Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-09-23T12:01:45Z No. of bitstreams: 1 alvarodyogopereira.pdf: 3085668 bytes, checksum: b7c1b1aaabf650ec81c7ea27115dcdb5 (MD5) / Approved for entry into archive by Diamantino Mayra (mayra.diamantino@ufjf.edu.br) on 2016-09-26T20:30:30Z (GMT) No. of bitstreams: 1 alvarodyogopereira.pdf: 3085668 bytes, checksum: b7c1b1aaabf650ec81c7ea27115dcdb5 (MD5) / Made available in DSpace on 2016-09-26T20:30:30Z (GMT). No. of bitstreams: 1 alvarodyogopereira.pdf: 3085668 bytes, checksum: b7c1b1aaabf650ec81c7ea27115dcdb5 (MD5) Previous issue date: 2016-06-02 / Nesta dissertação, pretendemos discutir a passagem do texto teatral à encenação cinematográfica através da análise da transposição das rubricas teatrais em Boca de Ouro, de Nelson Pereira dos Santos. Para tanto, faremos uma discussão inicial sobre as particularidades do texto teatral, com destaque para as rubricas, e da obra fílmica, pontuando suas especificidades e diálogos. Em seguida, verificaremos os aspectos intersemióticos desta relação e faremos um resgate contextual do nosso estudo de caso. Num segundo momento, nos dedicaremos a discutir os aspectos particulares da encenação nas áreas do teatro e do cinema. Por fim, apresentaremos a metodologia que desenvolvemos para trabalhar especificamente com a transposição das rubricas teatrais à obra fílmica, realizando inferências de ordem quantitativodescritiva e também qualitativa, observando aspectos da incorporação do discurso teatral pela obra fílmica e da transmidialidade verificada. / In this dissertation, we intend to discuss the passage from theatrical text to cinema mise-en-scène by analyzing the transposition of theatrical stage directions in Boca de Ouro, by Nelson Pereira dos Santos. Therefore, we will make an initial discussion on the particularities of the theatrical text, highlighting the stage directions, and of the movie itself, punctuating their specificities and dialogues. Then, we will find the intersemiotic aspects of this relationship and make a contextual rescue of our case study. Secondly, we will be dedicated to discuss particular aspects of the mise-en-scène in theater and cinema. Finally, we will present the methodology that we developed to work specifically with the implementation of theatrical stage directions in the movie, making quantitative-descriptive and also qualitative inferences, observing aspects of incorporation of theatrical discourse by film and checked transmediality.

Orientador: Hernandes Faustino de Carvalho / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Biologia / Made available in DSpace on 2018-08-19T03:24:22Z (GMT). No. of bitstreams: 1 Randi_MarcoAntonioFerreira_D.pdf: 2781895 bytes, checksum: 93ebae9e821938a5b437a4230c96b539 (MD5) Previous issue date: 2011 / Resumo: O aluno que se envolve com seu processo de aprendizagem aprende melhor. A partir dessa premissa, nosso objetivo no presente estudo foi desenvolver, aplicar e avaliar uma nova ferramenta didática em disciplinas de Biologia Celular, baseada em aulas com RPG (roleplaying game). O RPG é um sistema de jogo cooperativo onde os participantes têm objetivos comuns e precisam atuar em grupo para alcançá-los. Aplicado à educação, acreditamos que funciona como um facilitador da aprendizagem ativa, sendo o aluno o construtor de seu conhecimento enquanto participa da aula, orientado pelo professor. A criação e aplicação dessas aulas constitui desafio estimulante para professores, e a formação de professores também constituiu foco dentro desse estudo. A metodologia incluiu: pesquisas teóricas sobre o assunto a ser trabalhado na aula (um processo celular como síntese de ATP, por exemplo) e subsequente criação da aula na forma de uma aventura; testes das aulas criadas; aplicação das aulas a alunos de nível superior em diferentes cursos em três diferentes universidades; avaliação dos resultados através de notas em provas regulares das disciplinas, questionários, construção de mapas conceituais, depoimentos dos alunos e dos professores participantes, e observações dos alunos durante as aulas. Também foi avaliada a retenção do conteúdo em médio prazo, pela aplicação de um teste sem aviso prévio, um ano após a aula ter sido ministrada. Para comparar as médias de desempenho dos alunos as turmas foram divididas de forma que, enquanto metade dos alunos participou da aula com uso do RPG (GRPG), a outra metade participou de uma aula expositiva "tradicional" (GC). GC e GRPG tiveram notas iguais nas avaliações formais, exceto por uma questão na qual o GC teve melhor desempenho, embora ambos os grupos tenham tido notas muito baixas. Na avaliação de médio prazo, o GRPG foi melhor em duas questões. A maioria dos alunos que participaram do GRPG considerou que essa é uma boa metodologia didática que deve ser utilizada em sala de aula; entende que ela deve ser utilizada como ferramenta complementar à aula expositiva; sentiu-se estimulada a ler mais sobre os temas das aulas. Os alunos sentiram-se mais seguros em responder questões sobre os temas de Biologia Celular após as aulas com RPG. A análise dos mapas conceituais, construídos pelos alunos antes e depois da aula com RPG, permitiu concluir que novos conceitos foram incorporados à teia de conhecimento dos alunos, e que houve melhora significativa na forma como os conceitos foram correlacionados nos mapas. Professores e estudantes (voluntários e bolsistas, de graduação e pós-graduação), que atuaram como professores nas aulas consideraram essa ferramenta didática como um bom instrumento de aprendizagem. Nós concluímos que a aula com RPG é uma metodologia didática que pode trazer benefícios em termos da construção de conteúdos em Biologia Celular e é um potencial promotor da aprendizagem ativa e do desenvolvimento de habilidades como cooperação e criatividade / Abstract: Student who gets involved with their learning process learns better. Starting from this premise, the aim of this study was to develop, implement and evaluate a new teaching method in the disciplines of cell biology, the RPG-based class. The RPG (role-playing game) is a cooperative game where the players have common goals and must work together actively to achieve the goals. Each student builds his own knowledge while participating in the classroom guided by the teacher. Creating and implementing these classes was an exciting challenge for teachers, and teacher training using this approach was also a focus of this study. The methodology included: theoretical research on the topics of cellular biology (a cellular process such as ATP synthesis, for example) and the subsequent creation of the class in the form of an RPG adventure, testing the created classes, and applying the material to students of higher education in three different universities. The students attended either an RPG-based class (GRPG) or a lecture (GC) on specific cellular biology topics. Pre- and post-class questionnaires, conceptual maps, regular exam scores and on an unannounced test one year later (medium-term retention) were compared to assess student attitudes and learning in the two groups. The evaluation also consisted of testimonials from students, interviews with participating teachers, and observations of students during class. GC scored better than GRPG in 1 of 20 regular exam questions, but the score for this one question was very low in both groups. In the medium-term evaluation the RPG group showed higher scores on 2 of 22 questions and left fewer questions unanswered. Most students who participated in the GRPG considered that this is a good teaching/learning method, that it should be used as a complementary tool to lecture, and felt more confident and encouraged to read more about the class topics. The analysis of concept maps constructed by students before and after school, shows that new concepts were incorporated into the web of knowledge of students, and a significant improvement in the concepts' connections were established as assessed by concept maps. Teachers and students who acted as teachers in the RPG-based classes considered this a good teaching/learning tool, and were willing to apply this tool in their own classrooms. Our results showed that RPGs is quantitatively as good as formal lectures, but can be an educational tool that gives students the chance to learn actively and potentially lead to a better retention of the acquired knowledge / Doutorado / Biologia Celular / Doutor em Biologia Celular e Estrutural

Orientador: Suzi Frankl Sperber / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T06:31:31Z (GMT). No. of bitstreams: 1 Hirson_RaquelScotti_D.pdf: 2988136 bytes, checksum: c54c0496f18c6048e8787d5dfd42915a (MD5) Previous issue date: 2012 / Resumo: "Alphonsus de Guimaraens: Reconstruções da Memória e Recriações no Corpo" é uma pesquisa que engloba memória e atuação como alimentos para uma escrita que possa adentrar em um campo de sensações que, embora não possa traduzir, pelo menos toque em pontos semelhantes ao da efemeridade da experiência cênica. O texto, portanto, é o resultado da maneira que encontrei de exprimir as recriações - experimentadas no corpo - das memórias pessoais que me conectam ao meu bisavô, o poeta simbolista mineiro Alphonsus de Guimaraens (1870-1921). A tese escrita é um exercício de criação tanto quanto o é a prática em sala de trabalho. Através da poesia cheguei ao homem e, então, à curiosidade de saber quem foi esse homem capaz de poetar, em meio à monotonia de seus longos dias provincianos. No decorrer da pesquisa, percebi que a fantasia seria elemento fundamental para a recriação dessa memória e para a criação de uma dança cheia de imagens, em um devir outro, próprio do trabalho do ator. A apreensão do sentido de singularidade cultivado na trajetória de vinte e seis anos do Lume, dos quais eu tenho acompanhado dezoito de dentro (como membro integrante e em atividades de criação e pesquisa), foi tomada ao "pé da letra" neste trabalho - foi o que o impulsionou e o tem mantido em intensidade. Houve necessidade de um mergulho solitário, porém conectado com a prática de dezoito anos de descobertas coletivas. O que é novo é a constelação de fatores que compõem a especificidade desta pesquisa, mas a experiência vem de anos. A repetição potencializa a diferença e é capaz de gerar novas nuances, sustentadas, construídas e compostas de vários elementos. Desta forma, revisito a metodologia da mímesis corpórea e adentro em uma questão diferencial, a mímesis da palavra como possibilidade de preenchimento de espaços. A palavra em ação pode conter todas as dimensões das conexões de imagens que detona e, ainda, as dimensões do corpo, jogando Alphonsus de Guimaraens: Reconstruções da Memória e Recriações no Corpo com espaço e tempo. A junção dos elementos escolhidos para a pesquisa torna possível a estruturação de metodologias e caminhos de codificação e criação / Abstract: "Alphonsus de Guimaraens: Reconstructions of Memory and Recreations within the Body" is a survey that includes memory and performance as sources for a text able to enter in a field of sensations, which it may not be able to translate, but may at least touch some points similar to the ephemeral scenic experience. The text is therefore the result of the way I found to express recreations - experienced in the body - of personal memories that connect me to my great-grandfather, the symbolist poet Alphonsus de Guimaraens (1870-1921). The written thesis is an exercise in creation, as much as the praxis in the staging room. Through poetry I arrived at the man, thus, at the curiosity to know who this man was, able to write poetry amid the monotony of his long provincial days. During the research, I realized that fantasy would be fundamental to recreate that memory and to create a dance full of images, in a different becoming, inherent to the actor's work. The seizure of a sense of uniqueness, cultivated along the trajectory of twenty-six years by Lume, eighteen of which I myself have followed from within (as an active member, creating and researching), was taken at "face value" in this task - which maintained Lume and promoted its intensity. A kind of individual submersion was needed, but connected with the practice of eighteen years of collective discoveries. New is the constellation of factors that make up this specific research, but my experience was built up along many years. Repetition enhances the difference and is able to generate new nuances, sustained, constructed and composed of various elements. Thus, I revisit the methodology of corporeal mimesis and penetrate into a different issue, mimesis of the word as the possibility of filling empty spaces. An active word can contain all the dimensions of the connections of the images it generates, as well as the dimensions of the body, playing with space and time. The Alphonsus de Guimaraens: Reconstruções da Memória e Recriações no Corpo combination of elements chosen for the survey makes it possible to structure methodologies and ways of coding and creation / Doutorado / Artes Cenicas / Doutor em Artes

This thesis presents the history of opera productions which have been staged by the National Theatre Opera Company in the Kolowrat Theatre during last fifteen years. The author reflects the problems of staging chamber operas in general and, by analysing several productions, she points out certain possibilities of using the chamber space for staging operas.

Cette recherche s’inscrit dans la continuité du travail poursuivi en Master 2 dans cette même université, dont le mémoire, soutenu en 2009, s’intitule « Du théâtre d’après un texte vers le texte d’après un théâtre ; dramaturgie et collectivité ». Son but est de problématiser la dichotomie texte-scène ainsi que la pensée binaire qui persiste encore derrière cette opposition. Pour cela, il s’agira d’interroger l’évolution et les différentes acceptions des concepts de dramaturgie ainsi que les changements qu’ont subi la place et les fonctions du dramaturge au sein de la création théâtrale actuelle. La définition/proposition des termes dramaturgisme et dramaturgiste – aussi bien au sein de l’institution qu’à celui de la création théâtrale – aideront à mieux distinguer ces concepts tout en les relativisant à la lumière des nouvelles manières de concevoir la création dramaturgique et les nouveaux paradigmes relationnels au sein des compagnies depuis une vingtaine d’années. L’idée de composition,tout comme celles de contrepoint et cartographie, nous seront, ici, autant d’outils pour mieux comprendre ces nouveaux territoires dramaturgiques.Il s’agit d’identifier, comparer et analyser les processus structurels et organisationnels de quelques compagnies théâtrales – notamment la création collective et surtout le processus collaboratif, surgi au Brésil dès la seconde moitié des années 1990 – qui,contrairement à la tendance actuelle (vérifiable au cours des vingt dernières années) tournent le dos au texte dramatique préexistant, à savoir le fait d’un auteur dramatique considéré comme tel, et construisent leur propre dramaturgie, issue de l’improvisation, de la recherche immédiate sur le plateau et du travail collectif. La dramaturgie prend ainsi un « troisième sens » qu’il convient de définir et théoriser à l’aide d’exemples concrets et d’un travail de terrain approfondi auprès de metteurs en scène, dramaturges et comédiens qui pratiquent une écriture plurielle et présentielle, sans cesse renouvelée. Quelle place possible pour la création textuelle, affranchie de tout rapport de force ou « dictature de sens » ? À quel point ces nouveaux processus déjouent ou rejouent le binarisme texte-scène ? / This research is the continuity of the Master’s work undertaken in this University and moreover of a dissertation defended in 2009 entitled « From Theatre from Text to Text fromTheatre ; dramaturgy and collectivity ». The aim is to question the dichotomy between the text and the stage as well as the generally binary thinking behind it. In order to do so we will inquire into the different pre-established concepts of dramaturgy and their evolution, and the changes in the functions and position of the dramaturge in contemporary theatre. The definition/suggestion of the terms dramaturgism and dramaturgist, in both contexts of theatrical institution and stage creation, will help better distinguish these ideas that we shall place in the perspective of new dramaturgical concepts as well as new paradigms of relationships within theatre companies in the past 20 years. The terms « composition »,« counterpoint » and « cartography » shall help us to understand these new dramaturgical territories.The aim is to identify, analyze and compare the structural and organizational processes (notably collective creation and specifically the collaborative process, as it emerged in Brazil in the second half of the 90’s) of a few theatre companies that (against thecurrent of the last twenty years) have veered away from pre-existing dramaturgical text and the idea of a theatrical author regarded as such, and have constructed their own unique dramaturgy from improvisation, immediate research within the space and the collective work. Dramaturgy is thus given a « third meaning » that needs to be defined and theorized with specific examples and extensive research with directors, dramaturges and actors who practice this present, plural and continuously renewed writing. What space is this where « the invention of writing » can exist free from binary thinking or « dictatorship of meaning » ? To what extent can these new processes redo or undo the dichotomous pair : text and stage ?

Albert Camus a lui-même distingué trois phases dans son Œuvre : celle de l’absurde : (la prise de conscience du non-sens de la vie conduit Camus à l’idée que l’homme est « libre de vivre sans appel », « quitte à payer les consciences de ses erreurs » et doit épuiser les joies de cette terre. La vie accepte le non-sens du monde et trouve le bonheur au sein même de l’absurde. Camus affirme que l’absurde n’est ni dans l’homme ni dans le monde, mais dans leurs présences communes, dans leur « confrontations » et le définit comme « l’indifférence à l’avenir et la passion d’épuiser tout ce qui est donné »), celle de la révolte : (la révolte est considérée par lui comme la seule position tenable face à l’absurde. Elle figure avec la liberté et la passion, comme une solution valable et capable d’assurer la justice. Elle seule peut assurer une action affective capable de dépasser la stérilité et l’angoisse créées par l’absurde), celle de l’amour : (Camus entend par là, l’amour de l’homme, tel qu’il est, avec ses forces et son intelligence et aussi avec ses limites et ses faiblesses. Camus exprime son affection et sa solidarité envers l’homme. Ce n’est plus seulement un humanisme classique qui s’affirme, plus seulement une position morale, mais une position d’homme sensible. Camus recherche encore à s’approcher de ces « quelques choses », de cette « part obscure » qui est en tout homme, et en lui-même en particulier). Cette étude interroge sur la remarquable prose camusienne qui touche au premier plan la question de l’Homme qui progresse et modifie au fil des années ; l’attachement au service d’une justice relative aux hommes dont l’idée n’est pas séparable de celle du bonheur ; l’adhésion à une éthique humaine et humaniste qui n’est que pour pousser l’esprit humaine à la perfection. Son art n’est pas « une réjouissance solitaire ». Camus formule son exigence envers l’Homme car l’art est le moyen de l’expression d’une communion entre les hommes. / Albert Camus himself distinguished three phases in his work: that of the absurd (awareness of non-meaning of life led Camus to the idea that man is ‘’ free to live without appeal’’, take a risk to pay the consciences of his errors and must exhaust the joys of this earth. Life accepts the non-sense of the world and finds happiness in even the absurd. Camus says that the absurd is not in man nor in the world, but in their common presences, in their ‘’ confrontation’’ and defines it as ‘’ indifference to the future and the passion to exhaust all that is given’’), that of the revolt: (revolt is considered by him as the only tenable position to face the absurd. It appears with the freedom and passion, as a valid solution and capable of ensuring justice. It alone can assure emotional action capable of overcoming unproductiveness and anxiety created by the absurd), that of the love (Camus meant here the love of man as he is, with its forces and intelligence as well as its limitations and weaknesses. Camus expresses his affection and solidarity towards man. This is not only a classical humanism which expresses itself, not just a moral position, but the position of a sensitive man. Camus still tries to approach these ‘’ few things’’ this ‘’obscure part’’ which is in every man, and himself in particular. This study examines the remarkable prose of Camus that concerns the issue of man, who progresses and changes over the years; attachment to the service of justice, relating to man whose idea is not separable from that of happiness; adherence to human and humanist ethics which are pushing the human mind to perfection. His art is not ‘’ a solitary joy’’. Camus formulates his expectation from man because art is the way of expression of communion between people.

The Czech theatrical market faces a major digital piracy problem. The availability of illegitimate digital distribution channels represents a challenge for managers, especially when original movies are uploaded to the Internet before or during their theatrical release. The crucial managerial task is to solve the problems of losses caused by piracy, and to find a balance between antipiracy investment and the maximal benefits it brings. Therefore, to maximize stakeholder utility, management decision-making needs to be complemented and supported. Firstly, the research investigates the basis of digital piracy, discusses the effects it causes, focuses on relevant stakeholders. The thesis deals with knowledge management and system dynamics using its principles and approaches and proposes a model supporting strategic management decision-making. The created knowledge-based computational model simulates the market's development of the Czech theatrical industry related to digital film piracy in the following scenarios: current market settings, industry-based administration, government-based administration and a mixture of the last two; the results of the different scenarios are discussed, evaluated and compared. The findings indicate that with the current settings in the Czech theatrical industry, the losses caused by digital piracy keep increasing linearly. Industry-based administration implies that the losses level off with a negligible yearly increase and the government-based solution reduces the losses more than the industrial administration. Nevertheless, the results show minor differences in total box office revenues, while differences in antipiracy costs are vast. Therefore, the predictive experiment based on the current market environment represents the most efficient version of the experiments. Even though losses are, the highest, real box office revenues are only a little different. Simply put, a moderate increase in box office revenues paid for by massive investments into antipiracy seems inefficient.

Autour de 1968, le théâtre, confronté à l’exigence de contemporanéité posée par les mouvements de contestation et au développement sans précédent des médias de la culture de masse, connaît une période intense de problématisation de sa puissance politique. Du fait même de sa marginalisation dans l’espace social, le théâtre devient une hétérotopie, c’est-à-dire un genre d’utopie effectivement réalisée : il oppose sa disposition communautaire à la masse indistincte des consommateurs, un discours de vérité aux mensonges des sociétés capitalistes et autoritaires, l’exposition d’une expérience authentique aux simulacres spectaculaires. Les pratiques théâtrales de Pasolini et de Fassbinder semblent participer de ce mouvement hétérotopique : les deux auteurs présentent le théâtre comme un art irréductible aux jeux du pouvoir, de la consommation et du spectacle. Pourtant ces pratiques apparaissent en déphasage avec les œuvres phares de ce moment théâtral. Cette thèse se propose d’envisager les trois types d’inactualité qui les caractérisent : inactualité thématique (leur rapport conflictuel aux mouvements contestataires étudiants ou gauchistes), inactualité esthétique (le choix de la parole au moment du règne scénique des corps, le primat accordé à la vie affective au détriment de sujets ouvertement politiques), inactualité « ontologique » (la minoration des effets de présence des corps scéniques). Pour cela, elle cherche à mettre en évidence les reprises de motifs centraux de la pratique théâtrale hétérotopique, mais aussi les déplacements qu’ils subissent dans les œuvres dramatiques et scéniques des deux auteurs. / Around 1968, the theatre, confronted with the requirements of contemporaneousness laid down by the protest movements and with the unprecedented development of the medias of mass culture, experiences an intense period of problematisation of its political power. Owing to its marginalization in the social space, the theatre becomes a heterotopia that is a kind of utopia actually achieved: it opposes its community tendency to the indistinct mass of consumers, a speech of truth to the lies of capitalistic and authoritarian societies, the display of a genuine experiment to spectacular simulacra. Pasolini’s and Fassbinder’s theatrical practices seem to be part of this heterotopical movement: both authors present the theatre as an art that withstands the games of power, of consumption and spectacle. Yet there seems to be a gap between these practices and the landmark works of the theatrical time. This thesis intends to consider the three types of unactuality that define them: thematic unactuality (their antagonistic relationships with the protest movements), aesthetic unactuality (the choice of the words whereas the bodies are preponderant on stage; the primacy given to the affective life rather than more evident political subjects), ontological unactuality (by reducing the effects of presence of the scenic bodies). Therefore, it tries to expound the repetition but also the redefinition of the important motifs of the theatrical heterotopical practice in the dramatic works and the performances of the two artists.

L’influence du Centre des auteurs dramatiques (CEAD) sur l’émergence et le devenir de la dramaturgie québécoise et franco-canadienne est indéniable. Pourtant, sa trajectoire de même que son action sur la dramaturgie n’ont jusqu’ici fait l’objet d’aucune étude approfondie. Ce mémoire propose donc, à partir d’une analyse détaillée des archives mêmes du CEAD, une première étude historique de ses quinze premières années d’existence, de 1965, année de sa fondation, à 1980. Nous tâchons de cerner, dans un premier temps, la conjoncture particulière à partir de laquelle a été créé l’organisme afin de mettre au jour sa singularité et de comprendre la façon dont les fondateurs, qui sont des auteurs dramatiques, ont réfléchi leur inscription dans le milieu théâtral. Nous proposons, dans un deuxième temps, une analyse de la trajectoire du CEAD durant la période courte, mais mouvementée, de 1968 à 1980, alors que l’organisme, aux visées plus corporatistes que politiques, devra conjuguer avec l’émergence fulgurante du théâtre engagé et du mouvement de la création collective qui rejette notamment la figure de l’auteur dramatique. Ce mémoire se veut une contribution aux recherches historiques sur le théâtre au Québec. / The influence of the Centre des auteurs dramatiques (CEAD) on the emergence and future of Quebec and French-Canadian theatre is undeniable. However, its trajectory, as well as its action, have not yet been the subject of an in-depth study. This thesis therefore proposes, based on a detailed analysis of the CEAD archives themselves, a first historical study of its first fifteen years of existence, from 1965, the year it was founded, to 1980. We first try to identify the particular context from which the organization was created in order to reveal its uniqueness and to understand how the founders, who are all playwrights, reflected on their place in the theatre community. We then propose an analysis of the trajectory of the CEAD during the short but turbulent period from 1968 to 1980, when the organization, with more corporatist than political aims, had to deal with the dazzling emergence of the committed theatre and the movement of collective creation, rejecting in particular the figure of the dramatic author. This thesis is intended as a contribution to historical research on theatre in Quebec.

Seventeenth century French society was a time in which the arts flourished and were used to create an eminence of power and absolutism. The gardens of Vaux-le-Vicomte were commissioned by Nicolas Fouquet and designed by André Le Nôtre. The gardens created a political and social space through the characteristics of design and standards of order which together conveyed power and absolutism. Louis XIV, newly crowned king, recognized at Vaux the perfect vehicle for the portrayal of power. French theater at the same time was gaining popularity and establishing itself as a great art form. Similar to the gardens at Vaux which illustrated beauty and power through order and careful design, the theater also was subject to specific guidelines of order and design. Powerful men such as Cardinal Richelieu helped to establish the early acceptance and development of theater at this time. Principles set forth for the theater were followed in order to create the perfect theatrical illusion onstage. Standards such as those set forth by Scudéry, d'Aubignac and the Academy were closely followed while plays such as Pierre Corneille's Le Cid were criticized for their lack of adherence to the rules. Trends and elements of formal gardens aligned with similar trends in French theater to reflect the power of the king. This power was doubly manifested through the garden setting and the theatrical performances which took place within them. The festivities of The Pleasures of the Enchanted Isle presented numerous plays by Molière such as Les Fâcheux and Tartuffe. These works demonstrated the power of the king while the week-long festivities created a space in which real and the desire for reality combined.