This thesis is aimed at the educational potential of theatre arts in a relationship to its recipients which are children of a younger school age and to its other actors like theatre lecturers and teachers. In the theoretic part of the thesis are defined the specifications of theatre art aimed at a child spectator in terms of a content of the theatre inscenations, school as a partner of cultural institutions, work with the audience, accompanying programs and its developers. The theoretic part of the thesis also maps already realized studies in the field of theatre education. The empirical part of the thesis is an effort to find out the educational efficiency of the theatre workshop programs, these being realized by a professional Czech theatre scenes, and reveals the methods of utilization of the educational potential of these programs by theatre lecturers and teachers. Research investigation showed a high effectivity of these programs in terms of personal and social growth of its recipients, specifically developing their key competences.

[ES] El presente estudio se centra en el análisis de la praxis teatral, a partir del montaje esceno-performativo: Descripción de un cuadro, texto de Heiner Müller, y dirección de Madeleine Loayza, con la finalidad de exponer la importancia de la «tensión erótica» (entendida como energía vital asociada a Eros) presente en la poíesis del acontecimiento teatral. Nos enfocaremos en los dispositivos contrahegemónicos (a los que caracteriza su gesto irreverente y crítico) presentes en el fenómeno sensoperceptivo y receptivo, el mismo que involucra la relación del actor-operador/performer con los diversos elementos que intervienen en la producción de dicha poíesis y su alcance en el espectador. La investigación incluye la poíesis convivial, productiva y la poíesis receptiva enfocadas en el proceso y en el resultado. En este contexto se observa, analiza e interpreta el modo en que acontece dicha tensión, emplazándonos desde el rol de artista-investigadora/espectadora. El estudio concluye con el soporte conceptual y el diseño de la investigación-creación: Mujer en llamas; donde la investigadora se asume como artista-investigadora/directora, actriz y dramaturga. Observar cómo se constituye el fenómeno sensoperceptivo y receptivo de la poíesis, al develarse el modo en que opera la «tensión erótica» y su alcance en el espectador, en tanto dispositivo de resistencia contrahegemónico por medio de mecanismos y formas de producción liminales, para lo cual se ponen en discusión las características de operación del dispositivo, de acuerdo con las particularidades del montaje propuesto. El estudio contempla, desde una perspectiva analítica, las teatralidades contemporáneas, pertenecientes al campo de la Teatrología, con énfasis en la dimensión performativa del signo teatral que destaca los aspectos espacio/temporales y kinésicos. Nos referirnos al análisis de la dinámica de la ejecución del signo en escena (que involucra al espectador), más que limitarnos a identificar la estructura de los signos teatrales; esta perspectiva desplaza al eje de la literatura dramática como referente canónico para abordar la experiencia escénica. Enfatizar el rol del cuerpo en el fenómeno sensoperceptivo y receptivo, entre el actor y el espectador, nos remite a la visión nietzscheana que toma como referente la tragedia griega (siglos V y IV a. C), retomada luego por Artaud y otros pensadores de su tiempo desde el campo de la filosofía; esta perspectiva potencia el rol del espectador en la dinámica escénica desde la auto-alteración y la capacidad crítica y autocrítica. De allí que el concepto liminalidad presente en Descripción de un cuadro, posea un carácter político importante en tanto contrahegemónico como antiestructura. Los parámetros para observar la operatividad de la «tensión erótica» se advierten en los dispositivos poéticos, que configuran su poíesis en las modalidades productiva, receptiva y convivial. En el montaje Descripción de un cuadro, el dramaturgismo, las prácticas performáticas; el análisis del «convivio» entre los diversos materiales o matrices que intervienen en el proceso de factura de la obra, como dispositivos poéticos, constituyen los pilares que sustentan el proceso de investigación-creación. En lo que respecta al soporte conceptual y exposición del diseño del montaje Mujer en llamas, este se desarrolla a partir de la metodología que guía el enfoque del presente estudio, con el objetivo que pueda ser incorporada y replicada en otros procesos creadores. / [CA] El present estudi es centra en l'anàlisi de la praxi teatral, a partir del muntatge esceno-performatiu: Descripció d'un quadre, text de Heiner Müller, i dirección de Madeleine Loayza amb la finalitat d'exposar la importància de la «tensió eròtica» (entesa com a energia vital associada a Eros) present en la poiesis de l'esdeveniment teatral. Ens centrarem en els dispositius contrahegemónicos (caracteritzats pel caràcter irreverent i crític) presents en el fenomen sensoperceptiu i receptiu, el fenomen mateix que involucra la relació de l'actor-operador/performer amb els diversos elements que intervenen en la producció d'aquesta poíesis i el seu abast en l'espectador. La investigació inclou la poíesis convivial, productiva i la poíesis receptiva enfocades en el procés i en el resultat. En aquest context s'observa, analitza i interpreta la manera en què esdevé aquesta tensió, emplaçant-nos des del rol d'artista-investigadora/espectadora. L'estudi conclou amb el suport conceptual i el disseny de la investigació-creació: Dona en flames; on la investigadora s'assumeix com a artista-investigadora/directora, actriu i dramaturga. Observar com es constitueix el fenomen sensoperceptivo i receptiu de la poiesis, al develarse la manera en què opera la "tensió eròtica" i el seu abast en l'espectador, en tant dispositiu de resistència contrahegemònic per mitjà de mecanismes i formes de producció liminals, per a això es posen en discussió les característiques d'operació del dispositiu d'acord amb les particularitats del muntatge proposat. L'estudi contempla des d'una perspectiva analítica les teatralitats contemporànies pertanyents al camp de la Teatrología, posant especial èmfasi en la dimensió performativa del signe teatral que destaca els aspectes espai/temporals i kinèsics. Ens referirm a l'anàlisi de la dinàmica de l'execució del signe en escena (que involucra a l'espectador), més que limitar-nos a identificar l'estructura dels signes teatrals; desplaçant-nos de l'eix de la literatura dramàtica com a referent canònic a l'experiència escènica. Emfatitzar el rol del cos en el fenomen sensoperceptiu i receptiu, entre l'actor i l'espectador, ens remet a la visió nietzscheana que pren com a referent la tragèdia grega (segles V i IV a. C), represa després per Artaud desde l'escena i per altres pensadors del seu temps des del camp de la filosofia; perspectiva es potencia el rol de l'espectador en la dinàmica escènica, des de l'acte-alteració i la seua capacitat crítica i autocrítica. Per aquest motiu el concepte liminalitat present en Descripció d'un quadre, poseeix un caràcter polític important en tant contrahegemónico com a antiestructura. Els paràmetres per a observar l'operativitat de la «tensió eròtica» s'adverteixen en els dispositius poètics que configuren el seu poíesis en les modalitats productiva, receptiva i convivial. En el muntatge Descripció d'un quadre, el dramaturgismo, les pràctiques performatives; l'anàlisi del "convivio" entre els diversos materials o matrius que intervenen en el procés de creació de l'obra, com a dispositius poètics, constitueixen els pilars que sustenten el procés d'investigació-creació. Pel que fa al suport conceptual i exposició del disseny del muntatge Dona en flames, aquest es desenvolupa a partir de la metodologia que guia la perspectiva del present estudi, amb l'objectiu que puga ser incorporada i replicada en altres processos creatius. / [EN] This research focuses on the analysis of theatrical praxis, coming from the sceno-performative staging of: Description of a painting, written by Heiner Müller, and directed by Madeleine Loayza, in order to expose the importance of the "erotic tension" (understood as vital energy associated with Eros) present in the poiesis of the theatrical event. We will focus on the against-hegemonic devices (which characterizes its irreverent and critical gesture) present in the sensoperceptive and receptive phenomenon, which also involves the relationship between the actor-operator/performer with the various elements that intervene in the production the mentioned poiesis and its scope to the spectator. For this reason, the research includes convivial productive poíesis and receptive poíesis, focused on the process and the result. Under this context, the way in which this tension occurs is observed, analyzed and interpreted, summoning us from the role of artist-researcher/spectator. The study concludes with the conceptual support and design of the research-creation: Woman on fire; where the researcher is assumed as artist-searcher/director, actress and playwright. Observes how the senso-perceptive and receptive phenomenon of poíesis is constituted, the way in which "erotic tension" operates and its scope to the spectator is revealed, as a device of against-hegemonic resistance that uses mechanisms and forms of liminal production, for which the operating characteristics of the device are discussed according to the particularities of the proposed assembly. The research considers contemporary theatricalities as an analytical approach, that belong to the field of Theatrology, with emphasis on the performative dimension of the theatrical sign that highlights the spatial/temporal and kinesic aspects. We are interested in analyzing the dynamics of the enforcement of the sign on stage (which involves the viewer), rather than limiting ourselves to identify the structure of the theatrical signs; this perspective displaces the axis of dramatic literature as a canonical reference to address the stage experience. Giving emphasis to the role of the body in the sensory-perceptual and receptive phenomenon, between the actor and the spectator, refers us to the Nietzschean vision that takes as a reference the Greek tragedy (5th and 4th centuries BC), later taken up again by Artaud and other thinkers and philosophers of this period; In this way, the role of the spectator in the scenic dynamics is also enhanced, from self-alteration and their critical and self-critical capacity. Therefore, the concept of liminality in Description of a painting has an important political character as bot: against-hegemonic and anti-structural. The parameters for observing the operability of the "erotic tension" are seen in the poetic, devices that configure its poiesis in the productive, receptive and convivial modalities. In the staging of Description of a painting; the playwriting, the performative practices, the analysis of the "conviviality" between the various materials or matrices that intervene the invoice process of the work as poetic devices, constitute the pillars that support the research-creation process. Regarding the conceptual support and design exhibition for the staging of Woman on Fire, it is developed by the methodology that guides the focus of this study, with the aim that it can be incorporated and replicated in other creative processes. / Loayza Cabezas, GM. (2021). La osadía de Eros. La «tensión erótica», dispositivo contrahegemónico de la poíesis teatral, de "Descripción de un cuadro" a "Mujer en llamas" [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/179975

Call number: LD2668 .T4 1985 C65 / Master of Arts

Syftet med denna självstudie är att erhålla kunskap om hur ögonblickets interpretation, dvs. känslan av varande i nuet uppnås inför och under sceniska framträdanden. Studiens frågeställningar är: Vilka tillvägagångssätt används för att uppnå det mentala tillstånd som gör att en känsla varande i nuet infinner sig? Vilka insikter behövs för att en sådan känsla ska infinna sig? Studien utgår från ett hermeneutiskt perspektiv och metod är observation med hjälp av videoinspelning och loggbok. Resultatet presenteras utifrån tre teman: Strävan efter innehållslig förståelse, Insikter av betydelse och Ökad medvetenhet. I diskussionskapitlet vägs resultatet mot den litteratur och tidigare forskning som presenteras i bakgrundskapitlet. / The purpose of this study is to obtain knowledge about how the present moment in music, i.e., the feeling of being in the present moment is achieved before and during musical performances. The study is based on a hermeneutic perspective and the method of choice is video recording and logbook. The results are presented according to three themes: The quest for contextual understanding, insights of importance and increased awareness. In the discussion the result is measured to the literature and previous research presented in the background chapter.

This research focused on gaining a greater understanding of Indiana nonprofit theatre professionals regarding relationship-building practices with their patrons. In addition, this researcher questioned whether Bruning and Ledingham's organization-public relationship theory was applicable to theatres.Executive directors and managing directors from 21 theatres completed a Q sort to evaluate their perceived level of relationships with their patrons. From the sorts, three distinct factor groups were revealed: communitarians, partner makers, and idealists.The communitarians placed a strong commitment to the community and education. The partner makers focused on building community and business partnerships. Idealists showed a generalized focus on both community, patron, and businesses without being able to fully implement their interests. / Department of Journalism

This thesis deals with dramatizations of literary works that were introduced at the National Theatre after1990. Compares prose texts with newly formed theatrical texts. It also focuses on the transformation of interpretations of individual works, which occurred as a result of dramatization. For each unfinished work also always gives relevant circumstances relating to the production.

A research report submitted in partial fulfilment of the requirements for the degree of Master of Arts In the field of Cultural Policy and Management Faculty of Humanities University of Witwatersrand, 2016 / Sustainability is a concept that has received a lot of attention in arts management discourse. It is also a concept that many theatre organisations grapple with both in developing and developed countries. Practitioners, managers and scholars have been trying to find solutions to the growing need for sustainability of arts organisations. While a number of strategies have been proffered, most of them have been focusing on financial sustainability. This study argues that if arts organisations are to achieve sustainability, the issue must be looked at from a broader, holistic perspective. In pursuing a holistic perspective on sustainability, the overarching argument is that for a theatre organisation to achieve sustainability, it must be guided by four pillars. These pillars are artistic vibrancy, community relevance, capitalisation and good governance. The focus of the study is on not-for-profit theatre organisations operating in Zimbabwe. Savanna Trust, a theatre organisation based in Zimbabwe is used as a case study. The study starts by looking at the external and internal challenges that are faced by theatre organisations operating in unstable socio-political and economic environments such as Zimbabwe. These challenges are some of the major impediments to organisations that pursue sustainability. The study then uses the four pillars to examine Savanna Trust and its capacity to become a sustainable organisation. This study recommends some strategies that not-for-profit theatre organisations can implement in pursuance of sustainability. It is hoped that the study will also contribute to a body of academic literature on theatre and sustainability with a specific focus on not-for-profit theatre organisations. / GR2017

O presente trabalho consiste no estudo histórico-descritivo (pesquisa teórica e de campo) sobre o trabalho da Companhia da Arte Andanças (Fortaleza-Ceará), apresentando algumas metodologias utilizadas em processos de aula e criação cênica, com o intuito de contribuir para a discussão e ressignificação de modos de fazer e conceber a práxis do ator-bailarino-performer. Proponho um olhar sobre o processo de criação do espetáculo O Tempo da Paixão ou o Desejo é um Lago Azul, livremente inspirado na obra do artista plástico cearense José Leonilson (1957-1993). Num primeiro momento descrevo o percurso e as atividades da Cia., bem como alguns de seus modos operacionais; na segunda parte exponho princípios e métodos de trabalho; no terceiro capítulo adentro no processo de montagem do supracitado espetáculo, pontuando aspectos de sua singularidade; e, por fim, teço uma breve reflexão sobre a relação entre técnica, criação e pessoalidade, cujos entrelaçamentos, suponho, tensionam uma composição dramatúrgico-afetiva. / This work consists of a historic-descriptive study, based on theoretical and field research, of the work of Companhia da Arte Andanças, in Fortaleza, Brazil, presenting some methodologies employed throughout processes in class of scenic creation in order to contribute to the discussion and the \"resignification\" of different ways of making and understanding the praxis of the actor/dancer/performer. I propose a new look at the creation process of the play \"O Tempo da Paixão ou O Desejo é um Lago Azul\", which was liberally inspired by the work of the visual artist, José Leonilson (1957-1993), from Ceará, Brazil. In the first part, I describe the trajectory and the activities of the company, along with some of its modes of operation. In the second part, I focus the discussion on the principles and methods of its work. In the third part, I immerse myself in the process of assemblage of the afore mentioned play, sampling aspects of its uniqueness. Finally, I present a brief reflection of the relation between technique, creation, and personality, whose connections are supposed to tense a dramaturgical-affective composition.

O objetivo deste trabalho é analisar o processo de criação dos figurinos dos espetáculos do grupo Lume Teatro. Já que este grupo é, antes de tudo, um núcleo de pesquisa, o presente trabalho busca então compreender de que forma as linhas de pesquisa do Lume Teatro influenciam ou modificam o modo de produção dos trajes de cena. Para atingir essa meta, analisamos o pensamento acerca dos figurinos dos mestres teatrais que foram a base do trabalho desenvolvido pelo Lume. A seguir, foram entrevistados os sete atores-pesquisadores do Lume e dois figurinistas que trabalham com frequência com o grupo. A partir das entrevistas, descrevemos o processo de criação dos trajes de espetáculos derivados de três linhas de pesquisa, apontando as características recorrentes de cada linha. O trabalho de finalização teve como guia norteador o estabelecimento de pontos de contato e distanciamento entre aquilo que os mestres do Lume diziam a respeito do figurino e aquilo que o Lume produz. / The objective of this research is to analyze the creative process behind the costumes used by Lume Teatro. Since Lume Teatro is first and foremost a research center, this study aims to find out whether the research lines of the group influence or change the means of production of their costumes. The analysis was carried out in three phases. First, the writings of Lume Teatro\'s masters were examined in order to understand their thoughts on costumes. The second phase was to interview Lume\'s seven actors and two costume designers who often work for them. The third phase was to describe the creative process behind each spectacle of three of their research lines. We were then able to point out recurrent characteristics in each research line. The result of this study was guided by a comparison of Lume Teatro\'s costume practices with their masters thoughts on the subject.

Pessoas que relacionam seus processos identitários e/ou expressivos com as transgeneridades provocam uma ruptura nos parâmetros normativos da cisgeneridade, os quais não se estabelecem mais como eixo de leitura do sujeito. Por sua vez, o modo receptivo proposto pelas pessoas transgêneras demanda uma atuação de leitura que leva em conta processos de reconhecimento recíproco suscitados no encontro com pessoas cisgêneras. Sendo um modo interpretativo de gênero, a passabilidade termo utilizado pela comunidade trans para indicar o grau em que a recepção e a expressão de gênero coincidem com uma cisgeneridade oposta à compulsória, ou seja, o passar socialmente desapercebido a mudança de gênero é influenciada por padrões cotidianos de performatividade psicossocial cisnormativa. A pesquisa visa investigar os dilemas e conflitos presentes no encontro da cisgeneridade com pessoas transgêneras femininas almejando equacionar elementos sensíveis da teatralidade para avaliar como ocorrem as situações de reconhecimento e desrespeito nessa cena a partir de dimensões poéticas atuantes na recepção e na performatividade de gênero. Este estudo propõe que a busca por reconhecimento recíproco de pessoas transgêneras pode contribuir em processos de construção e recepção social de sua performatividade, altamente marcados por situações de enfrentamento e violência. Assim, questiona-se: qual o efeito estético das transgeneridades hoje? A hipótese do estudo é a de que a leitura das transgeneridades femininas é sublinhada por processos épicos de elaboração poética cênica que, por sua vez, têm influência de condicionantes de passabilidade social ligadas ao drama. O campo da pesquisa visou investigar cenas próprias de encontro e desencontro com pessoas transgêneras femininas suscitadas a partir de três frentes: 1) recepção teatral: depoimento de espectadores/as que assistiram a encenação A Demência dos Touros da companhia Teatro do Perverto, cuja criação aborda problemáticas sociais da vida de mulheres transgêneras; 2) mediação teatral: registros de participantes de oficina intitulada Poéticas de gênero em interseccionalidade social, a qual foi elaborada tendo em vista os paradigmas e práticas da Teatra da Oprimida; e 3) performance: relato de Tetagrafias, experimento desenvolvido pela pesquisadora em Coimbra, Portugal. O referencial teórico da tese se baseia nos trabalhos sobre performatividade, recepção teatral e estudos de gênero e desdobra os seguintes aspectos que se equacionam entre a performance e a recepção das transgeneridades: a) loucura; b) anticolonialidade; c) indisciplina; d) reclusão; e) bestialidade; f) objetificação e g) desprezo. Dado que a encenação A Demência dos Touros tem sua problematização transliteralizada da novela O Alienista, de Machado de Assis, na qual se discutem peripécias e gravidades da patologização do social, a tese empreende reflexão sobre dinâmicas da loucura como o modo interpretativo decisivo para a leitura de gênero que se faz sobre as pessoas trans. Associa-se, então, as formas hegemônicas das transgeneridades aos modos coloniais de controle do corpo trans pelo Estado (realizado por meio dos condicionadores do processo transexualizador) tendo em vista a discussão de biopolítica em Foucault. Busca-se evidenciar que a pluralidade subjetiva e social das transgeneridades não se restringe ao paradigma da modificação corporal, condição determinante do modelo dramático endócrino-psiquiátrico da transexualidade. A tese demonstra, portanto, aspectos críticos das operações poético-subjetivas da experiência de recepção da performatividade transgênera desvendando, inclusive, a sugestividade anticolonial e épica no saber travesti. Os elementos levantados (sensoriais, dinâmicos, afetivos e discursivos) possibilitam compor um quadro cênicopoético do impacto de recepção da construção da performatividade transgênera no contexto social / People who relate their identitary and / or expressive processes to transgenerities provoke a rupture in the normative parameters of cisgenerity, which no longer establish itself as an axis of reading of the subject. On the other hand, the receptive mode proposed by transgender people demands a reading activity that takes into account processes of reciprocal recognition raised in the encounter with cisgender persons. As an a interpretative mode of gender, passability a term used by trans community to indicate the degree to which gender reception and expression coincide with a cisgenerity opposed to compulsory, that is, socially unnoticed change in gender is influenced by everyday norms of psychosocial cisnormative performativity. The research aims to investigate the dilemmas and conflicts present in the encounter of cisgenerity with female transgender people aiming to equate sensitive elements of theatricality to evaluate how the situations of recognition and disrespect in this scene occur from poetics dimensions acting in the reception and in the performativity of gender. This study proposes that the search for reciprocal recognition of transgender people can contribute to processes of social construction and reception of their performativity, highly marked by situations of confrontation and violence. Thus, it\'s asked: what is the aesthetic effect of transgenerity today? The hypothesis of the study is that the reading of feminine transgenerity is underlined by epic processes of scenic poetic elaboration that, in turn, are influenced by conditions of social passability linked to drama. The field of research aimed at investigating specific scenes of encounter and disagreement with female transgender people raised from three fronts: 1) theatrical reception: testimony of spectators who attended the theatre play A Demência dos touros of the company Teatro do Perverto, whose creation addresses social issues in the lives of transgender women; 2) theatrical mediation: registers of workshop participants entitled Poetics of gender in social intersectionality, which was elaborated in view of the paradigms and practices of Teatra da Oprimida; and 3) performance: Tetagrafias report, an experiment developed by the researcher and held in Coimbra, Portugal. The theoretical framework of the thesis is based on the works on performativity, theatrical reception and gender studies und unfolds the follow aspects that are equated between the performance and the reception of transgenerities: a) madness; b) anticoloniality; c) indiscipline; d) imprisonment; e) bestiality; f) objectification and g) contempt. Given that the theatre play A Demência dos touros has its problematization transliterated from the novel O Alienista, by Machado de Assis, in which the surprises and seriousness of the pathologization of the social are discussed, the thesis undertakes reflection on the dynamics of madness as the decisive interpretative mode for the reading about trans people. The hegemonic forms of transgenerity are then associated with the modes of control of the trans body by the state (developed through the conditioners of the transexualization process) in view of the discussion of bio-politics in Foucault. It is sought to show that the subjective and social plurality of transgenerity is not restricted to the paradigm of corporal modification, a determining condition of the dramatic endocrine-psychiatric model of transsexuality. The thesis demonstrates, therefore, critical aspects of the poetic-subjective operations of the reception experience of the transgender performativity, revealing even the anticolonial and epic suggestiveness in travesti knowledge. The raised elements (sensorial, dynamic, affective and discursive) make it possible to compose a scenic-poetic frame of the reception impact of the construction of transgender performativity in the social context