O menino da burra: um texto para cena: relatório do trabalho de projecto

Mestrado Teatro, especialização em artes performativas, escritas de cena

Definição dinâmica de personagens: trabalho de projecto

Trabalho de Projecto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Artes Performativas (Escritas de Cena)

Corre mãe! Corre!: trabalho de projecto

Trabalho de Projeto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Teatro do Movimento.

Uma só palavra: experiência de narrativa dramática: trabalho de projecto

Trabalho de Projecto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Artes Performativas (Escritas de Cena).

Educação literária: o texto dramático no 1.º ciclo do ensino básico

Relatório de estágio de mestrado em Educação Pré-Escolar e Ensino do 1.º Ciclo do Ensino Básico

La scena nel testo: Enrico IV di Luigi Pirandello

The starting point is the understanding of the dramatic text as literary text, thus it could be analyzed with methodologies coming from literary studies: the dramatic text is literature, creation of language and it can be read and interpreted as such. Of course I acknowledge the text’s performativity, implicit in its characteristic and functions. The analysis of Enrico IV (1921) constitutes a practical application of the proposal and the opportunity for opening the discussion to new perspectives.

La relation texte/scène en phase de reconfiguration : propositions théoriques autour de Terre océane de Daniel Danis

Avec la publication du «Théâtre postdramatique» d’Hans-Thies Lehmann et la montée de la performance dans la représentation théâtrale contemporaine, le drame, et avec lui le texte dramatique, semblent une fois de plus mis à mal. Or, la propension de certains ouvrages critiques à présenter comme cataclysmique l’avènement d’un théâtre postdramatique laisse en plan de nombreuses questions, notamment celle de la dynamique texte/scène qui, plutôt que d’en évacuer la première constituante, semble en métamorphoser les deux parties. Ce mémoire entend creuser la question du texte au sein de cette dynamique afin d’interroger ses mutations et les techniques d’approche qui permettent de l’intégrer dans une praxis théâtrale.

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

A Sancta Sapientia Medieval: enigma e mistério no teatro cristão de Rosvita de Ganderseheim

Within the scope of Literary Studies, theory, criticism, and historiography about the literature produced in the Middle Ages developed considerably from 1940 on, with the works of Ernst Curtius, Mikhail Bakhtin, and Erich Auerbach. In spite of the progress made, some specific aspects remain in the shadow, with incursions which were punctual though meaningful: that is the case of the critic fortunes about women‟s literary production in that period. Rosvita was a canoness and lived in the Benedictine convent of Gandersheim (Germany), in the 10th century A.D. Coming under Terence‟s influence, she wrote theater plays in Latin in which she figuratively presented theological issues in order to spread the Christian doctrine. The martyrdom issue deserved to be put in relief and was the focal point of the play Wisdom, which took place at the time of the Roman emperor Adrian. This paper analyzes that dramatic text discussing, at the end, how the categories of symbol, enigma, allegory, and mystery are organized by the author as expressive resources and structural elements.

Nationen och hans hustru : Feminism och nationalism i Israel med fokus på Miriam Kainys dramatik

The aim of this thesis is to elucidate the tension between feminism and nationalism in Israel and to investigate the ways by which such discursive currents mark the identities of Israeli women. The specific field of investigation is Israeli theatre, and the identities examined are dramatic characters created by the Israeli playwright Miriam Kainy. Also examined is the character of the playwright herself. Theatre is being observed as a specific field of society in which the position of women can be clarified. What kind of women characters the Israeli theatre produces is therefore a leading question for this study. Feminist theories, focusing on gender aspects of power relations, together with the postcolonial perspective, which considers power relations by focusing on ethnicity and geopolitical aspects, provide the theoretical tools. The social constructionist viewpoint is used since it provides an appropriate understanding of important notions for the thesis, such as nation and identity, considering them as constructions created by discourse. The discourses focused upon are the national v. the feminist discourse and theatre is viewed as a discourse mediator, which is why the dramatic text is the object of the analysis. The specific method of analysis is inspired by Norman Fairclough’s critical discourse analysis. The main part of the thesis consists of a discursive analysis of five women characters, constructed within a period of about five decades, namely between the 1950s and 1990s. Each one of these characters consists of an articulation which is considered representative of a specific time-relevant discursive struggle between the two discourses in question. One of the central assumptions of the thesis is that the Israeli national identity is thoroughly masculine. The identity problems it has been causing Israeli women since the time of the pioneers until today are clearly illuminated throughout the analysis. The conclusion emphasises that the subjectpositions being introduced by Israeli national discourse, namely the ways of being a New Jew, an Israeli, collide with those introduced by feminist discourse, i.e. ways of being an independent woman subject. Nevertheless, each and every character demonstrates creative ways of transforming the discourses by aiming at a hybrid formation.

Teatro x la identidad : "A propósito de la deuda" y "El piquete" : reflexiones en torno de las representaciones, el pasado reciente y lo político

El artículo consiste en la comparación de dos textos dramáticos y su análisis desde el enfoque de la interrelación del Análisis Automático del Discurso (Escuela Francesa) y conceptos provenientes del encuentro entre el marxismo y el psicoanálisis, a partir de la incorporación de conceptos de este último a la problematización general de las significaciones propias del mundo social que sugiere Louis Althusser en los años '60. En tanto que las obras de Teatro x la Identidad hacen referencia a la construcción de una memoria social, resulta imprescindible dar cuenta del concepto de memoria en tanto "la memoria se refiere a las maneras en que la gente construye un sentido del pasado, y cómo relacionan ese pasado con el presente en el acto de rememorar o recordar" (Jelin, 2002: 248). Es decir que se trata de observar qué sentidos configuran estas obras del pasado dictatorial que buscan representar.

Los objetos escénicos y su funcionalidad en Caballeros de Aristófanes

Nos proponemos estudiar, a partir de un análisis filológico-literario, la comedia Caballeros de Aristófanes, que se puso en escena y obtuvo el primer premio en las Leneas del año 424 a. C. La composición de esta obra es consecuencia directa de los acontecimientos ocurridos en Pilos durante el séptimo año de la Guerra del Peloponeso y resulta una sátira de carácter político en la cual constantemente se ataca a Cleón y se exponen abiertamente los vicios de la administración en Atenas. El objetivo de esta investigación es detectar e indagar los objetos presentes en el universo ficcional para dilucidar la funcionalidad de los mismos en relación con las distintas partes de la obra. Nos centraremos en aquellos que aparecen mencionados en el texto dramático atendiendo a los distintos sentidos que asumen a lo largo de la obra porque los consideramos elementos propulsores del desarrollo de la trama, caracterizadores de personajes, generadores de malos entendidos y poseedores de sentido simbólico

Acerca del diseño del auditorio en la Palliata Terenciana : Teatralidades cognitivas y psicofísica

La crítica tradicional trató asiduamente las diferencias entre las dramaturgias plautinas y terenciana. En este artículo se intenta escudriñar esas canónicas divergencias a partir de la categorización 'teatralidades psicofísica y cognitiva', para lo cual se postula pensar el texto dramático terenciano en términos retóricos, desde los que éste podría formularse como una máquina discursiva tendiente al convencimiento y a la persuasión de una idea (el diseño de un público capaz de realizar una actividad cognitiva predominante), mientras el de Plauto se presenta apelando a la conmoción al focalizar aspectos lúdicos asociados más a la percepción primaria del hecho espectacular

Acerca del diseño del auditorio en la Palliata Terenciana : Teatralidades cognitivas y psicofísica

La crítica tradicional trató asiduamente las diferencias entre las dramaturgias plautinas y terenciana. En este artículo se intenta escudriñar esas canónicas divergencias a partir de la categorización 'teatralidades psicofísica y cognitiva', para lo cual se postula pensar el texto dramático terenciano en términos retóricos, desde los que éste podría formularse como una máquina discursiva tendiente al convencimiento y a la persuasión de una idea (el diseño de un público capaz de realizar una actividad cognitiva predominante), mientras el de Plauto se presenta apelando a la conmoción al focalizar aspectos lúdicos asociados más a la percepción primaria del hecho espectacular