O objetivo desta dissertação é examinar as articulações entre o teatro e as mídias digitais no âmbito dos espetáculos Isadora.Orb- A Metáfora Final (2005), do brasileiro nascido nos Estados Unidos Ricky Seabra, e A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente I Smetteredi Fare Il Ridicolo (2007), do argentino radicado na Espanha Rodrigo García. Considerando o espetáculo teatral como um espaço intermedial por excelência, a análise das obras permitiu a identificação dos procedimentos de composição da cena onde se destacam os princípios operatórios aqui denominados como montagem revelada e acontecimento teatral como experimento. / This thesis aims at examining the manner in which the theatre articulates with the digital media in two plays, Isadora.Orb - A Metáfora Final (2005) - by the Brazilian director Ricky Seabra, born in the United States - and A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente e Smettere di Fare Il Ridicolo (2007) - by the Argentinian director Rodrigo García, who has established himself in Spain. By considering that the theatrical spectacle is the intermedial space par excellence, the analysis of these works allows the identification of the procedures employed for the composition of the scene. Among the most important of these, two procedural principles stand out, which are designated here as the revealed montage and the theatre event as an experiment.

O objetivo desta dissertação é examinar as articulações entre o teatro e as mídias digitais no âmbito dos espetáculos Isadora.Orb- A Metáfora Final (2005), do brasileiro nascido nos Estados Unidos Ricky Seabra, e A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente I Smetteredi Fare Il Ridicolo (2007), do argentino radicado na Espanha Rodrigo García. Considerando o espetáculo teatral como um espaço intermedial por excelência, a análise das obras permitiu a identificação dos procedimentos de composição da cena onde se destacam os princípios operatórios aqui denominados como montagem revelada e acontecimento teatral como experimento. / This thesis aims at examining the manner in which the theatre articulates with the digital media in two plays, Isadora.Orb - A Metáfora Final (2005) - by the Brazilian director Ricky Seabra, born in the United States - and A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente e Smettere di Fare Il Ridicolo (2007) - by the Argentinian director Rodrigo García, who has established himself in Spain. By considering that the theatrical spectacle is the intermedial space par excellence, the analysis of these works allows the identification of the procedures employed for the composition of the scene. Among the most important of these, two procedural principles stand out, which are designated here as the revealed montage and the theatre event as an experiment.

O objetivo desta dissertação é examinar as articulações entre o teatro e as mídias digitais no âmbito dos espetáculos Isadora.Orb- A Metáfora Final (2005), do brasileiro nascido nos Estados Unidos Ricky Seabra, e A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente I Smetteredi Fare Il Ridicolo (2007), do argentino radicado na Espanha Rodrigo García. Considerando o espetáculo teatral como um espaço intermedial por excelência, a análise das obras permitiu a identificação dos procedimentos de composição da cena onde se destacam os princípios operatórios aqui denominados como montagem revelada e acontecimento teatral como experimento. / This thesis aims at examining the manner in which the theatre articulates with the digital media in two plays, Isadora.Orb - A Metáfora Final (2005) - by the Brazilian director Ricky Seabra, born in the United States - and A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente e Smettere di Fare Il Ridicolo (2007) - by the Argentinian director Rodrigo García, who has established himself in Spain. By considering that the theatrical spectacle is the intermedial space par excellence, the analysis of these works allows the identification of the procedures employed for the composition of the scene. Among the most important of these, two procedural principles stand out, which are designated here as the revealed montage and the theatre event as an experiment.

Orientador: Vavy Pacheco Borges / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-25T02:22:32Z (GMT). No. of bitstreams: 1 Quaresma_MonicadosSantos_M.pdf: 5776772 bytes, checksum: 986addc46d5d00c45a27d3cc45adb34e (MD5) Previous issue date: 1999 / Resumo: Não informado / Abstract: During the old Republic, in special between 1910 to 1914, the states had, for several times to face the federal intervention. In this confuse period the relations between the states and federal goverment the brasilian historiography called it "National Salvations". It had the objective to conceive of the oligarchical groups that were settled in the goverments and substitute then by the sal vationist goverments, mili tary in nost of the time. In Bahia the sal vationist , theme of this reserch, happened during the period when J. J. Seabra was the network of roads Minister and candidate to the goverment. But in Bahia the salvationist project was na exection among the states that had interventions too, because it wasn't antioligarchy and lither a simple alternation of groups in states goverment, it was one of the most violent, and began in 10/01/12 when Salvador had contingent military ocupation. Another particulary in this case was that the oligarchical reaction, the return of elites, deposed by salvations didn't happened in Bahia. It was a resul t of the. forro how was configureted the states goverment of J. J. Seabra elected immediately after the intervention. This reserch had na obj ecti ve to discuss the salvacionism in Bahia, its principal repercutions, and part of the bombardment of 1912, memory associated to Seabra's government ( 1912 to 1916 ). / Mestrado / Mestre em História