Harold Pinter, cinema e literatura : os limites da realidade

Partindo de duas quest��es te��ricas preliminares, uma, da representa����o (liter��ria e cinematogr��fica)do real e do imagin��rio, tanto no ��ngulo da produ����o como no da sua recep����o e, a outra, da articula����o entre formas de express��o art��sticas distintas, ou seja, da interdisciplinaridade, este trabalho examina a presen��a do tema relativo aos limites entre realidade e fantasia no teatro, no cinema e na literatura, centrando sua aten����o na obra de Harold Pinter. Consta de duas partes, cada uma com tr��s cap��tulos. Na primeira, "Os pressupostos," discute-se as quest��es que fornecem seu substrato te��rico. A segunda �� dedicada ao corpus, identificando em seu t��tulo o tema investigado: "Os limites da realidade." Quanto �� quest��o da representa����o, procura-se refutar "a afirma����o de que a arte seja uma imita����o da realidade. Uma releitura da Po��tica, de Arist��teles, refor��ada pela opini��o de diversos estudiosos da mesma, permite afirmar que a m��mese corresponde, isto sim, a uma representa����o que envolve uma constru����o em que elementos da realidade s��o organizados segundo uma verdade criada pela pr��pria obra, de acordo com crit��rios inerentes a ela. Al��m disso, atrav��s de uma leitura de Kathryn Hume, procura-se afirmar a intera����o sinest��sica quase que permanente dos impulsos realista e da fantasiana literatura, identificando os tipos com que a fantasia se manifesta e as t��cnicas usadas para sua cria����o. A primeira parte encerra-se com um exame do relacionamento da literatura com as artes visuais e dram��ticas, rela����es inter-disciplinares que situam este trabalho na literatura comparada.Dentre v��rios autores cujas obras contribuem para tal fim, destaca-se Martin Esslin, que estabelece os limitesde cada uma das artes dram��ticas, identifica contatos delas com a literatura e permite, atrav��s de uma leitura de seu estudo sobre o teatro do absurdo, seja estabelecida a evolu����o que liga Arist��teles a Pinter. O corpus centra-se na obra de Pinterpara o teatro e para o cinema, sem limitar-se a ela,pois s��o tamb��m analisadas obras de outros escritores e cineastas, estabelendo-se aproxima����es ou contrastes entre elas. No quarto cap��tulo est��o agrupadas obras nas quais desponta a imposi����o de verdades pela for��a fisica ou verbal. A luta pelo poder, a expuls��o de elementos estranhos, d��vidas sobre a identidade e a inter-penetrablidade arte-vida caracterizam o cap��tulo seguinte. A ��nfase tem��tica do sexto cap��tulo recai sobre as limita����es impostas pela condi����o humana. Praticamente todas as obras expressam a impossibilidade da exist��ncia de certezas absolutas e de uma perfeita distin����o dos limites da realidade. Com isso, �� poss��vel afirmar n��o ser o objetivo da arte reproduzir a realidade. Mesmo que o fosse, tal tentativa resultaria infrut��fera devido ��s limita����es humanas.

The politics of memory in Harold Pinter's Ashes to Ashes

The present work proposes an investigation of the treatment given to memory in Pinter���s latest play, Ashes to Ashes, and of its function in the development of Pinter���s work. In order to do that, different aspects of the construction of meaning in the theatre are analysed, so that the specificity of its reception is determined. A survey of techniques used to present information, time and space in the theatre is made. The analytical drama, the history drama, and the theatre of the absurd are defined. After that, the evolution of the author���s work is analysed to determine what characterises Pinter���s work, while at the same time determining how his treatment of themes like menace, memory, and political oppression of the individual has evolved. Finally, a detailed survey of the apparently disconnected elements that are mentioned in Ashes to Ashes is made. The intertextual analysis allied to a study of the analytical form as used in this play enables the discovery of several layers of meaning. Through the connection established between the Holocaust and man���s fall followed by expulsion from Eden, Pinter examines the use of memory as a way of dealing with personal and collective responsibility and guilt. It is through the recovery of memory (also through writing) that the present can establish a critical and responsible relation with the past.

Prwncwyj: drama social e resolu����o de conflito entre os Ap��niekra J��-Timbira.

This work considers a ethnography boarding on the Ap��niekra J��-Timbira group of Central Brazil - leaving of a proposal of agreement of the group in perspectives of historical situations, analyzing its social organization from situational approaches. Taking the ethnography as main tool of production of data, the focus of the research takes dimension, when in the course of the ethnography situation, they come out, from certain events, social dramas that if ramify in crises, conflicts, faccionalismo. I analyze the mechanisms elaborated for the group to neutralize these dramas , such as the constitution of a tribal court , composites for native mediators and external mediators, dynamics ritual processes and politicians.

O tema no processo criativo da asmarias companhia de teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game

Escarc��u e escassez no teatro de Mossor��: percursos e percal��os de uma dramaturgia na rua

This research is a result of the theatrical Street show named A ��rvore dos Mamulengos, an appropriation of the drama text by Vital Santos, this presentation was done from 1989 to 2001, with the Companhia Escarc��u de Teatro, in the city of Mossor��/RN, Brazil. The intention here is to mapping the voices and memories of actors and actresses who have experienced the performance, the developments and achievements which resulted from twelve years of the season. In our study, we consider the importance of the choice for the open space such as streets and squares as the main local for representation considering it as a catalyst factor of aesthetic choice. However, we`ve consider the option for the collaborative process as the methodology staging by interpreters, as well as, the social and cultural determinants that were taking place deeming the realization of the spectacle

O teatro de Tadashi Suzuki e o ator como eixo de sua po��tica c��nica

Coordena����o de Aperfei��oamento de Pessoal de N��vel Superior (CAPES)

A forma����o da historiografia teatral brasileira (1888-1938): conson��ncias e disson��ncias

P��s-gradua����o em Artes - IA

O projeto Machadianas: Machado de Assis, o ��gora Teatro e a narrativa em cena

P��s-gradua����o em Artes - IA

Geografias do drama humano: leituras do espa��o em S��o Bernardo, de Graciliano Ramos e Pedro P��ramo, de Juan Rulfo

Coordena����o de Aperfei��oamento de Pessoal de N��vel Superior (CAPES)

Phoenissae de S��neca: estudo introdut��rio, tradu����o e notas

Coordena����o de Aperfei��oamento de Pessoal de N��vel Superior (CAPES)

A fortuna cr��tica de Vestido de Noiva e ��lbum de Fam��lia, de Nelson Rodrigues: casamento e/ou div��rcio?

P��s-gradua����o em Letras - IBILCE

Geografias do drama humano: leituras do espa��o em S��o Bernardo, de Graciliano Ramos, e Pedro P��ramo, de Juan Rulfo

Coordena����o de Aperfei��oamento de Pessoal de N��vel Superior (CAPES)

Teatralidade em frequ��ncia e intensidade: an��lise da matriz vocal do espet��culo Passos, do grupo Obragem de Teatro e Cia

Funda����o de Amparo �� Pesquisa do Estado de S��o Paulo (FAPESP)

Portas entreabertas: em busca de uma educa����o sens��vel a partir das imagens, espa��os e narrativas com teatro-educa����o

Conselho Nacional de Desenvolvimento Cient��fico e Tecnol��gico (CNPq)