Esta dissertação vem ao encontro da necessidade cada vez maior de fundamentar e abrir ao crescente número de interessados, os processos de criação em Teatro nas diferentes linguagens cênicas. A exploração de uma relação sensível e não utilitária entre sujeito e objeto está presente na vida cotidiana desde os tempos mais remotos. Assim também passou a ser na dramaturgia atual, sobretudo no que se convencionou chamar, desde meados dos anos 80, como Teatro de Objetos, uma linguagem dentro do Teatro de Animação. Esta pesquisa teve por objetivo investigar alguns elementos encontrados no método de Rudolf Laban que auxiliassem tecnicamente o trabalho de animação no Teatro de Objetos, do ponto de vista do movimento expressivo do corpo do objeto, e a possibilidade temática de composição de partituras de ações a partir da experimentação de relações poéticas inerentes a essa linguagem cênica denominadas aqui como: Poéticas de Vida, Poéticas de Risco e Poéticas de Morte. As partituras foram compostas separadamente por três estudantes do curso de Teatro da Universidade Federal de Uberlândia, de acordo com cada uma das três relações poéticas, durante a realização do Laboratório Seres, até chegarmos às Partituras Essenciais. Em seguida, as partituras essenciais das ações dos objetos, filmadas e descritas pelos atores em fichas, foram analisadas dentro de quadros relacionados aos elementos espaço, tempo, peso e fluência. Por último, criamos frases de movimento descrevendo as Partituras Essenciais e localizando as suas ações, estados de espírito e situações. O estudo revelou que essa forma de análise e registro em Teatro de Objetos, possibilita tanto o aprimoramento técnico dos artistas quanto o desenvolvimento de cenas a partir de um potencial poético. / The present dissertation comes towards the increasing need to found and share with the also increasing number of interested people the creative processes in theater in its different scenic languages. The exploration of a sensitive and non-utilitarian relation between subject and object is present in daily life since earliest times. Therefore, it also became present in the current play-writting, most of all in which we call since the 80´s as ‘Theater of Objects’ - a language inside the Theater Animation. This research had as its goal to investigate some elements found in Rudolf Laban’s method — which would help technically animation work in the Theater of Objects. This help comes from the view of expressive movement in the object body as well as the possibility of composing an action score created from the experience of poetic relations inherent to the scenic language named here as Poetry of Life, Poetry of Risk, Poetry of Death . The scores were created separately by three students from the theater course of Uberlândia’s Federal University, following each of the three poetic relations during the realization of Laboratório Seres (Being Laboratory) to the arrival of Partituras Essenciais (Essential Scores). Hereupon, the Essential Scores of the objects actions, filmed and described in each actor report were analyzed through the board related to Laban´s elements, such as: space, time, weight and fluency. At last, we created movement phrases describing the Essential Scores and identifying its actions, state of spirit and situations. The studies showed that this way of analyzing and registering Theater of Object makes it possible a technical betterment of the artists as well as the development of scenes from the poetic potential. / Dissertação (Mestrado)

Orientador: Júlia Ziviani Vitiello / Acompanhado de 2 anexos: "Tu não de moves de ti" e "A figura e o fato", e de 1 CD com slide show / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T01:08:50Z (GMT). No. of bitstreams: 1 Lambert_MarisaMartins_D.pdf: 8651465 bytes, checksum: c15eb6717921576693470453bf9e13c0 (MD5) Previous issue date: 2010 / Resumo: Abrangendo as vias da prática artística e reflexão teórica, esta pesquisa propõe-se a investigar a construção do saber expressivo do artista da dança. Avalia brevemente modos de se ensinar e criar a dança cênica, para reconhecer as necessidades de o artista ser, hoje, um intérprete-criador da sua linguagem expressiva. Ressalta a importância, para o profissional da arte do movimento, de maleabilizar suas fronteiras, voltando-se para a posse de uma corporeidade consistente, capaz de gerar respostas engajadas e diferenciadas, frente a seus desejos criativos e às novas demandas que eclodem da contemporaneidade. Por meio de recursos provenientes dos campos da Educação Somática e da Análise do Movimento, enuncia-se aqui um caminho que propõe o desenvolvimento do potencial expressivo pelo fluxo percepção/ação - uma abordagem que busca contatar os próprios alicerces da expressividade. Direcionada a apoiar o artista conceitualmente e em uma vivência corporal criativa, fundada na autenticidade, aponta uma visão sensível e dinâmica dos princípios e conceitos do Sistema Laban/Bartenieff, como ferramenta para recontextualizar processos de formação e criação em dança. Os objetivos dessa pesquisa completam-se na sua aplicação prática em dois projetos de criação coreográfica, que tecem o impulso poético da autora a um espaço aberto que acolhe e estimula o artista intérprete- criador na investigação da sua singularidade expressiva. / Abstract: Encompassing the ways of artistic practice and theoretical thought, this research intends to investigate the building of the expression knowledge held by dance artists. It briefly evaluates the means of teaching and creating scenic dance, for grasping today's artist needs to become the creator and performer of his expressive language. It highlights the importance, to the worker of the art of movement, to be pliant to one's boundaries, towards a consistent corporeal mastery, able to produce engaged and original responses both to one's creative longings and to new demands of contemporaneity. Through resources provided by the fields of Somatic Education and Movement Analysis, a path is presented that proposes expressive potential enhancement through the perception/action flow - an approach that pursues reaching the very foundations of expressivity. Engaged on conceptually supporting the artist and on a creative bodily experience founded on authenticity, it points to a sensible and dynamic sight of Laban/Bartenieff s system as a tool for a new contextualization of dance teaching and creating processes. The goals of this research are achieved with its practical application to two choreography creation projects that weave the author's poetic drive to the open space which hosts and stirs the performer-creator artist to the quest of his expressive singularity. / Doutorado / Doutor em Artes

Orientador: Cássia Navas Alves de Castro / Acompanhado de 4 DVDs de espetáculo: Querida Sra. M., (2000); 3 tempos num quarto sem lembrança (2009); Um corpo do qual se desconfia (2007); (depois de) Antes da Queda (2010) / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T01:50:03Z (GMT). No. of bitstreams: 1 Moraes_JulianaMartinsRodriguesde_D.pdf: 19861954 bytes, checksum: 0d52fcb0187c5f49bc157dd08e12eaba (MD5) Previous issue date: 2011 / Resumo: A presente tese dedica-se a uma reflexão sobre conceitos que foram se tornando fundamentais em meus processos de criação coreográfica. Ao invés de formalizar uma estética da memória fixa, o processo de escrita se permitiu ser um devir, reunindo experiências do passado, do presente, e expectativas futuras. Trançando as palavras, construiu-se uma coreografia em parte rígida e em parte livre - como personagens que habitam o mesmo palco. O texto divide-se entre vozes acadêmicas e pessoais, sendo a frente das páginas um espaço mais rígido e o verso mais livre. Essa organização precária acabou se sedimentando durante o processo de escrita, que seguiu caminhos similares aos que empreendo ao criar minhas peças: em parte conscientemente, em parte inconscientemente. Dedico o capítulo 1 a uma análise profunda sobre como a ideia de harmonia perpassa a obra de Laban - tema que me é fundamental, posto que a análise de Laban tornou-se, nos últimos dez anos, ferramenta imprescindível para meu trabalho de criação de movimentos. O capítulo 2 propõe uma análise da organização espaço-temporal da cena a partir das metáforas analisadas por Mark Johnson sobre a relação entre criança e objeto, sendo elas: criança-estável/ objeto-que-passa e objeto-estável/criança-que-passa; nesse capítulo debruço-me também sobre as ideias de André Lepecki a respeito do que ele considera ser a ontologia política da dança na modernidade, criticando-as em suas bases. No capítulo 3, empreendo uma descrição da maneira como venho desenvolvendo as dramaturgias de meus trabalhos, que atualmente denomino de dramaturgia do in/consciente: empresto as ideias de Freud e alguns desenvolvimentos de Deleuze a respeito da repetição, mais especificamente sobre como ela opera nas trocas simbólicas pelas quais o inconsciente se manifesta, para pensar estratégias de construção de significado em dança; descrevo ainda conceitos que desenvolvi nos últimos anos, de textura/frequência e assemblage, para deslindar elementos que foram se tornando pilares em minha poética / Abstract: The present thesis is dedicated to a reflection about concepts that have become fundamental in my processes of choreographic creation. Instead of rendering to an aesthetic of fixed memory, the writing process was allowed to be, itself, a process of becoming, getting together past and present experiences as well as future expectations. Weaving the words, a choreography partly rigid and partly free was constructed - as characters who inhabit the same stage. The text is divided into academic and personal voices, being the front of the pages a more rigid space and the verse freer. This precarious organization was sedimented during the writing process, which followed similar paths to the ones I under take when creating my pieces: negotiating unconscious and conscious images. I dedicate chapter 1 to a deep analysis of how the idea of harmony runs through the work of Laban - an issue that was fundamental for me to understand since the analysis of Laban became, in the last ten years, an important tool for my work in the creation of movements. Chapter 2 proposes an analysis of the space-time organization of the scene from the perspective of the metaphors analyzed by Mark Johnson on the relation between baby and object, those being: baby-steady/object-that passes and object-steady/baby-that-passes; in this chapter I also dedicate myself to thinking about the ideas of Andres Lepecki regarding what he considers to be the political ontology of dance in modernity, criticizing his ideas in their bases. In chapter 3 I under take a description of the way I have come to develop the dramaturgies of my works, which I currently call dramaturgy of un/conscious: I borrow ideas from Freud and some developments of Deleuze regarding the repetition, more specifically on how it operates in the symbolic exchanges through which the unconscious manifests, to think about strategies for creating meaning in dance; I also describe concepts that I developed in recent years, of texture/frequency and assemblage, in order to elucidate elements that have become returning pillars in my poetical work / Doutorado / Artes Cenicas / Doutor em Artes

This diploma thesis presents monographic study that deals with the autonomy of schools in the context of the idea of the Waldorf School and philosophical convictions of its founder Rudolf Steiner. The content itself brings a particular identification, analysis and description of the basic principles of Steiner's ideas of Social Threefolding. For better grip and insights into this topic in the introductory chapters with the concept of autonomy as the general context, and given directly to the school autonomy. Further insight on school administration and local government and various school systems in the European area. The work also includes historical and political context of the time of different directions of reform pedagogy 19th and 20th century, which proved, among other things, as one of the key conditions for understanding the concept of free Waldorf school Rudolf Steiner and the conditions under which it was created. KEYWORDS autonomy, school, Waldorf pedagogy, Waldorf School, anthroposophy, Rudolf Steiner, competence, autonomy, responsibility, Social Threefolding

Hierdie is 'n psigobiografiese studie van Generaal Christiaan Rudolph de Wet. 'n Psigobiografiese studie is die bestudering van 'n persoon se volledige lewe met die doel om die persoon beter te verstaan. Psigobiografiese navorsing maak gebruik van psigologiese teorieë wat aangewend word om die biografiese data van 'n persoon se lewe te beskryf en moontlik ook te verklaar. Die individu wat bestudeer word, is gewoonlik 'n bekende, invloedryke, navolgenswaardige, interessante of modelfiguur. Daar is tans 'n oplewing in die veld van psigobiografiese studies, maar daar word nog steeds nie genoeg in die akademiese veld gedoen om psigobiografiese studies te bevorder nie. De Wet (1854-1922) is vir hierdie studie gekies omdat hy 'n interessante, dog komplekse figuur was. Hy het veral tydens die Anglo-Boereoorlog in 1899-1902 bekendheid verwerf. As 45-jarige man het De Wet in die Anglo-Boereoorlog geveg en vinnig opgang as 'n militêre leier gemaak. Sy vindingryke ontsnappingspogings het die Britse magte hoofbrekens besorg. Wat De Wet verder uniek maak, is dat hy met net drie maande skoolopleiding in die parlement gedien het, as president verkies is, die hoogste gesag in die Verdedigingsmag gehad het en 'n boek oor sy oorlogsherinneringe geskryf het. Alhoewel daar akademiese werke oor De Wet bestaan, is daar tot op hede nog geen psigobiografiese studie oor hom gedoen nie. Die doel van die studie was om die mens agter die legende na vore te bring. Daar is ook gepoog om moontlike antwoorde en verklarings op onbeantwoorde vrae te gee. Die studie het van beide kwalitatiewe en kwantitatiewe data gebruik gemaak en kan as 'n psigobiografiese gevalstudie beskryf word. Die Vyf-faktor model van Costa en McCrae (1992) is op die biografiese data van De Wet toegepas om sodoende sy persoonlikheidseienskappe te beskryf. Die bevindinge het interessante persoonlikheidseienskappe van De Wet deur middel van die Vyf-faktor model aan die lig gebring. Volgens die kwalitatiewe navorsingsbevindinge was De Wet 'n vyandige, aksie-gedrewe, bevoegde, prestasie-strewende, selfgedissiplineerde, warm, openhartige, saggeaarde en beskeie persoon. Die kwalitatiewe en kwantitatiewe data-ontledings het uiteenlopende persoonlikheidskenmerke by De Wet geïdentifiseer. Die grootste verskille het by die fasette warmte, openhartigheid en altruïsme voorgekom. Die waarde van die studie is dat 'n wetenskaplike persoonlikheidsontleding van De Wet gedoen is. Dit is ook die eerste studie waar 'n teoretiese model op De Wet se persoonlikheid toegepas is. Alhoewel die studie sekere tekortkominge toon, beklemtoon dit terselfdertyd die wenslikheid daarvan om alternatiewe modelle te gebruik tydens die ontleding van persoonlikheidskenmerke. Die studie dui ook op die behoefte aan verdere navorsing, byvoorbeeld soortgelyke ontledings en vergelykings van die persoonlikhede van ander militêre bevelvoerders (De la Rey, Smuts, Beyers, Hertzog).

The thesis deals with the history and the present of waldorf schools founded by Rudolf Steiner. Also describes media literacy with an emphasis on new media. It covers the way how the new media education is embedded in the Czech educational system. As a particular example served curriculum of the school subject Information and communication technology of the waldorf secondary school in Prague. The thesis also describes the way of media education in Germany. In the second part of this thesis can be found an evaluation of the questionnaire made in secondary waldorf schools in Prague and Semily which had to learn the status quo of (new) media literacy of the students and their relationship with modern technologies. The end of the thesis deals with the suggestion of improvement of the tuition based on the German model.

Following old master drawings within the collections of selected Czech collectors Abstract This thesis is a contribution to the history of collecting in Bohemia. It deals with the collecting of drawings and tracks them within the selected collections and collectors. It focuses primarily on the old master drawings, defined as works from the 16th to the 18th century. Within the issue of collecting the attention is, even when studying specific personalities, often paid to the picture galleries rather than the print collections. Due to its fragile nature, drawing tends to fit into the background and, if it does not form the main part of the collection, is not reflected. Many of the collections and collectors have come to attention lately, but many still await their appreciation and introduction into new contexts. Keywords Collecting, collector, drawing, Old Master Drawings, Bohemia, provenance, Prokop Toman, Rudolf Kuchynka, Vincenc Kramář, Jan Krčmář, Frits Lugt

disertační práce v anglickém jazyce ALICE BARTŮŠKOVÁ MONASTIC RULES AND MUSES. THE CAPUCHIN FRIARS IN THE SERVICE OF THE ART IN EARLY BAROQUE BOHEMIA VEDOUCÍ PRÁCE: DOC. PHDR. MARTIN ZLATOHLÁVEK, PHD. Dissertation entitled Monastic rules and muses. The capuchin friars in the service of the art in early Baroque Bohemia set out for the purpose of research to the neglected theme of the Capuchin brothers - painters on the border between Mannerism and the Baroque era. This phenomenon in painting, which is not only characteristic for the order of the Capuchins, but also of other ecclesiastical orders, has never been more comprehensive. The Capuchin brother Paolo Piazza came to the Czech lands with first capuchin brothers; in his paintings he is inspired of the Venetian school of the 16th century. He was a versatile painter, he created not only painting on canvases, but also made wall paintings and his painting manuscript was not uniformly defined. Paolo Piazza worked in the capuchin monasteries in Prague and Brno during the reign of Rudolph II, for the emperor himself he created several artworks. Piazza's work has also been preserved in the engravings of the Sadeler family. Thanks to these engravings, several Piazza's compositions with a set iconographic type have spread to European fine arts. From the...

This diploma thesis deals with the spiritual poetry of Rudolf Jurolek from a religionistic- theological perspective. First, it determines the context of the poet's work through the delimitation of the concept of spiritual poetry and the characteristics of its contemporary form. The thesis then contains a detailed literary-religionistic analysis of individual Jurolek's poetry collections (Dobrovoľná samota, Život je možný, Smrekový les, Poľné vety, Posunok, Putovanie Jakuba z Rána, Hierografia) with an increased interest in spiritual themes and motifs. Subsequently, based on the results of the first two steps, the thesis determines mysticism as a suitable interpretative framework for religionistic-theological research. Among the focal points of Jurolek's spiritual search, nature and poetry, the thesis reveals the connection with mysticism, both on a thematic-motivic level through the figures of particular saints (St. Francis of Assisi, St. Hildegard of Bingen, Plotinus) and through individual phases of mysticism (awakening, purification, enlightenment). The thesis also finds a connection with mysticism in the poet's way of writing which, from the point of view of philosophy, recalls the procedures of Husserl's phenomenology. At the same time, the thesis observes where Jurolek comes closer to the...

This thesis deals with the system of schools in Waldorf and the education of Waldorf kindergarten teachers in the Czech republic. The theoretical part is focused on the personality of Rudolf Steiner and his philosophy, followed by the formation and spread of Waldorf-type schools in the Czech republic. Next, it is focused on the Association of Waldorf schools and the Association of Waldofrn kindergartens, which support the education of Waldorf teachers. An element of the theoretical part is also an analysis of the education of teachers for Waldorf kindergartens. The goal of the practical part is to determine the continuity of each individual grade of education of Waldorf schools in the Czech Republic, and a focus on research, whose goal is to find out the continuity of the individual grades of education of Waldorf schools in the Czech Republic.The next part is dedicated to an analysis of the 'School educational programs' of selected Waldorf kindergartens and their comparison thereafter. Organisation and the content of educational seminars for Waldorf kindergarten teachers and a task 'Association of Waldorf kindergartens in organising educational seminars' is described in the next part. The conclusion of the practical part is based on a survey among teachers of Waldorf kindergarten teachers. The goal...