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.

Quelles sont les conditions d’une politisation de la danse dans le contexte contemporain de défiance vis-à-vis du politique ? Dans quelle mesure la danse peut-elle contribuer aujourd’hui à enrichir la pensée politique, voire œuvrer à transformer les conditions de l’expérience collective ? C’est à ces questions que nous tentons de répondre en prenant pour objet de recherche la danse contemporaine française et en privilégiant une approche esthético-politique fondée sur l’analyse de spectacles. Après avoir analysé deux expériences importantes de politisation de la danse ayant marqué le XXᵉ siècle – la danse radicale et la post-modern dance américaines –, nous revenons sur l’histoire de la danse contemporaine française telle qu’elle s’est écrite depuis le début des années 1970. Bien que portée par des valeurs d’émancipation, celle-ci fait face, au cours des années 1980, aux effets de son institutionnalisation, cette normalisation donnant naissance, au cours des années 1990, à une avant-garde chorégraphique contestataire qui dénonce une standardisation des formes et se tourne vers le modèle de la performance réputée politique, imposant une doxa anti-fiction et un décloisonnement entre les arts et les pratiques – deux tendances qui s’imposent aujourd’hui comme de nouvelles normes sur les scènes contemporaines. À la lumière de ces évolutions récentes, nous faisons l’hypothèse que, pour se politiser, la danse contemporaine gagne plutôt à prendre ses distances avec la performance pour expérimenter d’autres formes d’hybridations (avec le théâtre, le cinéma, les arts plastiques) ; qu’elle gagne en particulier à se théâtraliser. Nous confrontons cette hypothèse à dix œuvres récentes des chorégraphes Alain Buffard, Héla Fattoumi, Éric Lamoureux et Maguy Marin, créées entre 2004 et 2013. Après avoir étudié les intentions des artistes à travers leurs discours et leurs pratiques, nous analysons les œuvres en tentant de montrer en quoi leur forme originale constitue la mise en œuvre d’une politique de l’esthétique, raison pour laquelle leur hybridité constitutive, expérimentale et critique, se distingue de la mixis scénique formaliste qui fait florès sur les scènes contemporaines. / What are the conditions of a politicization of dance in this contemporary context of mistrust regarding politics ? To what extent can dance contribute today to enrich political thinking, or even help transform the conditions of collective experience ? We'll try to answer these questions through researches on French contemporary dance giving greater importance to a political esthetics approach based on the analysis of performances. After having analysed two important experiments of politicization in dance which had a great impact on the XXth century – radical dance and post-modern American dance –, we'll come back to the history of French contemporary dance, as it has been written since the beginning of the 70's. Although it was inspired by values of emancipation, contemporary dance faced the effects of its institutionalization during the 80's. During the 90's, this normalization gave birth to an “avant-garde” of protesting choreographers who denounced a “standardization” of forms and decided to turn to the model of performance art, known as being political. Thus, they imposed an anti-fiction doxa and a de-compartmentalization between arts and practices – two trends which are today imposing themselves as new norms on the contemporary stages. In the lights of these recent evolutions, I make the hypothesis that, to politicize itself, contemporary dance rather gains in taking its distance with performance art to experiment new forms of hybridizations (with theater, cinema and plastic arts); that it gains in particular in “theatralisizing itself”. I will confront this hypothesis to ten recent works from choreographers Alain Buffard, Héla Fattoumi, Éric Lamoureux and Maguy Marin, created between 2004 and 2013. After having studied the artists' intentions through their speeches and practices, I will analyse their works and try to show in what terms their original form constitutes the setting and production of a politics of esthetics, which is the reason why their constitutive, experimental and critical hybridization stands out from the formalist mixis which is so successful on contemporary stages.

Ce travail porte sur les conditions d’élaboration d’un savoir anthropologique à partir des formes discursives du roman contemporain et la représentation du personnage qui en découle. Il dresse un statut de ce savoir en mettant ces formes en relation avec le contexte socio-anthropologique qui détermine leur émergence, renvoyant le phénomène esthétique à sa réception et à sa signification sociale.Ainsi, par le concept de théâtralité, nous désignons un bouleversement de l’identité du roman ainsi que la modalité par lesquelles la crise du personnage s’énonce en « refigurant » l’image de l’individu et de la société. Les trois parties de la thèse répondent à la triple articulation de la méthode socio-anthropologique du Texte. La première partie revient sur les influences mutuelles entre littérature et anthropologie et montre, à partir du concept de mimésis, que la fiction propose à son tour une vision de l’homme. La seconde partie localise deux niveaux de théâtralité dans le roman : celle qui met l’identité de ce dernier en crise et l’autre qui réélabore la mimésis en « représentant » un personnage de roman totalement morcelé. La troisième partie, enfin, cherche à établir des correspondances entre cette double crise du roman et du personnage et les figures de l’homme. / This work concerns the conditions of elaboration of an anthropological knowledge from the discursive forms of the contemporary novel and the representation of the character which this one sets up. It raises a status of this knowledge by putting these forms in connection with the socio-anthropological context which determines their emergence, referring to the aesthetic phenomenon of its reception and its social significance. So, the theatricality concept indicates a disruption of the novel identity as well as the method by which the character crisis expresses itself, "refiguring" the vision of human being and the society. The dissertation is divided in three parts all in accordance with the triple articulation of the Text socio-anthropological method. The first part’s dealing with the mutual influence between literature and anthropology. With the mimesis concept, that first part shows that the novel proposes its own vision of the human being. The second part localizes two levels of theatricality in the novel: the one that puts the identity of that one in the crisis and the over that re-elaborates the mimesis by representing a character totally split. The third part tries to establish correspondences between this double crisis of the character and human beings.

Made available in DSpace on 2016-12-08T16:52:00Z (GMT). No. of bitstreams: 1 115830.pdf: 11021864 bytes, checksum: b133053aa2942583f69391172f5e7333 (MD5) Previous issue date: 2014-03-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente tese investiga os componentes das performances realizadas com a argila e com a cerâmica como parceiras de cena e suas possíveis teatralidades. Considera-se que o deslocamento da performatividade própria do fazer artístico com a argila e a cerâmica pode compor uma expressão cênica e visual, e emanar teatralidades diversas acionadas pela intencionalidade do artista em diálogo com a matéria eleita, formante e formadora no processo do fazer, possibilitando o surgimento nessa relação do outro ligado ao imaginário. O estudo é realizado a partir do desenvolvimento de experimentos performáticos próprios analisados reflexivamente e relacionados a outros trabalhos performáticos de artistas visuais como Ana Mendieta, Celeida Tostes, Miquel Barceló e Josef Nadj. A investigação tem a fenomenologia de Maurice Merleau-Ponty como diretriz metodológica, o que compreende viver a experiência, descrevê-la e refletir sobre seus resultados. Para compreensão da performance, de acordo com os estudos de Richard Schechner, parte-se do conceito de comportamento restaurado, que implica no entendimento de que, na arte, gestos e ações se repetem e ligam sentidos do presente aos do passado, e que esta relação com a terra e seus elementos transformados presta-se à reiterada revelação do ser humano.

Orientador: Cassiano Sydow Quilici / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T19:38:18Z (GMT). No. of bitstreams: 1 Capua_MariaClaraBuffode_M.pdf: 3272244 bytes, checksum: 716340fde092f4b4db4bce590f16001d (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa encontra-se no campo do trabalho criativo do ator. Através de um estudo teórico e prático, ela busca potencializar a utilização da imagem, mais precisamente da pintura de Francis Bacon, como um suporte para a sua criação e reflexão. Tendo por base um estudo sobre a obra e o processo criativo de Bacon, pretende-se a construção de uma "Figura" cênica autônoma, cujo foco não repouse na imitação direta da imagem. Para tanto, são utilizados como principais referências bibliográficas: a abordagem de Gilles Deleuze sobre a pintura baconiana e as entrevistas que o pintor concedeu a David Sylvester a respeito de sua produção artística. Por meio desse material, pretende-se o mapeamento tanto de uma estrutura de transposição da imagem, quanto de diretrizes metodológicas de criação ao ator. A partir dessa prática, propõe-se uma nova discussão que amplie as possibilidades de interação entre as artes cênicas e as artes plásticas, tendo como apoio teórico determinados escritos de Antonin Artaud, Josette Feral e Hans-Thies Lehmann. Finalmente, conclui-se a possibilidade de uma constante re-significação da imagem como material de trabalho ao ator, que passa a apropriar-se dela de uma maneira indireta, apreendendo-a não apenas como sugestão de cena, mas principalmente como sugestão de processo criativo: procedimentos e reflexões / Abstract: This research is related to the creative work of the actor. Through a theoretical and practical study, it purposes to potentiate the use of the image, most precisely of Francis Bacon's paintings, as a support for the actor's creation and reflection. Based on a study over Bacon's works of art and creative process, it is intended to construct an autonomous scenic "Figure", whose focus does not rest in the imitation of the image. In order to do that, there are used as primary references: the approach of Gilles Deleuze on Bacon' paintings as well as the interviews the painter has given to David Sylvester about his artistic production. Through this material, it is intended to map both a structure of transposition of the image and a methodological guideline of creation for the actor. From that practice, it is proposed a new discussion in order to extend the possibilities of interaction between the performing arts and the visual arts, through the support of certain theoretical writings of Antonin Artaud, Josette Feral and Hans-Thies Lehmann. Finally, the conclusion is the possibility of a constant re-meaning of the image as a working material for the actor, who passes to uses it indirectly, by apprehending it not only as a scene suggestion, but mainly as a suggestion of creative process: procedures and reflections / Mestrado / Mestre em Artes

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-01-08T14:08:06Z No. of bitstreams: 2 Dissertação - Deusimar Gonzaga - 2015.pdf: 2779885 bytes, checksum: b967dd65a94c0c282305853868ec3a58 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-01-11T06:43:43Z (GMT) No. of bitstreams: 2 Dissertação - Deusimar Gonzaga - 2015.pdf: 2779885 bytes, checksum: b967dd65a94c0c282305853868ec3a58 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-01-11T06:43:43Z (GMT). No. of bitstreams: 2 Dissertação - Deusimar Gonzaga - 2015.pdf: 2779885 bytes, checksum: b967dd65a94c0c282305853868ec3a58 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-06-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study aims at presenting and discussing some of the aspects of dramatism, method of analysis of human relations and mainly of the acts of the language and of the thinking, as it is presented by the North American philosopher and literary critic Kenneth Burke (1897-1993), from the years 1930 to 1960. Practically unknown in our language, Kenneth Burke‟s name and of his dramatism are compulsory presences in the recent compendiums which deal with the studies of performance and of cultural performances, for the comparison and the relation they establish between everyday life and the drama and thus require be better known. Among many theorists, Burke‟s works have influenced the literary critics Harold Bloom (1930) and Susan Sontag (1933-2004), his student at the University of Chicago, and mainly the theoretical founding of the sociologist Erving Goffman (1922-1982), being that in his studies of everyday life as well as in his “dramaturgical approach”. As it is implied from dramatism, we are not only language users, we are also used by it and language determines our actions. Dramatism is established as an instrument of analysis of language as symbolic action from five key terms (dramatistic pentad): the act in itself, what has been done; the agent of the act, the actor, who performed the act; the scene (the place, the where); the agency, the means/instruments or how the action is performed, or even the autonomous capability of people to make their own choices; and the purpose. The act is the central term around which the five categories of analyses are organized (pentad) and the investigation of the motives of the action is the fundamental strategy of the dramatistic analyses. Burke proposes that the field of observation of the human action and of its innumerable combinations, the transpositions and the transformations among the terms of the cited pentad, makes it possible for an analysis of the human action that has drama as its central term. Dramatism attempts to answer the questions of how human actions can be explained, and mainly how these actions are determined by the symbolic capability. Dramatism becomes a central element in the analysis of human theatricality, of the human being in performance. / Este estudo tem o objetivo de apresentar e discutir alguns aspectos do dramatismo, método de análise das relações humanas e principalmente dos atos da linguagem e de pensamento, tal como apresentado pelo filósofo e crítico literário norte-americano Kenneth Burke (1897- 1993), entre os anos de 1930 a 1960. Praticamente desconhecido em nossa língua, o nome de Kenneth Burke e seu dramatismo são presenças obrigatórias nos recentes compêndios que abordam os estudos da performance e das performances culturais, pela comparação e relação que estabelecem entre a vida cotidiana e o drama e necessitam ser melhor conhecidos. Entre tantos teóricos, seus trabalhos influenciaram os críticos literários Harold Bloom (1930) e Susan Sontag (1933-2004), sua aluna na Universidade de Chicago, e principalmente a fundamentação do sociólogo Erving Goffman (1922-1982), seja em seus estudos da vida cotidiana como em sua “abordagem dramatúrgica” (dramaturgical approach). Como se infere, a partir do dramatismo, não somos apenas utilizadores da linguagem, somos também utilizados por ela, ela determina nossas ações. O dramatismo se estabelece como um instrumento de análise da linguagem como ação simbólica a partir de cinco termos chave (pentad dramatístico): o ato em si, o que foi feito; o agente do ato, o ator, quem realizou o ato; a cena (o lugar, o onde); a agência, os meios/instrumentos ou como se realiza a ação, ou ainda a capacidade autônoma das pessoas fazerem suas próprias escolhas; e o propósito. O ato é o termo central em torno do qual se organizam as cinco categorias de análise (pentad) e a investigação dos motivos da ação é a estratégia fundamental da análise dramatística. Burke propõe que o campo de observação da ação humana e de suas incontáveis combinações, as transposições e as transformações entre os termos do citado pentad, possibilitem uma análise da ação humana que tem o drama como termo central. O dramatismo procura responder as questões de como podem ser explicadas as ações humanas e, principalmente, como estas ações são determinadas pela capacidade simbólica. O dramatismo torna-se elemento central na análise da teatralidade humana, do ser humano em performance.

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2016-10-20T20:16:39Z No. of bitstreams: 2 Tese - Rosilandes Cândida Martins - 2016.pdf: 8552030 bytes, checksum: 37e9e6dc2b1179401050c043e21d6442 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2016-11-08T18:39:48Z (GMT) No. of bitstreams: 2 Tese - Rosilandes Cândida Martins - 2016.pdf: 8552030 bytes, checksum: 37e9e6dc2b1179401050c043e21d6442 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-11-08T18:39:48Z (GMT). No. of bitstreams: 2 Tese - Rosilandes Cândida Martins - 2016.pdf: 8552030 bytes, checksum: 37e9e6dc2b1179401050c043e21d6442 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-03-18 / Theatricality, Montage and Performance in the Art of Ana Maria Pacheco scrutinizes the visual work of the plastic artist as a main visual body analysis on the series of ten paintings entitled In Illo Tempore I-X (1994), elaborated in the 90 ́s. The approach of this work is that the art of Ana Maria Pacheco (1943) is an intervallic montage of multiple temporalities, and under this perspective, we are headed to assume that the artist reinterprets the cultural-historical universe of her environment of origin and formation relating it dynamically and diversely in her visual work. It also investigates the theatricality inherent in the artist ́s visual work, elaborated through the intervallic and anachronistic montage of the culture, from which a potential performance on images derives to the reception of viewers eyes. The methodology used in this work is a combination of bibliographical research and image analysis starting from the process “constellation and work table” (Didi- Huberman, 2013), which consists in entangling a collection of affinities and relationship between the images themselves. The main concepts approached in this work are the notions of “montage” (Didi-Huberman, 2013), “theatricality” (Féral, 2011), “geopoetics” (Lowenthal, 1982) and “performance and reception” (Zumthor, 2007). / Teatralidade, Montagem e Performance na Arte de Ana Maria Pacheco investiga a obra visual da artista plástica tendo como principal corpo visual de análise a série de dez pinturas intitulada In Illo Tempore I-X (1994), elaborada na década de 90. A abordagem deste trabalho é a de que a arte de Ana Maria Pacheco (1943) é uma montagem intervalar de múltiplas temporalidades e, sob essa perspectiva, parte-se do princípio de que a artista reinterpreta o universo histórico-cultural de seu ambiente de origem e formação e o relaciona de maneira dinâmica e diversa em sua obra visual. Investiga-se a teatralidade presente na arte visual da artista, elaborada por meio da montagem intervalar e anacrônica da cultura, da qual decorre uma potencial performance nas imagens para a recepção do olhar do espectador. A metodologia utilizada neste trabalho é uma combinação de pesquisa bibliográfica e análise de imagens a partir do processo de “constelação e mesa de trabalho” (Didi-Huberman, 2013), que consiste em intrincar uma rede de afinidades e relacionamentos das imagens entre si. Os conceitos principais abordados neste trabalho são as noções de “montagem” (Didi-Huberman, 2013), “teatralidade” (Féral, 2011), “geopoética” (Lowenthal, 1982) e “performance e recepção” (Zumthor, 2007).

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 presente pesquisa analisa e compara o processo criativo de dois filmes de Andrea Tonacci: Interprete Mais, Pague Mais (1974-1995) e Serras da Desordem (2006), com foco na relação do cineasta com os atores documentados, investigando a questão da encenação, performatividade e teatralidade. No primeiro filme, ao documentar a crise de um grupo de teatro, Tonacci explora a teatralidade inerente à realidade que documenta, resultando em uma presentificação que só existe através de seu registro cinematográfico. No segundo filme, ele encena a vida de um índio com o próprio índio, encontrando na reconstituição da vida do outro uma narrativa essencialmente autobiográfica. A comparação dos dois procedimentos visa ao confronto e a uma possível aproximação entre as diferentes formas de mise en scène/mise en présence no ato de filmar do cineasta, bem como a um entendimento das diferentes formas de encenar/presentificar o real no cinema de ficção e documentário. / This work analizes and compares the creative process of two films by Andrea Tonacci: Play More, Pay More (1974-1995) and Hills of Disorder (2006), focusing on the relationship between the filmmaker and the actors, by exploring the notions of staging, theatricality and performativity. On the first film, while showing the crisis faced by a theater group, Tonacci exposes the teatricality inherent to the reality portrayed, resulting in a presentification that only exists through his cinematic device. On the second film, by enacting the story of a native Brazilian, played by the native himself, he finds on the reconstruction of the life of the other a narrative that is essencially autobiographic. A comparison of the two procedures aims at the confrontation and possible approach of these two forms of mise en scène/mise en présence on the very act of filming, through an understanding of the diferent forms of staging/presenting the real on documentary and fiction films.

Orientador: Verônica Fabrini Machado de Almeida / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T05:27:33Z (GMT). No. of bitstreams: 1 Harada_RicardoGodoy_D.pdf: 40900997 bytes, checksum: e17b647942063460b51fccf6fffc7a65 (MD5) Previous issue date: 2012 / Resumo: A presente pesquisa objetivou estudar, fundamentar e desenvolver uma poética cênica singular, resultante da articulação de duas formas espetaculares distintas: a arte mágica e a arte teatral. Para isto, foi necessário realizar um estudo introdutório da arte mágica, com o fim de identificar seus traços específicos, recorrentes em sua gênese ao longo da história, bem como estabelecer sua especificidade enquanto uma forma espetacular autônoma. Esta tese analisa a problemática decorrente do encontro e da articulação entre ambas as artes, centrada na incompatibilidade entre os aspectos específicos de cada uma. Partindo dos conceitos discutidos, são apresentados exemplos concretos, visando superar a dicotomia entre a performatividade da arte mágica e a teatralidade do teatro, levando em consideração a complexidade e heterogeneidade de ambas as artes. O percurso artístico do autor é utilizado como estudo de caso, expondo os procedimentos e as soluções de ordem poética encontradas no decorrer de dez anos de experimentações. Esta poética singular é resultante do deslocamento da finalidade da arte mágica tradicional - centrada no entreter por meio da simulação do impossível - para a produção da suspensão estética no espectador. O acontecimento teatral deixa de ser um espaço de representação, tornando-se símbolo, ou seja, uma matriz de intelecções / Abstract: The purpose of this thesis is to study and develop a singular theatrical poetic, based on the articulation between the art of conjuring and theatre. Both are independent and complexes forms of arts, with inner characteristics that are incompatible when brought together. The first part of this research presents the genesis and the specificity of the art of conjuring by identifying its recurrent specific traces. After establish the specificity of both arts, we analyse the status queastionis of the proposition, regarding the mixture of procedures from the art of conjuring and theatrical art. Its not possible to establish a general theoretical answer to the problem presented by this research. Only by the analysis of singular cases, based on the concepts established on the first part of the thesis, is possible to contemplate the multiple dynamics and potentialities of the proposition. The singular poetical approach of the author is taken as case of study, being analysed by a descriptive method. This new form of performance, product of the mixture of conjuring and theatre is possible only because of the approach of its author, regarding the finality of his art: its not entertaining by creating effects of impossibilities, but provoke the aesthetical arrest in the spectator. In this new proposition, the theatrical scene is not a space of representation anymore, but is presented as symbol it self / Doutorado / Artes Cenicas / Doutor em Artes