Este trabalho é um recorte investigativo sobre a improvisação e o jogo teatral como estética e linguagem nas encenações do Grupo Pasárgada, ao longo de quatro décadas e meia de atuação, propondo novos olhares e caminhos sobre o teatro para crianças e jovens e sua contribuição para a cena teatral contemporânea. Na presente Dissertação de Mestrado, destaco em três textos escritos e encenados por mim, exemplos de minha atuação prática e teórica, embasada no jogo teatral e no conceito de modelo de ação de Bertolt Brecht, como método de aprendizagem em seu caráter coletivo e pedagógico. Destaco também a importância do vasto universo da cultura popular brasileira, com seus jogos tradicionais, contos populares, cantigas de roda, brincadeiras infantis e seu significado presente em praticamente toda a minha obra. Apresento ainda, como registro, a continuidade dessa investigação através de uma dramaturgia em processo, tematizando A Cruzada das Crianças, de Marcel Schwob e o poema homônimo de Bertolt Brecht, sobre crianças em tempos de guerra - os ecos do passado - buscando revelar a invisibilidade que a criança vem ocupando através dos séculos, sendo vítima da mais completa indiferença e da mais cruel das exposições. / This work is an investigative cut on improvisation and theatrical play as aesthetic and language in stagings of Pasargadae Group, over four and a half decades of work, proposing new looks and ways of theater for children and young people and their contribution to contemporary theater scene. In this Master\'s Dissertation highlight in three texts written and staged for me examples of my practical and theoretical performance, based on the theatrical play and action model concept of Bertolt Brecht as a learning method in their collective and pedagogical. I also highlight the importance of the vast universe of Brazilian popular culture, with its traditional games, folk tales, nursery rhymes, children\'s play and its present meaning in almost all my work. I present also as a record, the continuation of this research through a playwriting process, thematising the Children\'s Crusade, written by Marcel Schwob and the eponymous poem by Bertolt Brecht, on children in times of war - the echoes of the past - seeking reveal the invisibility that the child has occupied over the centuries, victim of the most complete indifference and the cruelest of exhibitions.

O mito de Orfeu assinalou a produção literária de autores clássicos, marcando presença também em obras modernas e contemporâneas. Na literatura brasileira, a obra Orfeu da Conceição, texto dramático de Vinícius de Moraes, buscou promover o diálogo entre a mitologia grega clássica e as raízes culturais brasileiras através da incorporação de elementos órficos. Publicada em 1956, com o subtítulo Tragédia Carioca, alcançou sucesso significativo no âmbito literário e cinematográfico. Destacou-se pelas adaptações e referências ao mito original no interior de sua trama, que transcorre nos morros do Rio de Janeiro entre as décadas de 1950 e 1960. Pasquale Aniel Jannini, pesquisador e acadêmico italiano, publicou em 1961 a tradução de Orfeu da Conceição em língua italiana, sob o título Orfeo Negro. Através do cotejo entre original e tradução, constituiu-se um corpus de termos e expressões que evidenciam marcas culturais entre os textos. Após essa etapa, estes dados foram submetidos à classificação e análise através do modelo Modalidades de Tradução, de Francis Henrik Aubert (1998). Esse modelo consiste em uma metodologia de pesquisa tradutológica derivada de conceitos elaborados por Vinay e Darbelnet acerca de procedimentos técnicos da tradução. Um dos principais diferenciais do modelo em questão liga-se à possibilidade de análise quantitativa e tipológica dos elementos destacados na tradução. A metodologia selecionada para a observação de Orfeu da Conceição e Orfeo Negro considera, ainda, a tradução como um ato de comunicação que ocorre entre indivíduos e entre grupos sociais, assumindo sua função frente a culturas, ideologias e diferentes pontos de vista. A proposta de estudo destes marcadores culturais levantados pretende analisar aproximações e afastamentos entre Orfeu da Conceição e Orfeo Negro, assim como refletir acerca de peculiaridades e traços interculturais expressos entre os textos. Aplicando-se metodologia de Aubert (1998) aos marcadores culturais identificados, verificou-se uma maior incidência da modalidade modulação, o que evidencia uma tradução predominantemente domesticadora, de acordo com os conceitos de Venuti (1999). Verificou-se também uma incidência significativa de erros dentre as modalidades mais recorrentes. Ainda que a tradução em questão seja considerada domesticadora, é relevante o fato de que contém inserções de elementos estrangeirizadores, também de acordo com a conceituação de Venuti (1999). Em nosso estudo, buscamos ainda observar se o ciclo da tradução se completaria em um eventual leitor brasileiro, conhecedor do idioma italiano, em termos de reconhecimento próprio e de sua cultura no texto traduzido. Para tal questionamento, obtivemos resposta positiva, somada ao fato de que a leitura do texto original, Orfeu da Conceição, pode ser enriquecida pela análise contrastiva e pelo contato com a tradução Orfeo Negro. / Orpheus myth has marked literary production of classic authors, and made its presence felt in modern and contemporary literary works as well. On Brazilian literature, Orfeu da Conceição, a dramatic work by Vinícius de Moraes, aimed to promote the dialog between classic greek mythology and Brazilian cultural roots by incorporating orphic elements. Published in 1956, with the subtitle Tragédia Carioca (Carioca Tragedy), it has achieved significant success at the literature and movies scopes. It has stood out by the adaptations and references to original the myth inside the story, which takes place at the shanty towns of Rio de Janeiro city between the decades of 1950 and 1960. Pasquale Aniel Jannini, an Italian researcher and academic, published in 1961 the translation of Orfeu da Conceição into Italian language, under the title Orfeo Negro. By comparing the original text to the translation, it has been composed a corpus of terms and expressions that highlight cultural markers between the texts. After that step, these data had been classified and analyzed by the theoretical model Translation Modalities, by Francis Henrik Aubert (1998). This model consists of a translation research methodology derived from the concepts made by Vinay and Darbelnet concerning technical procedures of translation. One of the main differentials of this model is the possibility of making a quantitative and typological analysis of the highlighted elements on translation. Besides, the methodology selected for the observation of Orfeu da Conceição and Orfeo Negro, understands translation as a communication act between individuals and between social groups as well, taking on its role when comes to cultures, ideologies and different points of view. The purpose of the study of these collected cultural markers attempts to analyze approximations and distances between Orfeu da Conceição e Orfeo Negro, as well as to reflect on particularities and intercultural traits expressed between the texts. By applying the methodology of Aubert (1998) to the identified cultural markers, we have verified a major occurrence of the modality modulation, which has evidenced a predominant domesticating translation, according to the concepts of Venuti (1999). We have also verified a significant occurrence of errors among the most common modalities. Although this translation is considered a domesticating translation, it is relevant the fact that it contains the insertion of foreignizing elements, also according to the conceptualization of Venuti (1999). In our study, we have also aimed to observe if the cycle of translation would complete itself by an eventual Brazilian reader who knows the Italian language, in terms of self-recognition and recognition of his or her own culture on the translated text. For such question, we have reached an affirmative answer, added to the fact that the reading of the original text, Orfeu da Conceição, can be enriched by the contrastive analysis and the contact with the translation Orfeo Negro.

Este trabalho é um recorte investigativo sobre a improvisação e o jogo teatral como estética e linguagem nas encenações do Grupo Pasárgada, ao longo de quatro décadas e meia de atuação, propondo novos olhares e caminhos sobre o teatro para crianças e jovens e sua contribuição para a cena teatral contemporânea. Na presente Dissertação de Mestrado, destaco em três textos escritos e encenados por mim, exemplos de minha atuação prática e teórica, embasada no jogo teatral e no conceito de modelo de ação de Bertolt Brecht, como método de aprendizagem em seu caráter coletivo e pedagógico. Destaco também a importância do vasto universo da cultura popular brasileira, com seus jogos tradicionais, contos populares, cantigas de roda, brincadeiras infantis e seu significado presente em praticamente toda a minha obra. Apresento ainda, como registro, a continuidade dessa investigação através de uma dramaturgia em processo, tematizando A Cruzada das Crianças, de Marcel Schwob e o poema homônimo de Bertolt Brecht, sobre crianças em tempos de guerra - os ecos do passado - buscando revelar a invisibilidade que a criança vem ocupando através dos séculos, sendo vítima da mais completa indiferença e da mais cruel das exposições. / This work is an investigative cut on improvisation and theatrical play as aesthetic and language in stagings of Pasargadae Group, over four and a half decades of work, proposing new looks and ways of theater for children and young people and their contribution to contemporary theater scene. In this Master\'s Dissertation highlight in three texts written and staged for me examples of my practical and theoretical performance, based on the theatrical play and action model concept of Bertolt Brecht as a learning method in their collective and pedagogical. I also highlight the importance of the vast universe of Brazilian popular culture, with its traditional games, folk tales, nursery rhymes, children\'s play and its present meaning in almost all my work. I present also as a record, the continuation of this research through a playwriting process, thematising the Children\'s Crusade, written by Marcel Schwob and the eponymous poem by Bertolt Brecht, on children in times of war - the echoes of the past - seeking reveal the invisibility that the child has occupied over the centuries, victim of the most complete indifference and the cruelest of exhibitions.

Depuis une quarantaine d’années, la nature et le degré de présence des référents spatiaux et temporels diffèrent considérablement dans le théâtre catalan, au moins selon les périodes, mais sans doute aussi selon les auteurs. À partir du milieu des années 1980, l’écriture dramatique tend en grande partie à refuser tout ancrage de l’action dramatique dans une géographie et un moment historique précis et, en particulier, à éluder les représentations de Barcelone et/ou de la Catalogne. Cette thèse se propose d’examiner le traitement des référents en question dans les pièces écrites par Josep M. Benet i Jornet et Sergi Belbel au cours d’une période où la dramaturgie catalane semble souvent se détourner du monde « réel » comme univers immédiat de référence. Depuis le niveau macrocosmique de l’univers jusqu’aux microcosmes domestiques et intimes, Benet et Belbel creusent le réel selon des modes et avec des moyens dramaturgiques variés, donnant ainsi lieu à des constructions spatiotemporelles assez diverses, et l’on peut alors observer différents effets de la présence et/ou de l’absence du réel : effacement des marqueurs identitaires, ou au contraire, omniprésence des références géographiques et historiques ; sentiment de dilution du monde ; effet paradoxal de la lisibilité de la réalité historique malgré son invisibilité manifeste ; etc. À partir d’un corpus de huit œuvres – Desig, El gos del tinent, Olors et Salamandra de Benet, Elsa Schneider, Tàlem, El temps de Planck et Forasters de Belbel –, l’analyse des référents spatiaux et temporels vise à saisir les « territoires dramaturgiques » privilégiés de deux figures majeures de la dramaturgie catalane contemporaine. / The nature and level of presence of the spatial and temporal referents have considerably differed in the Catalan theatre for the last forty years or so, at least from one period to another but certainly also from one author to another. Since the mid-1980s, playwriting has largely tended to refuse any dramatic action that would have been rooted in any geographic location or any exact point in history and, in particular, to avoid the representations of Barcelona and/or Catalonia. This thesis proposes a study of the treatment of the referents in question through some plays written by Josep M. Benet i Jornet and Sergi Belbel at a time when the Catalan dramaturgy often seems to turn away from the « real » world which has ceased to be a direct universe of reference. Benet and Belbel explore reality from the macrocosmic scale of the universe to the domestic and intimate microcosms, thanks to varied modes and dramatic principles, thereby giving rise to quite varied space-time structures. One may then observe different results of the presence and/or absence of reality: the erasing of identity markers or, on the contrary, the omnipresence of geographic and historical references, the feeling of the dilution of the world, the paradoxical effect of the legibility of historical reality despite its obvious invisibility, etc. Through a selection of eight plays – Desig, El gos del tinent, Olors and Salamandra by Benet, Elsa Schneider, Tàlem, El temps de Planck and Forasters by Belbel –, the analysis of spatial and temporal referents aims to grasp the « dramaturgic fields » emphasized by two major figures of contemporary Catalan drama.

Depuis quelques années, certains metteurs en scènes européens prennent des initiatives particulièrement audacieuses dans leurs adaptations de textes classiques, coupant le texte, modifiant l’ordre des monologues et allant jusqu’à injecter des morceaux de textes écrits par eux ou bien issus d’autres oeuvre littéraires. Ils n’hésitent plus à "se mettre en scène", c’est-à-dire à traiter avant tout leurs propres questions existentielles par l’intermédiaire des textes classiques, se libérant ainsi de toute pression exercée sur eux par les interprétations textuelles faisant autorité ou bien par les représentations de ces textes dans l’imaginaire collectif, et emmenant les textes classiques dans un "ailleurs" très personnel. Leurs mises en scène dépassent la fragmentation et le désordre propres au théâtre postmoderne et s’attachent au contraire à raconter une histoire cohérente, centrée sur les préoccupations intimes du metteur en scène. Ce nouveau type de mises en scène s’appuie sur des influences diverses, depuis André Antoine jusqu’à Heiner Müller, en passant par Stanislavski, Artaud et Brecht, et constitue une nouvelle étape dans le processus d’autonomisation de l’art de la mise en scène à l'oeuvre depuis le XIXème siècle. Le corpus de cette thèse comprend quatre récentes adaptations (réalisées entre 2008 et 2011) de textes classiques : Hamlet de Thomas Ostermeier, Hamlet de Nikolaï Kolyada, Roméo et Juliette d’Olivier Py et Un tramway de Krzysztof Warlikowski (à partir de Un tramway nommé Désir de Tennessee Williams). Il comprend également une mise en pratique sous la forme d’une adaptation, Pygmalion - J’ai créé une femme (à partir de Pygmalion de George Bernard Shaw), réalisée par l’auteur de la thèse en 2014 au sein des Théâtres Nationaux de Turquie, et ayant permis de tester les arguments et conclusions tirés des analyses précédentes. / In recent years, some European directors are taking particularly bold initiatives in their adaptations of classic texts, cutting the text, changing the order of monologues and even injecting pieces of texts written by them or from other literary works. They do not hesitate to "stage themselves", that is to say, to treat primarily their own existential questions through the classic texts, thus releasing any pressure exerted on them by the authoritative textual interpretations or by the representations of these texts in the collective imagination, and taking the classic texts in a very personal "elsewhere". Their stagings exceed the fragmentation and disorder specific to postmodern theater and focus instead on telling a coherent story, centered on the intimate concerns of the director. This new type of staging draws on diverse influences from André Antoine to Heiner Müller through Stanislavski, Brecht and Artaud, and represents a new stage in the empowerment process of the art of staging at work since the nineteenth century. The corpus of this thesis includes four recent adaptations (conducted between 2008 and 2011) of classic texts: Thomas Ostermeier’s Hamlet, Nikolai Kolyada’s Hamlet, Olivier Py’s Romeo and Juliet, and Krzysztof Warlikowski’s A Streetcar (from A Streetcar Named Desire by Tennessee Williams). It also includes a practical application in the form of an adaptation, Pygmalion - I Created A Woman (from Pygmalion by George Bernard Shaw), directed by the author of the thesis in 2014 in the Turkish State Theatres and having tested the arguments and conclusions from previous analyzes.

Ce travail étudie les liens qui relient la critique dramatique à une forme d’engagement politique dont certaines revues généralistes ont été porteuses du milieu des années 1960 au début des années 1980, à partir d’un corpus d’articles parus dans Les Temps modernes, Esprit et La Quinzaine Littéraire, dont la plupart sont respectivement signés par Renée Saurel, Alfred Simon et Gilles Sandier. La politisation de cette critique se manifeste dans laconception qu’elle professe du rôle du théâtre dans la société, dans les critères qu’elle applique à l’analyse des spectacles, dans sa participation aux débats des milieux artistiques et intellectuels, mais aussi dans l’acte même de l’écriture. La critique théâtrale pratiquée dans ces revues tend à se distinguer à la fois de la chronique journalistique et ducommentaire savant. Si sa périodicité lui permet de suivre l’actualité de la scène française (et surtout celle du théâtre public parisien), elle entend rompre avec le modèle traditionnel du compte-Rendu journalistique effectué sur un mode impressioniste. Elle tente d’expliciter ses critères de jugement en les rapportant aux problèmes théoriques soulevés par le marxisme, le brechtisme ou encore le structuralisme. Pour ce faire, elle s’ouvre à de nouveaux domaines de controverse comme celui des politiques culturelles. Bien qu’elle reconnaisse un certain degré d’autonomie aux questions esthétiques, elle considère l’écriture et la mise en scène au prisme de l’efficacité politique, en vue de promouvoir un théâtre véritablement populaire. Support matériel et instance symbolique, la revue constitue un lieu propice pour une critique alliant la revendication politique à l’exigence de savoir. / This research project aims to analyse the links between drama critique and political commitment, manifest in a number of reviews from the mid-1960s to the early 1980s. This investigation focuses on a corpus of articles published in Les Temps Modernes, Esprit and La Quinzaine Littéraire, most often signed by, respectively, Renée Saurel, AlfredSimon, and Gilles Sandier. This critique’s politicisation is most evident in four main areas, namely: its conception of the social function of theatre; in the selected criteria used to analyse performances; in its active involvment in the artistic and intellectual debates of the time; as well as in the very act of critical writing. The particular form of theatre critique emerging from these reviews tends to differ both from the journalistic column and from the scholarly commentary. These reviews’ publishing frequency allows this form of critique toremain topical in regards to contemporary french (and particularly public parisian) theatre; however, these texts also seek to break away from the traditional model of the theatre review and its impressionist mode. This critical movement attempts to explicate its criteria of appraisal by basing itself on the theoretical issues raised by Marxism, brechtism and/or structuralism. In so doing, it opens up its focus to include new controversial areas, such as debates on cultural policies. Despite aknowledging some form of autonomy to aesthetic issues, this critique analyses writing and mise-En-Scène through the lens of political efficiency, as a means to develop a genuine popular theatre. These reviews, considered here both as materialised spaces for intellectual debate and as objects of symbolic authority, become fertile loci in which to foster a new form of critique aiming to combine the development of theoretical frameworks with political commitment.

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Submitted by Micheli Abreu (mabreu@fiocruz.br) on 2016-02-25T17:31:13Z No. of bitstreams: 1 Marcia_Costa_EPSJV_Mestrado_2015.pdf: 4710941 bytes, checksum: d684a6091a2a87a4b7a7f4c248c3d64c (MD5) / Approved for entry into archive by Renata Azeredo (renataazeredo@fiocruz.br) on 2016-02-29T16:31:26Z (GMT) No. of bitstreams: 1 Marcia_Costa_EPSJV_Mestrado_2015.pdf: 4710941 bytes, checksum: d684a6091a2a87a4b7a7f4c248c3d64c (MD5) / Made available in DSpace on 2016-02-29T16:31:26Z (GMT). No. of bitstreams: 1 Marcia_Costa_EPSJV_Mestrado_2015.pdf: 4710941 bytes, checksum: d684a6091a2a87a4b7a7f4c248c3d64c (MD5) Previous issue date: 2015 / Fundação Oswaldo Cruz. Escola Politécnica de Saúde Joaquim Venâncio. Laboratório de Trabalho e Educação Profissional em Saúde. / O estudo apresenta e discute as práticas teatrais realizadas pelos educadores em saúde na Baixada Fluminense, RJ. São eles, agentes de combate as endemias, contratados de forma emergencial no início dos anos 1990 para atuar nos Programas de Controle de Vetores da Dengue e, nos dias atuais, nas Coordenações de Vigilância Ambiental em Saúde. Por apresentar uma complexa trajetória, fez-se um resgate das principais políticas públicas que originaram esta categoria no final do século XIX e moldaram seu desenvolvimento profissional no decorrer do século XX. Tratará da demissão deste profissional na década de 90 e o retorno aos seus postos de trabalho nos anos iniciais do século XXI. Narra as primeiras práticas de Educação Sanitária no início do século XX e o Projeto IEC-Nordeste nos anos 80. Descreve as ações de informação, educação e comunicação que desencadearam a Política de IEC na XI Conferência Nacional de Saúde em 2000. Relata a Educação Profissional desses agentes nos programas PROFORMAR e EDPOPSUS. Interpreta a teoria crítica e transformadora de Bertholt Brecht, inspiradora de variadas práticas teatrais. Realiza um estudo de caso, a partir das fontes primárias do Teatro Semeando Saúde, grupo formado por agentes em 1995. Transcreve as atividades realizadas pelos educadores em saúde, baseadas no Teatro Fórum, no Circo-Teatro e na Educação Popular em Saúde e suas contribuições para a apresentação e discussão das práticas teatrais realizadas pelos agentes de combate as endemias. / This study presents and discusses the theatrical practices carried out by health educators in the Baixada Fluminense, RJ. They are agents to combat endemics hired on an emergency basis in the early 1990's to work in the Dengue Vector Control Program and nowadays in the Coordination of Environmental Surveillance in Health. By presenting a complex trajectory it was made a rescue of the main public policies that led this category in the late 19th century and shaped their professional development during the 20th century. It will deal the dismissal of this professional in the 1990's and the return to their jobs in the early years of the 21st century. It narrates the first practices of Health Education in the early 20th century and the Projeto IEC-Nordeste in the 1980's. It describes the information, education, and communication actions that triggered the IEC policy at the XI National Health Conference in 2000. Agent's professional education is reported in the PROFORMAR and EDPOPSUS programs. Bertholt Brecht's critical and transformative theory is interpreted, inspiring variety of theatrical practices. Based on primary sources from the Semeando Saúde theater group formed in 1995 is developed a case study. Carried out activities are transcribed by health educators, based on forum theater, in the theater-circus, and popular education in health and their contributions for the presentation and discussion of theatrical practices performed by endemic combat agents.

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