Esta dissertação descreve a Festa do Jongo da Comunidade do Tamandaré em Guaratinguetá, e analisa sua teatralidade, buscando as características presentes nessa manifestação que possam conectar-se ao fazer teatral. Assim, no decorrer do trabalho apresentamos a descrição da festa, seus costumes, sua inserção na comunidade, para enfim discorrer sobre suas características: memória e ritual, poesia, corporalidade, energia, presença e jogo. Através da leitura entre essa manifestação popular e o teatro, questionou-se o fazer teatral e suas possibilidades. / This thesis describes the Jongo festival of the Tamandaré communitys of Guaratinguetá, São Paulo, Brazil. It discusses the festivals and analyses specific features, which are, at the same time, typical characteristica of theatre. The text describes the festival, its traditions and its embediment in the community, to finally reflect about its material manifestation, rituals, poetry, energy, presence and aspects of a game as well as its reflection in the population memory. Through the understanding of the festival, the traditional notion of theater is questioned and possibilities to incorporate features of the festival are being explored.

A iluminação cênica é uma das mais fecundas áreas da prática teatral contemporânea, sendo responsável por muitos aspectos da construção dos sentidos na cena, e da fruição da obra pelos espectadores. Essa pesquisa visa jogar luzes sobre as estratégias utilizadas por alguns iluminadores na articulação de seu trabalho com as necessidades da fabulação de diferentes tipos de espetáculos e seus respectivos espaços. Numa encenação a demanda de responsabilidade que recai sobre o trabalho do iluminador é imensa. No geral ele precisa, além de iluminar o ator e a cena, de alguma maneira também iluminar o texto e a obra da encenação, ressaltando suas intencionalidades expressivas e de comunicação. Muitas vezes seu trabalho é o ponto de convergência ou confrontação entre os diversos profissionais envolvidos numa montagem teatral, além de contribuir de forma absoluta na maneira como o espectador recebe e experimenta um espetáculo. Acreditamos que tais e tamanhas tarefas poderão receber algumas luzes com o estudo que esta pesquisa pretende contemplar, com objetivo de contribuir para uma elaboração didática para interessados no tema. / The stage lighting is one of the most fruitful areas of the practice of contemporary theater, being responsible for many aspects of the construction of meanings in the scene, and to the enjoyment of the play by the spectators. This research aims to light up the strategies used for some light designers in the articulation betwen its work and the necessities of the report in differents types of spectacles and its respective spaces. On stage, the responsibility demands that falls in the work of the light designer is immense. In general terms, it needs, beyond lighting the actor and the scene, in some way also to light up the text and the mise-en-scène, to show its expressives purposes and comunication intents. Many times its work is the convergence point or confrontation among the involved professionals in a stage setting, beyond contribute in all the ways that the spectator receives and tries the spectacle. We believe that such and so great tasks will be able to receive some light with the study that this research intends to contemplate, with objective to contribute for a didactic elaboration for interested in the subject.

De la seconde moitié du XVIe siècle au règne personnel de Louis XIV, les duels clandestins se multiplient en France. Par le biais de cet exercice, la noblesse cherche à affirmer son identité de classe en réaction aux changements politiques et structuraux qui affectent la société d'Ancien Régime. Or cette prolifération de combats donne lieu à une vaste production d'ouvrages se consacrant au phénomène. D'une part, les auteurs attachés aux valeurs aristocratiques tentent de persuader l'autorité royale de rétablir un duel autorisé à la manière médiévale, qui, en offrant un lieu d'expression officiel à l'honneur nobiliaire, permettrait selon eux de faire cesser les affrontements. D'autre part, un groupe d'auteurs appartenant aux corps constitués oeuvrant à la défense des structures de l'État - magistrats et hommes d'Église -, proposent plutôt d'infliger de graves peines aux combattants. Dans cette thèse, nous montrons, par l'examen des procédés stylistiques, des emprunts intertextuels et du système de références mis en oeuvre dans ces textes, que la réflexion sur le duel s'articule autour d'un imaginaire héroïque, mobilisé par les auteurs de chaque position selon leurs intérêts. À travers un ensemble de figures récurrentes empruntées à la littérature de fiction ou l'histoire fictionnalisée - figures qui cristallisent une série de notions-clés au coeur du débat intellectuel sur le combat singulier (vertu, honneur, noblesse, jugement de Dieu) -, ce sont deux façons de concevoir l'organisation de la société française qui s'affrontent dans un véritable duel symbolique. / From the second half of the 16th century to the personal reign of Louis XIV, there was an increase in the number of clandestine duels in France. Through this practice, nobility sought to affirm its class identity in reaction to structural and political changes which affected the Old Regime. This proliferation of combats gave rise to a vast production of works dedicated to this very phenomenon. One group of authors attached to aristocratic values tried to persuade the royal authority to re-establish a legal form of duel, similar to what existed in medieval times. It would create, they argued, an official space for the expression of nobiliary honour and would permit the end of the clandestine duels. An opposite group of authors who belonged to the constituted bodies dedicated to the defense of the structures of the State - magistrates and clergymen - proposed rather to inflict grave punishments on the combatants. This thesis will demonstrate, though the analysis of stylistic processes, of intertextual loans and of the system of references employed in these texts, that the reflection on the duel revolves around heroic imagery, used differently by each group of authors in accord with their own interests. Through an ensemble of recurring figures borrowed from fictional literature or fictionalized history - figures which reinforce a series of key-notions at the heart of the intellectual debate on the duel (such as virtue, honour,

Tendo um conjunto de ensaios como base, esta tese busca discutir uma dramaturgia de cunho realista e contemporâneo, produzida por autores como Henry Ibsen, Harold Pinter e David Mercer, e suas relações com o contexto da adaptação audiovisual. Dentre os problemas abordados está o debate sobre a questão da teatralidade, ocorrido nos EUA, no final da década de 1960. A teatralidade é aqui entendida como expressão artística entre as linguagens artísticas tradicionais e contemporâneas, e como aproximação do universo da arte e da experiência cotidiana. Como parte do diálogo estão incluídas produções recentes no campo da pintura, música popular e documentário. Nesse aparato de questões, a produção ensaística também ganha visibilidade por meio de um ensaio audiovisual, produzido especialmente para este trabalho e apresentado em sua versão escrita e filmada. / Taking a body of essays, this dissertation examines a certain realist and a contemporary dramaturgy produced by authors such as Henry Ibsen, Harold Pinter and David Mercer, and discusses its relations with the audiovisual adaptation context. Among its subjects is the debate about theatricality which occurred in the U.S. in the late 1960s, understood as artistic expressions between traditional and contemporary artistic languages, as well as an approach between the universe of art and everyday experience. Recent productions in painting, popular music and documentary are also discussed alongside the essays. The question related to essayism itself is also addressed through an audiovisual essay, submitted in its written version and in the filmed one, both especially produced for this work.

<p>Predmet doktorskog umetničkog rada &bdquo;Uloga sećanja u izgradnji identiteta&ldquo; je analiza procesa dramatizacije sećanja. Rad obuhvata teorijsko istraživanje sećanja, kao i načina za njegovu inscenaciju, s jedne strane, a sa druge umetničko istraživanje ličnog i kolektivnog sećanja povezanog s periodom odrastanja u specifičnom društvenom i istorijskom kontekstu Jugoslavije, prema kojem se, u datom trenutku, kroz pozorišnu predstavu, uspostavlja odnos.</p> / <p>The subject of doctoral art work &quot; Role of remembrance in identity formation&quot; is the analysis of the process of dramatization of memory. The thesis<br />includes theoretical research concerning memory, as well as the means for staging it, and, on the other hand - artistic research of the personal and collective memory connected to a period of growing up in a specific social and historical context of Yugoslavia towards which a relationship is established through a theater performance, at a specific given moment.</p>

Doctor of Philosophy / ABSTRACT The notion of theatricality has, in recent years, emerged as a key term in the fields of Theatre and Performance Studies. Unlike most writings dealing with theatricality, this thesis presents theatricality as a rubric for a particular discourse. Beginning with a case-study of a theatre review, I read an anti-theatricalist bias in the writer’s genre distinctions of “theatre” and “performance”. I do not, however, test the truth of these claims; rather, by deploying Foucauldian discourse analysis, I interpret the review as a “statement” and analyse how the reviewer activates notions of “theatricality” and “performance” as objects created by an already existing discourse. Following this introduction, the body of thesis is divided into two parts. The first, “Mapping the Discursive Field”, begins by surveying a body of literature in which a struggle for interpretive dominance between contesting stakeholders in the fields of Theatre and Performance Studies is fought. Using Samuel Weber’s reframing of Derrida’s analysis of interpretation of interpretation, in Chapter 2, I argue that the discourse of the field is marked by the struggle between “nostalgic” and “affirmative” interpretation, and that in the discourse that emerges, certain inconsistencies arise. The disciplines of Theatre, and later, Performance Studies in the twentieth century are characterised, as Alan Woods (1989) notes, by a fetishisation of avant-gardist practices. It is not surprising, therefore, that the values and concerns of the avant-garde emerge in the discourse of Theatre and Performance Studies. In Chapter 3, I analyse how key avant-gardist themes—theatricality as “essence”, loss of faith in language and a valorisation of corporeality, theatricality as personally and politically emancipatory—are themselves imbricated in the wider discourse of modernism. In Chapter 4, I discuss the single English-language book, published to date, which critically engages with theatricality as a concept: Elizabeth Burns’s Theatricality: A Study of Convention in the Theatre and Social Life (1972). As I have demonstrated with my analysis of the discursive field and genealogy of avant-gardist thematics, I argue that implicit theories of theatricality inform contemporary discourses; theories that, in fact, deny this genealogy. Approaching her topic through the two instruments of sociology and theatre history, Burns explores how social and theatrical conventions of behaviour, and the interpretations of that behaviour, interact. Burns’s key insight is that theatricality is a spectator operation: it depends upon a spectator, who is both culturally competent to interpret and who chooses to do so, thereby deciding (or not) that something in the world is like something in the theatre. Part Two, “The Heritage of Theatricality”, delves further, chronologically, into the genealogy of the term. This part explores Burns’s association of theatricality with an idea of theatre by paraphrasing a question asked by Joseph Roach (after Foucault): what did people in the sixteenth century mean by “theatre” if it did not exist as we define today? This question threads through Chapters 5 to 7 which each explore various interpretations of theatricality not necessarily related to the art form understood by us as theatre. I begin by examining the genealogy of the theatrical metaphor, a key trope of the Renaissance, and one that has been consistently invoked in a range of circumstances ever since. In Chapter 5 explore the structural and thematic elements of the theatrical metaphor, including its foundations, primarily, in Stoic and Satiric philosophies, and this provides the ground for the final two chapters. In Chapter 6 I examine certain aspects of Renaissance theories of the self and how these, then, related to public magnificence—the spectacular stagings of royal and civic power that reached new heights during the Renaissance. Finally, in Chapter 7, I show how the paradigm shift from a medieval sense of being to a modern sense of being, captured through the metaphor of a world view, manifested in a theatricalised epistemology that emphasised a relationship between knowing and seeing. The human spectator thus came to occupy the dual positions of being on the stage of the world and, through his or her spectatorship, making the world a stage.

My dissertation investigates the production, representation and experience of space in Hellenistic urbanism, architecture, artworks. Considering festivals as spatialized practices, I argue that the Hellenistic urban setting was carefully designed as stages or arenas for the celebration and performance of state ceremonials. To this end, architects used symbolically charged design technologies, such as skenographia which was deeply informed by ancient optical science. I demonstrate that the perspectival developments in architecture, painting and sculpture were closely allied through application of skenographia, forming a unified visual discourse that was highly attentive to the eye of the spectator. I reconstruct the spatial practices in three major sites of Hellenistic Pergamon, namely, the sanctuary of Athena Nikephoros (bringer of Victory), the famous Altar of Zeus, and the sanctuary complex of the theater of Dionysus. Through these reconstructions, I demonstrate that the spatial order of the Hellenistic urban sanctuary facilitated Attalid kings’ appropriation of Pergamene urban setting as a constituent of their sovereign power. / text

Darbe analizuojami politiniai ritualai viešosiose miestų erdvėse, išskiriant teatrinių ir performatyvių elementų vaidmenį. Pirmojoje darbo dalyje apibrėžiamo politiniai ritualai ir pristatomi pagrindiniai jų analizės aspektai. Politiniai ritualai apibrėžiami kaip sekuliarūs ritualai, kuriais siekiama su valdžia, galios santykių performavimu susijusių tikslų. Taip pat politiniams ritualams būdinga tai, kad jie yra organizuota (vykstanti pagal tam tiktas taisykles, struktūruota) veikla, vykstanti specifinėje vietoje ir specifiniu laiku, suteikianti papildomą vertę naudojamiems objektams, nekurianti materialios naudos, kartojama (t.y. tradicijos palaikoma ir ją kurianti) bei atliekama turint tikslą. Taip pat išskiriami ir pasirinktai analizei išskirtinai svarbūs politinio ritualo bruožai - teatrališkumas bei performatyvumas. Pristačius teorinę prieigą, darbe toliau analizuojami konkretūs politiniai ritualai. Antra darbo dalis skirta valstybės šventėms. Valstybės šventės apibrėžiamos kaip oficialią politiką reprezentuojantis politinis ritualas, analizuojamas performatyvių ir teatrališkų elementų vaidmuo minint vasario 16ąją, kovo 11-ąją, liepos 6-ąją. Trečiame skyriuje analizuojamas kitas pasirinktas pavyzdys – eitynės. Jos veikia labiau kaip žanras, suteikiantis ritualo bruožų visiems juo besinaudojantiems. Konkrečių eitynių analizei pasirinktos skirtingas pažiūras, skirtingą santykį su valdžia demonstruojančios eitynės: patriotų eitynės „Tėvynei“, stačiatikių arkivyskupijos... [toliau žr. visą tekstą] / Thesis deals with political rituals in public city spaces extra focus lying on their theatrical and performative elements. First chapter of the thesis presents definition of political rituals. Political rituals are defined as secular, designed to gain or reconstruct power relations. Political rituals are also described as organized, taking part in specific environment on specific time, creating symbolical value for used objects and participants, not producing material value, repeated, purposeful activity. Separately are describes theatricality and performativity of public political rituals. After presenting theory examples are analyzed. Second part of thesis deals with state holidays. After showing that they can be regarded as political ritual, theatricality and performativity of February 16th, March 11th and July 6th are analyzed. Third part of the thesis goes on to analyze processions. Procession can be described as a genre. Using form of procession almost automatically makes an event ritualized. Further are analyzed processions that represent different political views and relations to official state politics: patriotic procession “For Homeland”, Christian procession “For Life” and procession for Tax freedom day organized by Liberal and centre union. In order to have broader perspective on how aesthetics, performativity and politics interact, fourth part of the thesis deals with political performance art, which uses elements of ritual or is ritualized by repeating it... [to full text]

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

In this dissertation I investigate the stylistic shift in the cinema of selected filmmakers whose work is rooted in Bertolt Brecht’s dramatic theory: Jean-Marie Straub and Danièle Huillet, Peter Watkins, and Lars von Trier. Through the work of these filmmakers, I trace the ongoing change in the cinematic applications of the theory. By and large, the change consists of a lessening of the role of montage – a technique that occupies a paramount place in Brecht’s theatrical and filmic practice – in favour of the objects within the camera’s field of view and the sounds within the microphone’s range. Since the ultimate effect for which the Brechtian filmmaker aims is that of Verfremdung, theatrical stylisation – itself estranging within the context of cinema – appears as a natural corollary of the described shift in emphasis. I also suggest a causal connection between the aforementioned shift and the growing self-consciousness of the style employed by meainstream cinemas (of which Hollywood is the foremost representative), which often manifests itself in the use of unorthodox editing patterns. Accordingly, I propose that we can attribute the contemporary Brechtian filmmaker’s growing reliance on mise-en-scène elements as a source of Verfremdung largely to the major film industries’ adoption of montage and other specifically cinematic codes that make a film’s style overt. Not surprisingly, perhaps, the Brechtian filmmaker – whose political stance is inherently antagonistic to that exemplified by most mainstream cinema, reacts to the normalisation of foregrounded film style by employing the opposite strategy.