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.

Orientador: Verônica Fabrini Machado de Almeida / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T22:11:29Z (GMT). No. of bitstreams: 1 Otani_Daves_D.pdf: 3263077 bytes, checksum: b6e31bdd9d62b39a46f9ea95f66b1486 (MD5) Previous issue date: 2012 / Resumo: A presente pesquisa trabalha com a hipótese de que existe uma geratriz improvisacional espetacular (GIE) que, por meio de matrizes criativas definidas anteriormente e/ou encontradas durante o período inicial da montagem de um espetáculo teatral, proporciona que a improvisação, conduzida e provocada pelo tema do espetáculo, gere, ao mesmo tempo, precisão e abertura, rigor e risco. O período inicial marca o espetáculo de forma a dar-lhe uma pré-configuração, a estrutura enquanto um corpo a ser constantemente modelado, no entanto, sedimentado em uma matéria já pré-definida. Para investigar a hipótese, analiso o processo criativo e as apresentações públicas do espetáculo teatral "Primus" (adaptação do conto Comunicado a uma academia, de Franz Kafka) e, via a comparação, investigo ainda o processo criativo de "Mister K. e os artistas da fome" (adaptação do conto Um artista da fome, de F. Kafka) em busca de aprofundar a investigação e comprovar o fenômeno da GIE. Ambos os espetáculos são dirigidos por Verônica Fabrini e montados pelo grupo de pesquisa cênica "Boa Companhia", do qual participo como ator, desde sua formação, em 1992. É uma investigação participativa, do ator em diálogo com a encenação, do atuante que participa e, a partir de sua singularidade, compõe coletivamente. A reflexão toma como mote de partida os princípios conceituais do encenador e teórico russo C. Stanislavski, retrabalhados por E. Kusnet: improvisação como análise ativa, circunstancia propostas, objetivo da encenação, memória, ação interior e exterior, entre outros. Referencia ainda o trabalho aspectos do pensamento do filósofo G. Bachelard: imaginação material, potência do instante e intuição. O estudo conclui que a geratriz improvisacional espetacular de fato se caracteriza no trabalho da "Boa Companhia" / Abstract: The following research deals with the hypothesis that it does exist a spectacular improvisational generatrix (SIG) that, through a creative matrix previously defined and /or discovered during the theatrical initial stage, provides that the improvisation, conducted and provoked by the show's theme, generates at the same time precision and openness, rigor and risk. The initial period defines the show and gives it a pre-configuration to be worked - the structure as a body to be constantly shaped, however, settled in a pre-defined subject. To investigate that hypothesis, I do analyze the creative processes and public theatrical performances of the show "Primus" ( Franz Kafka tale's adaptation of "A report to an academy") and, by comparation, I do analyzed too the play "Mister K. e os artistas da fome" (Kafka tale's adaptation of "A hunger artist") both directed by Veronica Fabrini and performed by the scenic research group "Boa Companhia", in which I belong as an actor since it's foundation in 1992. It's a participatory investigation, a dialogue between actor and staging, of the actor that participates and forms the collective from its singularity. The reflexion begins with the russian theoretical Constantin Stanislavski's principles and theorical concepts, reworked by Eugenio Kusnet: improvisation as active analysis, event, given circumstances, staging objective, memory, inner and outer action. This work makes reference also to the philosopher Gaston Bachelard: material imagination, instant and intuition's power. The study concludes that the spectacular improvisational generatrix (SIG) in fact exists in Boa Companhia's performances and theatrical productions / Doutorado / Artes Cenicas / Doutor em Artes

Made available in DSpace on 2014-08-20T13:48:27Z (GMT). No. of bitstreams: 1 Fabiane_Tejadada_Silveira_Tese.pdf: 638899 bytes, checksum: 81fb9d25b2371e3e3a698bf71632e41c (MD5) Previous issue date: 2011-07-05 / This research aims to understand my construction process as an actress-womanteacher based on Paulo Freire s thoughts and having the idea of elaborating reflections about the of the historical subject in its aesthetic dimension and theatrical praxis as a pedagogical possibility in constructing this subject. The study has the qualitative bibliographical character with the focus on the theoretical production of Paulo Freire and in the autobiographical perspective of the research. The central theory is that Freire s thought of the construction of the historical subject in its aesthetic dimension, contributes to the re-signification of the pedagogical possibilities in the theatrical praxis on the process of constitution of this subject. In the attempt of establishing a dialogue between Freire s thought and scholars in the fields of philosophy, education and drama, I searched in Marx, Adorno, Fiori, Boron, Boal, Brecht, Duarte Jr, Gadotti, Nóvoa, Passeggi, Josso, Casali, among others, the basis to develop my theory. In this work, it was possible to verify that the theatrical pedagogical-praxis with the focus in the view of the world by the subjects involved can be an open space for the construction of historical subjects, that is, committed with the reflections concerning the relations between people and their humanization processes aiming social transformation / Esta pesquisa visa a compreender o meu processo de construção como atrizmulher-professora, tendo como base o pensamento de Paulo Freire, com o objetivo de elaborar reflexões sobre a constituição do sujeito histórico em sua dimensão estética e da práxis teatral como uma possibilidade pedagógica de construção desse sujeito. O estudo tem o caráter bibliográfico qualitativo com enfoque na produção teórica de Paulo Freire e na perspectiva autobiográfica de pesquisa. A tese central é que o pensamento de Freire sobre a constituição do sujeito histórico, em sua dimensão estética, contribui para a compreensão das possibilidades pedagógicas da práxis teatral no processo de constituição desse sujeito. Na tentativa de fazer dialogar o pensamento freiriano com teóricos do campo da filosofia, educação e do teatro, busquei em Marx, Adorno, Fiori, Boron, Boal, Brecht, Duarte Jr, Gadotti, Nóvoa, Passeggi, Josso, Casali, entre outros, subsídios para desenvolver minha tese. No trabalho, foi possível constatar que a práxis-pedagógica teatral, com o foco na leitura de mundo pelos sujeitos nela envolvidos, pode ser um espaço aberto para a construção de sujeitos históricos, ou seja, comprometidos com a reflexão sobre as relações entre as pessoas e seus processos de humanização, tendo em vista a transformação social

My research explores Alfred Hitchcock’s use of adaptation and the impact that this has on his status as an ‘auteur’. The aim, through looking at a cross section of his work, is to produce the basis for an adaptation model that could be used to examine his entire body of work, accounting for all influences, extratextual references, intertextualities, sequels, remakes and most importantly, other authors. By exploring Hitchcock’s use of the theatrical (a subject that is often ignored) and his lesser earlier films, we can begin to form the foundations for this model. By looking at his adaptation of a particular author and the textual evolution of one of his most iconic films, we are able to put this model to the test. Chapter one is the introduction, which looks at Hitchcock’s status within cinematic history, while also examining the current state of Hitchcock scholarship, auteur theory and adaptations studies. Chapter two examines the theatrical adaptations of Hitchcock’s British period, specifically shining light upon texts that are often ignored or maligned by theoretical study. Chapter three discusses the American theatrical adaptations, specifically looking at the role of the ‘meta-text’ and Hitchcock’s fascination with recreating the theatrical. Chapter four explores Hitchcock’s relationship with Daphne du Maurier, examining his adaptation of her work, overall themes, characters and ideologies. This chapter also presents an original reading of The Birds, which examines how Hitchcock’s film is more indebted to Du Maurier’s novels than her shot story of avian horror. Chapter five examines the evolution of Psycho. Hitchcock’s adaptation of, amongst others, Robert Bloch and Henri-Georges Clouzot will be discussed, as will the multiple sequels, remakes and exploitations that, in turn, adapt his own film. It will be argued that these texts are in fact adapting Psycho’s influences and origins as much as the film itself. Chapter six is the conclusion where the findings are analysed and the model of adaptation, which positions Hitchcock at the centre as a collector of texts is discussed. In occupying this position the notion of him as an ‘auteur’ is erased and instead he becomes the ‘Master of Adaptation’.

The aim of this research is to trace how the theatrical translation process, specifically within the genre of musical theatre, can be systematically approached by a director. Through practice-led research, this study documents the directorial process that was followed in order to translate the playtext of Bat Boy – the Musical from the American source context to the South African context. The intent of the process was to ensure that signifiers of the culture – as set out in the playtext – shifted to become indicative of the cultures of the performers who were cast in the production or target text. The first research phase addressed the theoretical framework of the study and the distinctions between theatrical translation, adaptation and variation were contemplated in order to substantiate the use of the term translation in the two-tiered translation approach suggested. In the second research phase, relevant dynamics in theatrical semiotic processes were used to analyse the playtext of Bat Boy – the Musical. In this, the first tier of translation, the dissertation surveyed the signs at work in the playtext taking cognisance of the ideological and aesthetic codes within the source text. Then, the corresponding social and textual codes within the socio-cultural domain to which the playtext was translated were investigated. The third research phase and second tier of translation occurred on the level of the mise-en-scène. Here, the directorial strategy was to engage the performers actively in the translation process, by including their respective artistic and cultural paradigms in the translation of the playtext and the characters contained therein. The translation of the playtext was explored within the cross cultural – and more specifically the intercultural – theatrical framework by allowing the multicultural and multilingual cast to source their diverse, cultural backgrounds and unique social codes as well as South African theatrical codes in order to place the musical in the South African context. The fourth and final research phase reflects upon the intercultural translation of Bat Boy – the Musical and considers, not only the efficacy of the directorial process for the translation of a musical theatre playtext from one cultural context to another, but also how this particular form of American musical theatre resonates within the multicultural and multilingual South African society. / Dissertation (MA)--University of Pretoria 2015. / Drama / Unrestricted

La mondialisation n’est plus seulement une réalité économique et commerciale, elle concerne aussi les domaines culturels et artistiques. Dans ce contexte, la traduction joue un rôle majeur car elle facilite les échanges tout en conservant la diversité des langues et des cultures. En permettant la circulation des œuvres dramatiques et lyriques dans leur dimension spectaculaire, le surtitrage répond à cet enjeu du dialogue interculturel. Ainsi, il s’est imposé comme une technique de traduction à part entière, à mi-chemin entre la traduction théâtrale et la traduction audiovisuelle. Sa pratique connaît d’ailleurs un essor constant depuis son apparition, posant ainsi la question de sa professionnalisation et exigeant, par là-même, que l’on s’interroge sur les outils nécessaires au surtitreur. Pour y répondre, une analyse théorique du surtitrage est indispensable car ce dernier présente des spécificités propres qui concernent aussi bien les textes source et cible que l’opération de traduction qu’il engage. La réflexion traductologique doit être accompagnée d’une réflexion théâtrologique car le surtitrage apparaît, de fait, comme un élément qui s’ajoute à une scénographie. Quel que soit son degré d’intégration à la mise en scène, il n’est pas sans incidence sur le spectacle qu’il traduit. Outre cette approche théorique, ce travail s’appuie sur une expérience pratique du surtitrage pour en cerner les différents enjeux. Une telle articulation entre théorie et pratique a conduit à la conception de nouveaux outils, méthodologiques et informatiques (cahier des charges fonctionnel du logiciel Surtitéa), pour faciliter l’activité du surtitreur et accompagner sa professionnalisation. / Globalization is no longer restricted to the economic and commercial spheres as the cultural and artistic worlds are now also affected by it. Within this context, translation plays a major role since it makes exchanges easier while maintaining the diversity of languages and cultures. In making possible the circulation of dramatic and lyrical works in their entire theatrical dimension, the practice of surtitles contributes to the elaboration of this intercultural dialogue. Hence, it came to be recognized as a specific technique of translation, half-way between theatrical translation and audiovisual translation. The practice of surtitles has been developing at a regular pace since its creation, raising thus the question of its professionalization and that of the tools required for such specific types of translation. To answer those questions, a theoretical analysis of surtitling is necessary because of its specificities concerning both the source and target texts and the very process of translation which it implies. A reflection on the theories of translation should be combined with a reflection on the theatrical field since the surtitles are, as a matter of fact, part of the scenography. No matter how much the surtitles are taking into consideration in the elaboration of the staging, their integration always has a consequence on the play they translate. Alongside this theoretical approach, this study is based on a practical experience in surtitling which has helped us to further delineate its features. This combination of theory and practice has resulted in the creation of new tools in the field of methodology and computing (practical guidelines for the users of the software Surtitéa) to ease the task of the translator and helps his professionalization.

Orientador: Suzi Frankl Sperber / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T05:42:34Z (GMT). No. of bitstreams: 1 Perez_DanielAlberti_M.pdf: 6405669 bytes, checksum: d26180d7130f467b1eab98c17b9451f7 (MD5) Previous issue date: 2013 / Resumo: Essa dissertação propõe a investigação de uma prática para atores, que sirva tanto para o contexto teatral quanto para o performativo. Buscam-se procedimentos que pouco a pouco permitam a autonomia dos atores para que eles possam encontrar seu próprio caminho estético e treinamento. Para tanto, este estudo tem como referência a Coreologia o Viewpoints, o Movimento Imagem e os Jogos Teatrais. / Abstract: This thesis proposes the investigation of a practice to actores that serves to theatral context and performative context. The searching of procedures that step by step permit an actors'autonomy to they persue their own aesthetics and training way. Therefore, this study has as reference the Coreology, the Viewpoints, the Moving Image and the Theater Games. / Mestrado / Teatro, Dança e Performance / Mestre em Artes da Cena

O presente trabalho propõe uma reflexão sobre as contribuições que a prática teatral, compreendendo tanto a leitura e a mise en voix do texto teatral quanto os jogos dramáticos pode trazer para o aprendizado do Francês Língua Estrangeira ao favorecer o desenvolvimento da expressão oral através de interações reais. A hipótese de nossa pesquisa é que a realização de atividades baseadas na materialidade do texto, unida a um trabalho que leve em conta as dimensões afetivas e corporais do sujeito, pode auxiliar na construção de uma nova enunciação em língua estrangeira. A experiência prática que fundamentou nosso estudo foi realizada com alunos da Escola Politécnica da Universidade de São Paulo, em 2007, a partir da leitura da peça La nuit juste avant les forêts , de Bernard-Marie Koltès (1988). Como metodologia da pesquisa, servimo-nos da análise de dados qualitativos obtidos através da aplicação de diários de bordo e de questionários. Tais instrumentos destacaram três temas principais mencionados pelos alunos participantes e cuja análise buscamos aprofundar: a expressão oral e a conversação, a visão da experiência com o texto e o jogo dramático, e as representações a respeito do vocabulário e da gramática / This work intends to reflect upon the contribution that the use of theatrical text, specially reading and text mise en voix, as well as dramatic games, may bring to the learning process of French as a foreign language. We believe that the application of these techniques may promote speaking development due to the real instances of interaction they represent. The hypothesis is that the conjunction of text based activities with an approach linked to the subjects affective and body dimensions may positively influence a new enunciation construction in the foreign language. The practice on which this research was based involved the students of Escola Politécnica da Universidade de São Paulo in 2007 and consisted of reading the play « La nuit juste avant les forêts », by Jean-Marie Koltès (1988). Concerning the methodology, the corpus resulted from the students journey diaries and answers to questionnaires qualitative data -- which was analyzed in order to explore three main recurrent themes: aural expression and speaking, the perspective of text and dramatic games, and vocabulary and grammar representations

Ce travail interroge le rapport entre la parole et son contexte médiatique d’énonciation. À ces fins, nous avons choisi comme observable l’adaptation en vertu du fait que cette pratique comporte le passage du même contenu d’un média à un autre. Nous avons constitué un corpus contrastif formé du Petit Prince de Saint-Exupéry et de son adaptation théâtrale par Virgil Tanase, choisie parmi d’autres selon des critères de représentativité et pertinence par rapport à notre angle d’attaque linguistique. Afin de traiter ce corpus dans une perspective linguistique, nous avons convoqué des notions et des cadres théoriques issus de la théorie de l’énonciation, la pragmatique et la linguistique cognitive. Des notions sémio-narratologiques ont également été mises à contribution. L’analyse, divisée en trois parties, se focalise d’abord sur les propriétés sémiotiques (schéma actantiel et macroséquence) et linguistiques (point de vue et isotopie) communes au conte et à la mise en scène. Ces caractéristiques assurent l’équivalence entre adapté et adaptation. Ensuite, sont brièvement analysées les propriétés linguistiques qui permettent le passage du média livre au média théâtre (relation hyponymie/hyperonymie des noms communs et dialogues). Enfin, nous nous focalisons sur les marqueurs qui enregistrent le passage d’un média à un autre en termes de traitement cognitif du référent (déictiques, actes de nomination) de la part de l’instance de réception. Les résultats de cette analyse mettent en lumière l’influence du contexte médiatique sur l’acte d’énonciation selon un double cadre théorique : celui d’une perspective élargie de l’énonciation qui prend en compte l’inscription volontaire et autonome de l’allocutaire dans une situation d’énonciation et celui d’une approche symétrique et réaliste dans le traitement de la référence / Our work enquires about the relation between enunciation and media. We chose the adaptation as a case study, since it is a semiotic practice that requires transferring the same content from one media to another. Hence, we built a contrastive corpus based on Le Petit Prince by Antoine de Saint-Exupéry and its theatrical adaptation by Virgil Tanase, which we consider to be the most representative for our linguistic approach. In order to adopt a linguistic perspective, we articulate notions and frameworks from the French theory of enunciation, pragmatics and cognitive linguistics. Notions from a narratology background are also contributive. The corpus analysis is organized in three main sections. The first one states the equivalence between the adapted story and its adaptation through some semiotic (actantial model and model of narrative sequence) and linguistic parameters (point of view and isotopy) shared by the book and the play. The second part briefly points out the features that enable the story to transfer from one media to another (dialogues, lexical choices). The third and final part focuses on verbal marks (deictic expressions, naming) that encode the media change (from the book to the play) and require the audience to perform some cognitive processing to properly understand the theatrical play. Results of this analysis show the influence of media context on enunciation while relating this kind of context to two linguistic frameworks : an extended enunciation theory, in which the addressee is actively taking part in the meaning production, and a reference theory based on a symmetric relationship between word and object in meaning production

Les quarante "Miracles de Nostre Dame par personnages" constituent l'immense majorité du corpus dramatique de langue française du XIVe siècle. Malgré cette importance historique majeure, ces pièces n'ont jusqu'à aujourd'hui pas fait l'objet d'une étude littéraire spécifique. Victimes du manque de légitimité poétique que l'on prête au théâtre médiéval en général, mais aussi tributaires de leur apparente simplicité, ces drames présentent pourtant de nombreuses similarités qui témoignent de l'homogénéité stylistique du corpus. Envisageant tour à tour le corpus en tant que texte, spectacle et livre, le présent travail vise donc à rendre raison de sa concertation dramaturgique. L'étude se donne d'abord pour objet de repérer les lois implicites du recueil : tandis qu'une analyse en synchronie permet de dégager les lois structurelles et discursives du corpus, une étude en diachronie permet de comprendre ses lois de composition, élaborées au fil du temps et des expériences scéniques. C'est finalement dans le dialogue incessant entre la scène et les spectateurs que s'élabore la spécificité du Miracle dramatique, dont la dramaturgie propose une approche singulièrement subtile de son public. Cette relation étroite entre la scène et les spectateurs se poursuit lors du passage des pièces de l'espace scénique à l'espace du livre. Mises en drame, en scène et en texte, ces quarante histoires miraculeuses offrent finalement l'évidence de la profonde cohérence de leurs transpositions successives. Témoignages de la vocation éducative des confréries, elles s'avèrent être de riches et étonnants objets de théâtre, dont la portée esthétique ne s'est pas tout à fait éteinte. / The forty "Miracles de Nostre Dame par personnages" stand for the immense majority of the dramatic French-language corpus of the fourteenth century. Despite this major historical importance, these plays have not been the subject of a specific literary study. Despised for the lack of poetic legitimacy attributed to medieval theater in general and for their apparent simplicity, these dramas present many similarities which show the evidence of the stylistic homogeneity of the corpus. Considering in turns the corpus as a text, a show and a book, this work aims to reveal the dramaturgical project behind the plays. First of all, this study intends to identify the implicit laws of the collection. A synchronic analysis allows to identify the structural and discursive laws of the corpus, while a diachronic study reveal its laws of composition, created by succesives scenic experiences. Finally, the specificity of the dramatic Miracle appears to be based on this constant dialogue between the stage and its audience. This close relationship continues as the pieces move from the stage space to the book space. Dramas, stagings and texts, these forty miraculous stories offer the evidence of the deep coherence of their successive transpositions. As these plays are proofs of the brotherhoods' educational vocation, they turn out to be amazing theater objects, whose aesthetic significance has not quite extinguished.