyse. C’est précisément au prisme de la variété, envisagée comme un véritable outil méthodologique aux prolongements herméneutiques et éthiques féconds, que nous l’étudierons.Irréductible aux déterminations axiologiques, le cabaret de l'Écluse fait vaciller la stabilité de son ancrage géographique, et nous oblige à repenser les territoires et prérogatives du littéraire, qu'il n'effleure, par le biais poétique, que pour mieux le sidérer. Quelle place accorder à ce lieu rebelle qui prend de cours nos critères d'analyse traditionnels et rend illisible le paysage artistique et culturel qu'explorent les études littéraires ? À force d'écarts et de détours, le lieu qui s'imposait à nous par sa visibilité évidente ne risque-t-il pas de perdre toute consistance ? L’Écluse parviendrait à demeurer — telle est notre hypothèse — en transformant le lieu géographique et social du cabaret pris dans les mailles d'un réseau et d'un champ, dans les filets de déterminations historiques, en un espace poétique délié. Lieu traversé, habité de propositions spectaculaires variées, il fonderait à partir de leur mise en présence cet espace poétique, que nous nous proposerons de définir non comme une certaine mise en forme du texte mais comme un réseau d’échos, tissés d’une prestation à l’autre. Cette « manœuvre foudroyante de rapports » déplace la production du sens du plain-chant à ses résonances. / L’Écluse was a small performance hall which presented mixed shows every evening between 1951 and 1974 : songs, shorts comedy sketches, recitations of poems, puppet shows, mimes and projected drawings. Many performers worked at L’Écluse. Some became famous, suche as Barbara, Raymond Devos, Marc Marceau, Yves Joly, Philippe Noiret and Cora Vaucaire. Despite the confusing eclectism of the cabaret shows, the place itself seems to offer a stable way to consider the subject. Indeed, L’Écluse built itself through its localisation in Paris, situated in an urban, social and cultural landscape shaped by a long and historical tradition. It was part of these « cabarets rive-gauche » that bloomed in Paris after the Second World War, pretending to refuse every form of commercial entertainment usually proposed to tourists by luxurious night-clubs on the right bank of the Seine river. This emblematic partition of the French capital between a right and a left bank resulted from a long history. Since the end of the XIXth century, cabarets were indeed considered as places of arts, where poetry could blossom far from a besides growing industrial and commercial culture. However, l’Écluse’s identity was not as clear as it seemed. The cabaret payed tributes to its prestigious literary precursors such as Le Chat Noir and Le Lapin Agile, but also to café-concerts, music-halls and popular movies, that are frequently left out of the literary field. This complete heterogeneity appeared in its shows themselves, shaped by various artistic expressions. L’Écluse was thus ruled by variety. It was therefore a complex object that requires specific methods to be considered. It is precisely through the prism of variety, regarded as a fruitful methodological analysis tool, that we intent to study it. With its mixed shows, L’Écluse cannot be sorted into a « black-or-white » category. It encourages us to re-think what belongs to literature or not. Where can such an unclassifiable place, that catches us unawares and strikes down our usual analysis categories, stand in literary studies ? Accordingly, we postulate that L’Écluse converted its place, defined by historical, geographical and social determinations, into a creative poetic space, shaped by the coexistence of various artistic expressions and the echoes that appeared between each of them and not by the pretended quality of its acts. The meaning of the shows was thus not provided by what was clearly said : it came from what remained unformulated.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-10-14T20:51:24Z No. of bitstreams: 2 Dissertação - Patricia Mendes da Silva - 2014.pdf: 3558852 bytes, checksum: 520f2ac1328627a633e96ed593132637 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-10-14T20:52:42Z (GMT) No. of bitstreams: 2 Dissertação - Patricia Mendes da Silva - 2014.pdf: 3558852 bytes, checksum: 520f2ac1328627a633e96ed593132637 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-10-14T20:52:42Z (GMT). No. of bitstreams: 2 Dissertação - Patricia Mendes da Silva - 2014.pdf: 3558852 bytes, checksum: 520f2ac1328627a633e96ed593132637 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-12-05 / This dissertation investigated the trajectory of the theater company “Nu escuro”, in Goiânia, since its creation, initialized in the old technical school of Goiás – current IFG -, until its recent show called Gato Negro. Since its first show, Três por três, the company uses the puppet theater, and, over the course of time, it has been developing this language, specifically in the shows Envelopes (2005) and Plural (2012), focused in this research. It aims, therefore, to analyze the work of the animator-actor in the theater company “Nu escuro” in the shows Envelopes, in which the animator-actor is visible, but neutral in the scene, and Plural, in which it is visible and active in the scene. The objective was to investigate, through interviews and living with the group, the work of the animator-actor in its presence and neutrality and in its relation with the puppets and the masks in the puppet theater. Concerning both shows – Envelopes and Plural –, it was possible to observe how the creation of the animator-actor‟s bodywork of the theater company “Nu escuro” happened, being based, initially, on his body and on the animated artifacts – puppets and masks. Finally, it‟s considered the actor‟s body, in which one body is the animator-actor and the other is the character-actor, differentiating one from the other by the technique, that is, by the question of guiding the focus. / Esta dissertação averiguou o percurso da Companhia “Nu escuro”, em Goiânia, desde sua formação, iniciada na antiga escola técnica de Goiás – atual IFG –, até seu recente espetáculo denominado Gato Negro. Desde seu primeiro espetáculo, Três por três, a Companhia usa o teatro de animação, e, no decorrer do tempo, tem aprimorando essa linguagem, especificamente nos espetáculos Envelopes (2005) e Plural (2012), focos desta pesquisa. Busca-se, portanto, analisar o trabalho do ator-animador da Companhia “Nu escuro” nos espetáculos Envelopes, em que o ator-animador está visível, porém neutro na cena, e Plural, em que está visível e atuante em cena. O objetivo foi averiguar, por meio de entrevistas e convivência com o grupo, o trabalho do ator-animador em sua presença e neutralidade e em sua relação com os bonecos e as máscaras no teatro de animação. A respeito dos dois espetáculos – Envelopes e Plural –, foi possível perceber como aconteceu a formação do trabalho corporal do ator-animador da Companhia de teatro “Nu escuro”, tendo sido baseada, a princípio, em seu corpo e nos artefatos animados – bonecos e máscaras. Por conseguinte, considera-se a questão do corpo do ator, em que o corpo um é ator-animador e o outro é ator-personagem, diferenciando-se pela técnica, ou seja, pela questão de direcionamento de foco.

Esta pesquisa é um estudo sobre o traje de cena na relação boneco/objeto e ator/manipulador, a partir das dimensões materiais, visuais e simbólicas que o constituem. O estudo abarca dois estudos de caso: a companhia mineira de teatro de bonecos Giramundo e a companhia francesa de teatro de rua Royal de Luxe. A análise do traje de cena em cada companhia foi organizada a partir de temas pré-estabelecidos, e exemplos de seus espetáculos foram evocados na medida em que ilustravam estes temas. Esta escolha não seguiu ordem cronológica e permitiu que os elementos de materialidade e visualidade do traje de cena nas duas companhias fossem analisados. Para suporte teórico, buscou-se a teoria teatral que analisa as distintas propostas de utilização do boneco em cena, contemplando a produção contemporânea. Relacionou-se também o tema da pesquisa com estudos de moda e artes visuais, que permitem analisar o traje e suas propriedades inerentes deslocadas para a cena. A hipótese é que o traje de cena no teatro de animação2 adquire significados específicos, quando se expande sua investigação e entendimento para além do traje do boneco, alcançando a relação boneco/objeto e ator/manipulador. A pesquisa gerou indicativos teóricos que poderão ser utilizados em trabalhos futuros, como ponto de partida na análise de outros casos onde o traje de cena tenha como premissa as especificidades estabelecidas a partir da relação entre a figura humana/ator-manipulador e o objeto articulado inanimado/boneco. Não se espera, naturalmente, que os resultados obtidos nesta pesquisa sejam aplicáveis a todos os casos de apropriação do objeto/boneco como eixo central da cena em diferentes espetáculos, em que sua composição e relação com o ator-manipulador consiste em inúmeras possibilidades. / This research is a study about the scene costume of in relation puppet / object and actor / manipulator, from the material, visual and symbolic dimensions that constitute it. The study covers two case studies: the Brazilian puppet theater company Giramundo and the French street theater company Royal de Luxe. The analysis of the scene costume in each company was organized from pre-established themes, and examples of their theater shows were evoked as they illustrated these themes. This choice did not follow chronological order and allowed the elements of materiality and visuality of the scene costume in the two companies to be analyzed. For theoretical support, we sought the theatrical theory that analyzes the different proposals of use of the puppet in scene, contemplating the contemporary production. The subject of the research was also related with studies of fashion and visual arts that allow to analyze the costume and its inherent properties displaced for the scene. The hypothesis is that the scene costume in the theater of animation3 acquires specific meanings when it expands its investigation and understanding beyond the costume of the puppet, reaching the relation puppet / object and actor / manipulator. The research generated theoretical indicatives that could be used in future work, as a starting point in the analysis of other cases where the costume of the scene is premised on the specificities established from relationship between the human figure/actor-manipulator and the inanimate articulated object /puppet. It is not expected, of course, that the results from this research could be useful to all possible cases of appropriation of the object / puppet as the central axis of the scene in different spectacles as we are aware its composition and its relation with the actor-manipulator involves uncountable possibilities.

Pour qui, à quelles fins, et comment exposer le théâtre? L’approche muséologique se veut ici à la fois méthode d’investigation du champ théâtral et éthique du muséal, dont elle envisage les enjeux, les moyens et la portée. L’exposition d’objets de théâtre, vestiges, témoins ou empreintes de la scène, ordonnés dans un parcours et intégrés à un propos, interroge la nature de l’événement scénique et de l’événement théâtral. Elle donne à voir l’objet en instance de signification, sans toutefois l’y réduire. Elle joue, pour ce faire, des affinités autant que des tensions entre présence scénique et présence muséale; elle offre, en réponse, une vision du théâtre en son histoire, mais aussi comme processus de création et de réception. L’exposition participe des temps du théâtre pour le visiteur et le spectateur d’aujourd’hui: elle peut être pensée à la fois comme espace de manipulation, par l'expositeur et par le visiteur, de la matière théâtrale (espace, temps, objets et textes) et comme lieu d’une philosophie de la scène, orientée vers un théâtre à venir. Son mode discursif spécifique est de l’ordre du montage, du discontinu et de la polyphonie. Le visiteur s’y exerce à différents régimes scopiques et intellectifs sur des formes théâtrales passées et présentes, met à l’épreuve une pensée du théâtre au contact de l’objet et à celui d’autres pensées, celles des praticiens de la scène, celle de l’expositeur. / For whom, to what end and how may theatre be exhibited? The museologic approach is meant to be both an investigating method of the theatrical field and a museum ethics, whose stakes, means and import it considers. Exhibiting theatre objects -- remnants, pieces of evidence or imprints of the stage -, arranged for display, and used as statements, questions the very nature of on-stage and theatrical events. It shows the object as becoming meaningful without confining it to its meaning. To such an end, it plays both on the similarities and tensions between being on stage and on display and it conveys, as a response, a vision of theatre as part of its own history but also as a process of creation and reception. The exhibition is a theatrical time in itself for today’s visitor and spectator: it can be thought of both as a place for the manipulation of theatrical material (space, time, objects and texts) and as one dedicated to a stage philosophy that looks into theatre as it could be in the future. Its specific discursive mode relies on montage, discontinuity and polyphony. It offers the visitor a chance to try different scopic and intellective regimes on present and past theatrical forms and to put theatre thinking to the test of the object itself and of other modes of thinking – those of stage practitioners and of the exhibitor.