Thesis -- Cologne. / Bibliography: p. 238-241.

The subject of this thesis is the comprehensive research and design of costumes for the play Ubu Roi by Alfred Jarry, including documentation of the creative process from the initial analysis of the play to the final designs. This play was written in the late 19th century and is considered to be a precurser to Surrealism and Theatre of the Absurd. The story is about the brief and tyrannical reign of a hideous, backward individual named Ubu, who comes to power by murdering the Polish king. The play is notable for its rough playfulness, ruthlessness with regard to social and cultural traditions, its open-mindedness and unique use of language. On the surface it comes across as a silly farce, but it contains many deeper undertones that cause Jarry to be sometimes regarded as a symbolist writer. This work is divided into a theoretical and practical part. The theoretical part deals with the author of the play, its content and the context in which it was written, and studies how it was staged in the past. It is not the aim to offer a coherent overview of the life of Alfred Jarry, his work, or the history of past productions of King Ubu. Instead, the information contained here is intended only as a documentation of the historical and theoretical research necessary to understand this work, which ultimately had an impact on the final designs. Part two documents the process of developing the costume designs themselves. Initially it introduces the key considerations that arose from reading the play that affected the overall progress of the work. There follows an analysis of the characters and situations based on the text, and sources of inspiration. The main section describes the final designs of the set and costumes that are supported by attached images.

Made available in DSpace on 2016-12-23T14:20:40Z (GMT). No. of bitstreams: 1 Josilene Cavalcante Correa - Parte 1.pdf: 9349031 bytes, checksum: c8cd12f3b0f4a6b22aabd85e29c38940 (MD5) Previous issue date: 2013-10-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The research investigates the social-ecological conflicts that cover the Ubu e Parati Fishermen Community, since the lately happening dynamic territorials raised by the process of industrial and oil pole increasing in the city of Anchieta, in the southern costline of Espírito Santo state. Going through the thematic stories retold by the Community individuals, we aimed the comprehension on the reasons why the fishing territories have been decreasing and its consequent reduction of surviving management conditions for its traditional work, besides this, the threatening the fishermen territorial identity and cultural practices are also affected by the enterprises advancement. Likewise, the lowering life quality at the fishermen space of living and their resistance invite us to debate about environmental justice and the v t that was planned to this place. In general, it is realized that there is a complex web of public and private individuals who manage to use the multiterritoriality (HAEBAERT, 2004a; 2004b) playing down their original territorialities and t f s s local managing power, for dominating the craved territory / A pesquisa trata dos embates sócioambientais que envolvem a Comunidade de Pescadores de Ubu e Parati, a partir das recentes dinâmicas territorializantes decorrentes do processo de expansão do polo siderúrgico, petrolífero e portuário do município de Anchieta, litoral sul do Espírito Santo. Por meio da história oral temática, buscou-se compreender a problemática relativa à redução dos territórios de pesca artesanal e a consequente redução das condições de sobrevivência dessa atividade tradicional, comprometendo também a manutenção da identidade e práticas culturais dos pescadores, em função do avanço dos empreendimentos industriais. Por outro lado, a redução da qualidade de vida do espaço do habitar dos pescadores e suas ações de resistência são vistas à luz das discussões em torno da justiça ambiental e do f s v v t qu t g ug u g identificou-se em Ubu e Parati uma trama complexa de sujeitos públicos e privados que fazem uso da multiterritorialidade para destituir o lugar das territorialidades dos povos originários e em seguida dominar o território cobiçado. Palavras-chave: Pescadores de Ubu e Parati. Polo industrial de Anchieta. Território. Identidade. Multiterritorialidade

This thesis discusses the impact of the counterculture on Australian cinema in the late 20thcentury through the work of the Sydney Underground Film group, Ubu. This group, active between 1965 -1970, was a significant part of an underground counter culture, to which many young Australians subscribed. As a group, Ubu was more than a rat bag assemblage of University students. It was an antipodean aspect of an ongoing artistic and political movement that began with the European avant-garde at the beginning of the 20th century and that radically transformed artistic conventions in theatre, painting, literature, photography and film. Three purposes underpin this thesis: firstly to track the art historical links between a European avant-garde heritage and Ubu. Experimental film is a genre that is informed by cross art form interrelations between theatre, painting, literature, photography and film and the major modernist aesthetic philosophies of the last century. Ubu's revolutionary aesthetic approaches included political resistance and the involvement of audiences in the production of art. Their creative wellspring drew from: Alfred Jarry, Dadaism, Surrealism, Futurism, Fluxus, Conceptual and Pop art. This cross fertilization between the arts is critical to understanding not only the Australian experimental movement but the history of contemporary image making. The second purpose is to fill a current void of research about early Australian Experimental film. This is a significant gap given it was a national movement with many international connections. The counterculture movement also contains many major figures in Australian art history. These individuals played their parts in the Sydney Push, Oz magazine and the activities of the Yellow House and have since become important multi arts practitioners and commentators. Thirdly, the thesis attempts to evaluate Ubu's political and social agenda for the democratization of film appreciation through their objectives of: production, exhibition, distribution and debate of experimental film both nationally and internationally. Ultimately the group would succeed in these objectives and in winning the war on repressive censorship laws. Their influence has informed the practice of many of Australia's current film heavy weights. Two key films have been selected for analysis, It Droppeth as the Gentle Rain (1963) and Newsfront (1978). The first looks forward to Ubu's contemporary practices and political agenda while the second demonstrates their longer term influences on mainstream cinema.

This thesis discusses the impact of the counterculture on Australian cinema in the late 20thcentury through the work of the Sydney Underground Film group, Ubu. This group, active between 1965 -1970, was a significant part of an underground counter culture, to which many young Australians subscribed. As a group, Ubu was more than a rat bag assemblage of University students. It was an antipodean aspect of an ongoing artistic and political movement that began with the European avant-garde at the beginning of the 20th century and that radically transformed artistic conventions in theatre, painting, literature, photography and film. Three purposes underpin this thesis: firstly to track the art historical links between a European avant-garde heritage and Ubu. Experimental film is a genre that is informed by cross art form interrelations between theatre, painting, literature, photography and film and the major modernist aesthetic philosophies of the last century. Ubu's revolutionary aesthetic approaches included political resistance and the involvement of audiences in the production of art. Their creative wellspring drew from: Alfred Jarry, Dadaism, Surrealism, Futurism, Fluxus, Conceptual and Pop art. This cross fertilization between the arts is critical to understanding not only the Australian experimental movement but the history of contemporary image making. The second purpose is to fill a current void of research about early Australian Experimental film. This is a significant gap given it was a national movement with many international connections. The counterculture movement also contains many major figures in Australian art history. These individuals played their parts in the Sydney Push, Oz magazine and the activities of the Yellow House and have since become important multi arts practitioners and commentators. Thirdly, the thesis attempts to evaluate Ubu's political and social agenda for the democratization of film appreciation through their objectives of: production, exhibition, distribution and debate of experimental film both nationally and internationally. Ultimately the group would succeed in these objectives and in winning the war on repressive censorship laws. Their influence has informed the practice of many of Australia's current film heavy weights. Two key films have been selected for analysis, It Droppeth as the Gentle Rain (1963) and Newsfront (1978). The first looks forward to Ubu's contemporary practices and political agenda while the second demonstrates their longer term influences on mainstream cinema.

No description available.

Cette thèse présente l'ensemble du parcours de création du metteur en scène québécois Denis Marleau, de la fondation de la compagnie de création UBU, qu'il dirige depuis 1982, jusqu'à 2005, année où est créé le spectacle Les Reines dont l'analyse du processus de création introduit ce travail. Construisant ses spectacles à partir d'œuvres littéraires et accordant une attention particulière à la profération du texte sur la scène par les acteurs, Marleau conçoit un théâtre s'inscrivant dans la mouvance du "théâtre de texte" qui se développe durant les années 1980, c'est-à-dire une pratique se fondant sur l'interprétation scénique d'une oeuvre textuelle, littéraire ou dramatique. Cette thèse observe le statut du texte dans les spectacles de Denis Marleau, en étudiant plus particulièrement le jeu des acteurs qui le profèrent. S'inspirant des œuvres littéraires qu'il met en scène, Marleau conçoit des modalités de jeu singulières qui éclairent en retour le texte. La perspective générale de cette thèse est ainsi la dramaturgie, entendue au sens de l'étude du passage entre le texte et la scène. Les différentes étapes du parcours de création du metteur en scène sont exposées à travers l'analyse de spectacles phares. Durant les années 1980, Denis Marleau conçoit des collages de textes appartenant aux répertoires des avant-gardes historiques. Pour interpréter ces collages, les acteurs développent des modalités de jeu où la théâtralité est exposée : gestes et diction sont artificiels et exacerbés. Marleau effectue un virage important au début des années 1990 lorsqu'il met en scène des pièces de Samuel Beckett, puis délaisse le collage pour se tourner vers des pièces "entières". Les modalités de jeu se transforment passablement, tandis que les acteurs conçoivent un jeu tout en retenue afin d'en favoriser la transmission limpide. La figure de l'auditeur apparaît dès lors de façon récurrente sur la scène de Marleau, figure qui écoute le texte proféré à l'instar du spectateur. Enfin, plus récemment, l'outil vidéo est utilisé sur la scène et participe autant à l'invention de nouvelles modalités de jeu qu'au raffinement de celles qui apparaissaient déjà dans les spectacles précédents. En commençant ce parcours dans les répétitions d'un spectacle, en procédant à l'analyse détaillée de trois spectacles et en évoquant plusieurs autres créations, cette thèse identifie différentes modalités de jeu afin de montrer l'évolution de la pratique du metteur en scène tout autant que la continuité dans sa vision esthétique. Si une rupture peut en effet être observée au tournant des années 1990, plusieurs modalités de jeu - le modèle de la marionnette, le jeu grotesque, le personnage-choral, la frontalité, entre autres exemples - sont récurrentes tout au long de son parcours. Le metteur en scène passe d'un "théâtre de l'exposition" à un "théâtre de la réduction", suivant les expressions élaborées dans cette thèse, mais il envisage le texte de la même façon, l'abordant comme une matière concrète, accordant autant d'importance au son et au sens des mots, et sa visée demeure semblable : Marleau souhaite trouver les stratégies pour le "faire entendre" avec clarté.