Este trabalho é o resultado do mergulho no universo da montagem e das apresentações da peça Os Reis Vagabundos do grupo teatral Tear, de 1982, rememorado pelos participantes da criação bem como pelo seu público. Esta peça é considerada um marco do teatro gaúcho e onde sua encenadora, Maria Helena Lopes, lançou mão de seus principais conceitos de trabalho: jogo dramático, improvisação, técnicas de clown e análise de movimento. / This work is consequence of the plunge into the production and the shows universe of the Tear group‟s play The Stray Kings (Os Reis Vagabundos), from 1982, evocated by the creation crew as well as by its audience. This play is ponderated as a landmark of gaucho theatre where its director, Maria Helena Lopes used her main work concepts: play, improvisation, clowning and movement analysis.

Si le mot « hors-scène » est utilisé de manière empirique pour désigner des espaces, des personnages ou des épisodes invisibles, il n’appartient pas au vocabulaire technique du théâtre et il est parfois remplacé, dans l’usage, par des mots empruntés à d’autres champs artistiques comme « hors-champ », « off » ou « hors-cadre ». Ce flou terminologique en fait une notion-miroir reflétant des positionnements esthétiques et idéologiques, qui peuvent se rattacher à un discours de valorisation de l’invisible par opposition à une société de l’image. On l’abordera à travers l’œuvre de trois auteurs majeurs de la seconde moitié du XXe siècle, Marguerite Duras, Bernard-Marie Koltès et Jean-Luc Lagarce. Ils brouillent en effet, selon des modalités différentes, l’articulation de la scène et du hors-scène, donnant lieu, de ce fait, à des mises en scène et à des scénographies qui doivent se confronter à la redéfinition des limites de l’espace de la représentation. La frontière entre le visible et l’invisible ne coïncide plus chez eux avec l’articulation entre la scène et un espace périphérique contigu : elle est mobile et ne se laisse pas aisément localiser, et le hors-scène ne peut plus être envisagé comme un extérieur. Il peut être situé au cœur du visible ; il peut être issu d’un geste de cadrage qui organise les relations de la scène, de la salle et du monde, mais aussi d’un geste de montage qui en fait un hors-temps. Il se manifeste donc de manière discontinue, à travers des brèches ouvertes par divers moyens à l’intérieur d’un espace dramatique et/ou scénique aux limites fluctuantes. C’est pourquoi cette recherche se propose de dégager les enjeux dramaturgiques et scénographiques des usages du hors-scène dans les textes de ces auteurs, mais aussi dans une sélection de mises en scène de la seconde moitié du XXe siècle et du début du XXIe siècle ainsi que de scénographies, et de certaines créations sonores qui y sont associées. Il s’agit ainsi d’identifier différentes catégories de hors-scène et de définir plus précisément une notion qui pourrait bien manifester une modification des modalités de la perception et de la représentation. / The term hors-scène (“off-stage” with a dramaturgical and a scenographic meaning in French) is used in an empirical way to designate spaces, characters and or episodes that are invisible. It is not part of the technical vocabulary of the theater, and it is often replaced by words borrowed from other artistic fields such as “off”, or “out of frame”. Because of this lack of terminological precision, it is a notion that like a mirror reflects ideological and aesthetic orientations which can be related to a discourse that values the invisible, in opposition to an image-driven society. This notion of hors-scène is addressed through a study of the works of three major authors of the second half of the 20th Century: Marguerite Duras, Bernard-Marie Koltès and Jean-Luc Lagarce. Each one of them has his/her specific mode of blurring the lines between the stage and the off-stage, thus producing staging and making scenographies that have to tackle the redefinition of the limits of space and of representation itself. In their works, the boundary between the visible and the invisible no longer coincides with the articulation between the stage and an adjacent peripheral space. The hors scène is mobile and cannot be easily located : it can no longer be considered as what lies outside of the stage. It can be situated at the heart of the visible ; it can spring from a framing choice which orchestrates the relations between the stage, the house and the world, but also from a staging choice that materialises “timelessness”. It reveals itself discontinuously, through breaches opened up in a diversity of ways in a dramatic and/or scenic space whose boundaries themselves are in flux. The thesis identifies the dramaturgic and scenographic stakes of the uses of the hors-scène in the three authors' texts, as well as in a selection of stagings from the second half of the 20th Century and early 21st Century, as well as in scenographies and a number of sound/audio productions to which they are associated. The aim is to trace different categories of the hors-scène and to define more precisely this notion that could very well highlight a change in the modes of perception and representation.

Script analysis for designers -- The objectives of theatrical design -- Researching the design -- Collaboration -- Design elements -- Design principles and visual composition -- Scenic design -- Costume design -- Lighting design -- Building a career in theater design. With clear and concise examples and hands-on exercises, Fundamentals of Theatrical Design illustrates the way in which the three major areas of theatrical design--scenery, costumes, and lighting--are intrinsically linked. Veteran theater designers Karen Brewster and Melissa Shafer have consulted with a broad range of seasoned theater industry professionals--playwrights, actors, directors, producers, stage managers--to provide an exhaustive guide full of sound advice and insightful approaches to design. Form beginning designers just starting out to experienced directors looking to gain exposure and advance their careers, anyone with an interest in theatrical design is sure to appreciate this book's unique approach. / https://dc.etsu.edu/etsu_books/1005/thumbnail.jpg

In Between: A Journey of Cultural Integration is a multimedia art installation that tells the story of a Korean girl’s cultural integration journey. The story was inspired from my personal experience of moving from South Korea to the U.S. In the 12’ x 14’ room, the narrative was delivered by media. The story was introduced by the projected text of a diary on a book in the middle of the room. The images that were projected on all four walls enhanced the narrative. The each viewer was forced to experience the installation alone and experience the loneliness of the journey. The successful collaboration between scenic and media was important for creating a cohesive design for this project. I worked with several projection designers to create the narrative development. Throughout the process, the boundary between scenic design and media design became blurry and I and my collaborators became a creative team as a whole. This project was intended to share my personal story of cultural integration with a broader audience by inviting them to have a different perspective view towards the immigration community in America. It also became my personal challenge to create a space that could tell a story without an actor. / text

In this dissertation, I advance the question of what it means for applied theatre artists to give voice to the community members with whom they work. The study engages with some of the ethical and aesthetic tensions that emerge when one group of people (artists) is entrusted with giving dramatic form to the lived experience of another group (community members). The central premise of the dissertation is that when community participants increase their independent capacity to devise dynamic and compelling theatre, they achieve greater agency. Using a grounded theory analysis, I theorize qualities and characteristics that contribute to the staging of aesthetically arresting theatre, organized into a conceptual lexicon. This praxis-based study is intended to enable applied theatre practitioners to more directly give voice to their community partners. The dissertation presents a vocabulary that offers community participants and professional artists a mutually understood language with which to engage the power of the theatrical event. / Graduate

Within contemporary performance arenas young people are fast becoming part of the vanguard of contemporary performance. Performativity, convergence and openness of form are key animating concepts in the landscape of Theatre for Young People (TYP). To ignore what is taking place in the making of performance for and by young people is to ignore the new possibilities in meaning-making and theatrical form. In this period of rapid technological change young people are embracing and manipulating technology (sound, image, music) to represent who they are and what they want to say. Positioned as &quotcultural catalysts", &quotthe new pioneers" and &quotfirst navigators" young people are using mediatised culture and digital technologies with ease, placing them at the forefront of a shift in cultural production. Performance commentators (Schnechner 2002; Shusterman 2000; Auslander 1999; Hill and Paris 2001; Phelan 1993 and Kershaw 1992) believe that there has been a profound shift in the nature of making theatre and performance works. The forces of globalisation, the new economy and advancements in new media technologies have affected young people's making of performance. Three key concepts animate contemporary young people's performance devising and presenting processes. These concepts can be defined as: performativity, convergence and openness of form. These three categories can be harnessed under the umbrella concept of deterritorialisation. The processes of deterritorialisation allows for the synthesis of new cultural and performance genres by fragmenting and hybridising traditional cultural categories and forms including the use of new media technologies. Almost half of all TYP performances now incorporate the technologies of reproduction. The relationship between live and mediated forms, the visceral and the virtual is allowing young people to navigate and make meaning of cultural codes and cultural forms as well as to engage in an open dialogue with their audiences. This thesis examines the way young people are using elements of deterritorialisation to become producers of new performance genres.

Thesis (Ph.D.)--Bowling Green State University, 2006. / Document formatted into pages; contains x, 210 p. : ill. (some col.) Includes bibliographical references.

The aim of this essay is to explore the relation between actor and costume in the context of theatrical discourse and using as an axis Heracles’ lion skin. The word actor is used to denote the agent of theatrical/mimetic action while the word costume stresses the function and power of a theatrical costume. In the Introduction section the context of the research is being described. The methodological field is that of the recently explored theatrical discourse which derives from metatheatrical studies and is based on critical treatises on theatre. In the first chapter the importance of lion skin as a prominent costume for the articulation of theatrical discourse is being analyzed from different angles. In chapter two the metatheatrical use of Heracles’ lion skin is used as a base for the construction of theatrical discourse about the function of theatre in a dramatic text. In the following section, Heracles’ lion skin is used to describe actor’s relation to his tragic skeue and is also reconstructed anew as a pantomime costume indicative of the dynamics developed between performer and costume. In Libanius’ A Reply to Aristidis On Behalf of Dancers the emphasis on the transformative power of the costume is being discussed (chapter 4). In chapter 5 the emergence of lion skin in the debate around the relation between actor and costume constitutes the epilogue of a long-lasting debate on the dynamics of relation between actor and costume. / Σκοπός αυτής της εργασίας είναι να εξερευνήσει την σχέση μεταξύ ηθοποιού και κοστουμιού στο πλαίσιο του λόγου περί θεάτρου και χρησιμοποιώντας ως άξονα για τη συζήτηση αυτή την λεοντή του Ηρακλή. Η λέξη «ηθοποιός» χρησιμοποιείται για να δηλώσει τον υπεύθυνο της θεατρικής ή μιμητικής πράξης ενώ η λέξη «κουστούμι» χρησιμοποιείται για να δοθεί έμφαση στη λειτουργία και δύναμη ενός θεατρικού κουστουμιού. Στην εισαγωγή περιγράφεται το πλαίσιο της έρευνας. Το μεθοδολογικό πεδίο είναι αυτό του πρόσφατα μελετημένου λόγου περί θεάτρου ο οποίος προέρχεται από μελέτες για το μεταθέατρο και βασίζεται σε συγγράμματα που συζητούν το ρόλο του θεάτρου. Στο πρώτο κεφάλαιο διερευνάται από διάφορες οπτικές γωνίες η σημασία της λεοντής ως κατεξοχήν κοστουμιού για την άρθρωση του λογου περι θεάτρου. Στο κεφάλαιο δύο η μεταθεατρική χρήση της λεοντής του Ηρακλή χρησιμοποιείται ως βάση για την δημιουργία συζήτησης για τη λειτουργία του θεάτρου μέσα σε ένα δραματικό κείμενο. Στην επόμενη ενότητα, η λεοντή του Ηρακλή χρησιμοποιείται για να περιγραφεί η σχέση του ηθοποιού με την τραγική σκευή του και επιπλέον συνθέτεται εκ νέου ως κουστούμι της παντομίμας ενδεικτικό της δυναμικής σχέσης που αναπτύσσεται ανάμεσα στον καλλιτέχνη και το κουστούμι. Στο έργο του Λιβάνιου Απάντηση στον Αριστείδη Υπέρ των Ορχηστών συζητείται η έμφαση που δίνεται στην δύναμη του κουστουμιού να μεταμορφώνει αυτόν που το ενδύεται (κεφάλαιο 4). Στο κεφάλαιο 5 η επανεμφάνιση της λεοντής στη συζήτηση για τη σχέση του ηθοποιού με το κουστούμι συνιστά τον επίλογο μια μακραίωνης συζήτησης για τη δυναμική που αναπτύσσεται ανάμεσα στους δύο πιο σημαντικούς παράγοντες για την δημιουργία και τη λειτουργία του θεάτρου.

Esse estudo teve por objetivo compreender os processos de aprendizagem a partir das práticas de produção teatral dos espetáculos teatrais de uma organização não governamental à luz da perspectiva cultural. Desenvolveu-se uma pesquisa de natureza qualitativa, utilizando as técnicas de entrevista em profundidade com roteiro semiestruturado, entrevistas semiestruturadas, entrevistas informais, observação participante, grupo focal e pesquisa documental para coleta de dados. A observação participante envolveu 13 meses de pesquisa de campo, com suporte de anotações em diário de campo, fotografias, vídeos e registros sonoros. Os registros foram decorrentes de momentos formais e informais, quando realizou-se as distintas entrevistas, grupos focais, acompanhamento de ensaios, apresentações dos espetáculos, reuniões, festas e gravações de videotapes, com coleta de dados espontâneas realizadas com profissionais dos elencos do Projeto Vida Urgente no Palco da Fundação Thiago de Moraes Gonzaga. Também foram pesquisados documentos, tais como: folders, flyers, banners, propagandas, material didático, vídeos, manual de descrição de cargos, organogramas, organização de itinerários de apresentações, fichas de avaliação das escolas etc. Para realizar o tratamento e a interpretação dos dados coletados, utilizou-se a análise interpretativista. Entre os principais resultados encontrados tem-se: sob a ótica dos membros do Projeto Vida Urgente no Palco, pôde-se compreender que esses entendem a produção teatral de forma difusa e associada, predominantemente, ao trabalho do produtor teatral. Além disso, percebe-se uma confusão entre os termos produção teatral, produção cultural e produção artística. Sobre as práticas de produção teatral, foi possível identificar que nessa organização ela ocorre em três fases distintas: a pré-produção, a produção e a execução. Os profissionais envolvidos nessas etapas variam de ano para ano, no entanto, as tarefas costumam ser divididas e realizadas coletivamente. Todos entendem como elementos que identificam e diferenciam o trabalho do Projeto Vida Urgente no Palco: a preocupação em passar a mensagem, a maneira tradicional de pensar uma montagem de teatro, ou seja, vinculada ao texto; não haver muito espaço para criação de personagem; ser um processo coletivo e colaborativo. Percebeu-se que suas práticas eram permeadas de momentos de humor, descontração, colaboração, interações e compartilhamento de conhecimento tácito. As práticas de produção teatral também permitiram visualizar momentos de justaposição de ordem e desordem – preservação e inovação ocorrendo simultaneamente – principalmente em função da escolha do campo de estudo (Fundação Thiago de Moraes Gonzaga), que atua há mais de 10 anos por meio do teatro. Em função desta organização trabalhar há bastante tempo com espetáculos, houve a possibilidade de encontrar uma cultura e um know-how próprios, que a diferencia das demais, e, por isso, encontrou-se várias linguagens comuns como ações rotineiras e artefatos materiais compartilhados que permitiram examinar a fecunda tensão entre aprender e organizar. Em relação à aprendizagem dos membros do Projeto Vida Urgente no Palco, pôde-se encontrar como principais processos a aprendizagem na prática, aprendizagem de um ofício, embora também tenham apontado outros processos de aprendizagem que possibilitaram desenvolver o conhecimento sobre seu trabalho, tais como: aprender com experts, aprender observando, aprender pela troca, aprender em cursos, aprender sozinho, aprender com os próprios erros, aprender pela reflexão e aprender resolvendo problemas. Dentre os principais momentos e facilitadores de aprendizagem, destaca-se a justaposição de ordem e desordem pela prática do humor e da improvisação, manutenção versus inovação. / This study aimed to understand the learning processes from the practices of theatrical stage production of a non-governmental organization in light of the cultural perspective. A qualitative research was developed using techniques of in-depth interviews with semi-structured script, interviews with semi-structured script, informal interviews, participant observation, focus groups and documentary research for data collection. Participant observation involved 13 months of field research, with support of daily field notes, photographs, videos and sound recordings. The records were a result of formal and informal moments, when different interviews, focus groups, rehearsals, performances of the plays, meetings, parties and recordings of videotapes were carried out, with spontaneous data collection by professionals of the team of the project Vida Urgente on the Stage of the Thiago de Moraes Gonzaga Foundation. Were also analyzed documents such as: folders, fliers, banners, advertisements, teaching material, videos, manual of job descriptions, organization charts, organization and schedule of performances, evaluation reports of the schools, etc. Interpretative analysis was used to conduct the processing and interpretation of the data collected. Among the main results we have: from the perspective of members of the Project Vida Urgente on Stage, we understood that they see theater production in a diffuse and associated manner, predominantly, related to the work of theatrical producer. Furthermore, we perceived confusion between the terms theatrical production, cultural production and artistic production. On the practices of theatrical production, it was possible to identify that in this organization it occurs in three distinct phases: pre-production, production and performance. The professionals involved in these phases vary from year to year, however, the tasks are usually divided and accomplished collectively. Everyone understands as elements that identify and distinguish the work of the project Vida Urgente on the Stage: the concern in getting the message out, the traditional way of thinking a theatrical set-up, i.e., connected to the text; the lack of room for character creation; that it is a collective and collaborative process. It was noticed that their practices were permeated by moments of humor, fun, collaboration, interaction and sharing of tacit knowledge. The practices of theatrical production also allowed us to visualize moments of juxtaposition of order and disorder - preservation and innovation occurring simultaneously - mainly due to the choice of the field of study (Thiago de Moraes Gonzaga Foundation), which has operated for over 10 years through theater plays. Since this organization works for a long time with performances, it was possible to find a singular culture and know-how, which differentiates it from others, and therefore we found several common languages as shared routine actions and material artifacts that allowed us to examine the fruitful tension between learning and organizing. Regarding the learning process of members of the project Vida Urgente on Stage, we could find as the main one learning in practice, learning a profession, but they also have pointed other learning processes that enabled the development of knowledge about their work, such as: learning from experts, learning by watching, learning by exchanging, learning in courses, teaching yourself, learning from their own mistakes, learning through reflection and learning by solving problems. Among the key moments and facilitators of learning, we highlight the juxtaposition of order and disorder through the practice of humor and improvisation, maintenance versus innovation.

Cette thèse de doctorat envisage la formation théâtrale comme une possibilité de création de soi. Elle met en relation cette formation avec les modes de fiction de soi-même, c’est-à-dire les manières d'invention et de transformation de soi-même. Elle présente une réflexion sur la formation de l'acteur-enseignant à partir de l’analyse d'un ensemble de rapports de stages professionnels et de mémoires de fin d’année, effectués par des étudiants en Licence en Théâtre de l’Universidade Estadual do Rio Grande do Sul – UERGS et de la Fundação Municipal de Artes de Montenegro –FUNDARTE. L’analyse de ce matériau empirique a été réalisée grâce notamment à quelques outils théorico-méthodologiques comme les concepts d’éthique, de vérité et de souci de soi, tel qu’ils sont envisagés par Michel Foucault. Cette analyse s’appuie encore sur d’autres concepts comme celui d’expérience, de création, d'invention et de fiction, empruntés notamment à Marilena Chauí, Virginia Kastrup, Jacques Rancière, René Passeron et Paul Valéry. D’autres notions encore, comme celle de seconde nature et de corps fictif, ont été empruntées au champ théâtral et problématisées principalement par Constantin Stanislavski, Franco Ruffini, Eugenio Barba et Nicola Savarese. À partir de ces notions et concepts, des récits ont été créés, mélangeant les trajectoires des étudiants (ainsi que leurs processus de créations et leurs processus pédagogiques respectifs), les concepts signalés et les images de différents personnages de la littérature dramatique. Parallèlement, la notion de fiction a été utilisée en tant qu’outil et procédé pour mener la réflexion elle-même, dans la mesure où cette notion a fonctionné aussi bien comme une grille d'analyse pour traiter les données empiriques qu’en tant que support pour l’écriture du texte. La thèse soutient donc l’idée que la formation peut être envisagée comme la possibilité de faire de sa propre existence une expérience constante de création, en montrant les processus de transformation des étudiants-acteurs-enseignants comme un mode d’invention de soi-même, comme une manière de dépasser la création artistique, par la force d’une relation ethopoïétique ― pratique qui se caractérise par un mouvement éthico-esthétique. / Esta tese trata sobre a formação teatral como possibilidade de criação de si. Relaciona-se essa formação a modos de ficcionar a si mesmo, ou seja, a maneiras de invenção e transformação de si. Discute-se a formação do ator professor a partir da análise de um conjunto de relatórios de estágio e trabalhos de conclusão, oriundos do Curso de Graduação em Teatro: Licenciatura, da Universidade Estadual do Rio Grande do Sul – UERGS e da Fundação Municipal de Artes de Montenegro – FUNDARTE. Para a análise do material empírico, foram usados como ferramentas teórico-metodológicas, entre outros, os conceitos de ética, verdade e cuidado de si, conforme tratados na obra de Michel Foucault; outros conceitos, igualmente, foram tratados, como os de experiência, criação, invenção e ficção, principalmente, a partir das obras de Marilena Chauí, Virginia Kastrup, Jacques Rancière, René Passeron e Paul Valéry. Além disso, do campo teatral trouxemos as noções de segunda natureza e corpo fictício, problematizadas a partir de Constantin Stanislavski, Franco Ruffini, Eugenio Barba e Nicola Savarese. Na companhia de tais noções e conceitos, foram criadas narrativas, entrelaçando as trajetórias dos alunos (bem como os respectivos processos criativos e pedagógicos) aos conceitos aludidos e às imagens de diferentes personagens da literatura dramática. Ao mesmo tempo, trabalhou-se com a noção de ficção como mote e procedimento para efetuar a própria discussão, à medida que tal noção funcionou tanto como categoria de análise para pensar o material empírico quanto como fundamento para a constituição da escrita do texto. A tese defende, portanto, a noção de formação como possibilidade de fazer da própria existência uma experiência de constante criação, mostrando os processos de transformação dos alunos-atores-professores como uma forma de invenção de si, de extrapolar o âmbito da criação artística, por força de uma relação ethopoiética ― prática movida por um movimento ético-estético. / This thesis deals with theatrical education as a possibility for creation of the self. This kind of education is connected to different forms of fiction of the self, that is, different ways of inventing and transforming oneself. We discuss the training of actors and teachers based on the analysis of a set of trainee reports and dissertations from the Undergraduate Theatre Programme of Universidade Estadual do Rio Grande do Sul – UERGS and Fundação Municipal de Artes de Montenegro – FUNDARTE. For the analysis of the empirical data, we used as theoretical-methodological tools, among others, the concepts of ethics, truth and care of the self, as addressed in the work of Michel Foucault; other concepts were also discussed, such as experience, creation, invention, and fiction, based mainly on the works of Marilena Chauí, Virginia Kastrup, Jacques Rancière, René Passeron, and Paul Valéry. Moreover, we brought from the field of theatre notions of second nature and fictional body, problematised according to the ideas of Constantin Stanislavski, Franco Ruffini, Eugenio Barba and Nicola Savarese. With these notions and concepts as companions, narratives were created, intertwining the student's experiences (as well as their respective creative and pedagogical processes) to the concepts which were mentioned and to images of different characters from dramatic literature. At the same time, we have dealt with the notion of fiction as a theme and procedure to start the discussion itself, as this notion has worked both as a category of analysis to think the empirical material related to a foundation to the constitution of the process of writing. This thesis argues, therefore, for the notion of education as a possibility to turn existence itself into an experience of constant creation, exposing the transformations of students-actors-teachers as a form of self-invention and extrapolation of the scope of artistic creation, by virtue of an ethopoietic relationship ― a practice driven by an ethical-aesthetic movement.