Especificidades da tradução para palco: o caso do espectáculo Dr. Jekyll & Mr. Hyde da Companhia do Chapitô

A tradução para palco é uma tarefa particularmente complexa, dados os problemas que coloca ao tradutor não só a nível linguístico e cultural, mas também porque envolve linguagens não-verbais e ainda a noção de performability do texto a ser levado ao palco, o que implica um conhecimento profundo dos códigos teatrais implícitos no texto e na sua performance. O presente trabalho de projecto tem por objectivo uma análise do processo de criação e tradução do guião do espectáculo Dr. Jekyll & Mr. Hyde, realizado pela Companhia do Chapitô (Lisboa) entre 2013 e 2014. Através de um processo de adaptação peculiar, inspirado na commedia dell’arte, a Companhia do Chapitô criou a peça através de uma improvisação sobre o texto original em língua inglesa, o que conduziu à criação de um guião-base em inglês que foi posteriormente traduzido para a língua portuguesa pela mestranda. O trabalho que aqui se apresenta descreve tal processo, que se reveste de características especiais devido ao método de trabalho colaborativo seguido pela referida companhia de teatro que acolheu este projecto

Epidemic store for massive scale systems

The MAP-i doctoral program of the Universities of Minho, Aveiro and Porto

proxel-based method : formalisation, analysis and applications

Simulation, modelling, proxels, PDEs, Markov chains, Petri nets, stochastic, performability, transient analysis

Traduir Oscar Wilde: vicissituds pràctiques i implicacions teòriques

A partir d’uns quants entrebancs en la tasca de la traducció al català de l’obra An Ideal Husband d’Oscar Wilde (anomenats 'anècdotes'), s’observen i s’analitzen determinats conceptes teòrics sobre la traducció i algunes consideracions generals sobre l’especificitat de la traducció teatral (dites 'categories'), com són els de funcionalitat, representabilitat, fluïdesa, visibilitat, equivalència, reescriptura, fidelitat, adequació, acceptabilitat o estrangerització. La consideració d’aquests valors manejats per la teoria de la traducció entra aquí en diàleg amb les vicissituds de la pràctica de la traducció dramàtica, diàleg del qual resulta una reafirmació d’alguns d’aquests valors i, per contra, l’evidència de l’escassa productivitat (almenys amb caràcter universal) d’alguns altres

Lärande som text : en dramapedagogiskt förankrad läsning av det kroppsliga, rumsliga och retoriska i kunskapsbildande processer

My presupposition, that learning at some level deals with life praxis, is expressed in four metaphors: space, time, fable and figure. Relations between learning,knowledge building and meaning making are linked to the concept of personal knowledge. I present a two part study of learning as text in a drama pedagogical rooted reading where learning is framed as the ongoing event, and knowledge, as the product of previous processes, is framed as culturally formed utterances. A frame analysis model is constructed as a topological guide for relations between the two concepts learning and knowledge. It visualises an aesthetic understanding, rooted in drama pedagogical comprehension. Insight and perception are linked in an inner relationship that is neither external nor identical. This understanding expresses the movement "in between" connecting asymmetrical and nonlinear features of human endeavour and societal issues. The performability of bodily and oral participation in the learning event in a socio-cultural setting is analysed as a dialogised text. In an ethnographical case study I have gathered material with an interest for the particular. The empirical material is based on three problem based learning situations in a Polytechnic setting. The act of transformation in the polyphony of the event is considered as a turning point in the narrative employment. Negotiation and figuration in the situation form patterns of the space for improvisation (flow) and tensions at the boundaries (thresholds) which imply the logical structure of transformation. Learning as a dialogised text of "yes" and "no", of structure and play for the improvised, interrelate in that movement. It is related to both the syntagmic and the paradigmatic forms of thinking. In the philosophical study, forms of understanding are linked to the logical structure of transformation as a cultural issue. The classical rhetorical concepts of Logos, Pathos, Ethos and Mythos are connected to the multidimensional rationality of the human being. In the Aristotelian form of knowledge, phronesis,a logic structure of inquiry is recognised. The shifting of perspectives between approaches, the construction of knowledge as context and the human project of meaning making as a subtext, illuminates multiple layers of the learning text. In an argumentation that post-modern apprehension of knowledge, emphasising contextual and situational values, has an empowering impact on learning, I find pedagogical benefits. The dialogical perspective has opened lenses that manage to hold in aesthetic doubling the individual action of inquiry and the stage with its cultural tools in a three dimensional reading.

'Eden Cinema' by Marguerite Duras

Duras’s theatre work has been profoundly neglected by UK theatre academics and practitioners, and Eden Cinema has almost no performance history in Britain. My project asked three interconnected research questions: how developing the performance contributes to understanding Duras’s theatre and specifically Eden Cinema’s problems of performability; how multimedia performance emphasising mediated sound and the live body reconfigures memory, autobiography, storytelling, gender and racial identity; how to locate a performance style appropriate for Durasian narratives of displacement and death which reflect the discontinuous and mutable form of Duras’s ‘texte/film/théâtre’. Drawing on my research interests in gender, post-colonial hybridity and performed deconstruction, I focused my staging decisions on the discontinuities and ambivalences of the text. I addressed performability by avoiding the temptation to resolve the strange ellipses in the text and instead evoked the text’s imperfect and fragmented memories, and its uncertain spatial and temporal locations, by means of a fluid theatrical form. The mise-en-scène represented imagined and remembered spaces simultaneously, and co-existing historical moments. The performance style counterpointed live and mediated action and audio-visual forms. A complex through-composed soundscape, comprising voice-over, sound and music, became a key means for evoking overlapping temporalities, interconnected narratives and fragmented memories that were dispersed across the performance. The disempowerment of the mother figure and the silent indigenous servant in the text was demonstrated through their spatial centrality but physical stillness. The servant’s colonial subaltern identity was paralleled and linked with the mother’s disenfranchisement through their proxemic relationships. I elicited a performance style which evoked ‘characters’, whose being was deferred across different regimes of reality and who ‘haunted’ the stage rather than inhabited it. I developed the project further in the additional written outcomes and presentations, and the subsequent performance of Savannah Bay where problems of performability intensify until embodiment is almost erased except via voice.

Da Broadway alla gran via: La traduzione spagnola del musical The Lion King

Questa argomentazione tratta la traduzione e l'adattamento spagnolo del musical The Lion King. In primo luogo viene data una descrizione di che cos'è un musical, quali sono le sue origini, quali tematiche vengono affrontate e da quali numeri è composto lo spettacolo. Viene poi introdotto The Lion King con una breve descrizione del film per poi passare al "making of" del musical, abbiamo quindi una breve descrizione di scene, costumi e maschere. La terza parte è dedicata alla traduzione per la scena: vengono identificate le problematiche maggiori di questo campo della traduzione, si analizzano performability, speakability e soprattutto la singability, la caratteristica principale da tenere a mente quando si traduce un musical anche se spesso non gli viene attribuita l'importanza che merita. Viene poi introdotta la traduzione spagnola de El Rey León e del suo traduttore, Jordi Galcerán, di cui viene descritta una breve biografia in quanto il discorso è incentrato soprattutto nella sua esperienza di traduzione. L'ultima parte è l'analisi delle canzoni. Sono state selezionate sette canzoni di cui sono state analizzate nel dettaglio un minimo di due a un massimo di tre strofe. Ognuna di esse è affiancata dalla versione originale inglese in modo da avere subito chiare quali sono le differenze principali.

The reliability mathematical model of load-sharing parallel systems based on fatigue cumulative damage

Conventional reliability models for parallel systems are not applicable for the analysis of parallel systems with load transfer and sharing. In this short communication, firstly, the dependent failures of parallel systems are analyzed, and the reliability model of load-sharing parallel system is presented based on Miner cumulative damage theory and the full probability formula. Secondly, the parallel system reliability is calculated by Monte Carlo simulation when the component life follows the Weibull distribution. The research result shows that the proposed reliability mathematical model could analyze and evaluate the reliability of parallel systems in the presence of load transfer.

Numerical simulation of fresh SCC flow in wall and beam elements using flow dynamics models

Abstract : Recently, there is a great interest to study the flow characteristics of suspensions in different environmental and industrial applications, such as snow avalanches, debris flows, hydrotransport systems, and material casting processes. Regarding rheological aspects, the majority of these suspensions, such as fresh concrete, behave mostly as non-Newtonian fluids. Concrete is the most widely used construction material in the world. Due to the limitations that exist in terms of workability and formwork filling abilities of normal concrete, a new class of concrete that is able to flow under its own weight, especially through narrow gaps in the congested areas of the formwork was developed. Accordingly, self-consolidating concrete (SCC) is a novel construction material that is gaining market acceptance in various applications. Higher fluidity characteristics of SCC enable it to be used in a number of special applications, such as densely reinforced sections. However, higher flowability of SCC makes it more sensitive to segregation of coarse particles during flow (i.e., dynamic segregation) and thereafter at rest (i.e., static segregation). Dynamic segregation can increase when SCC flows over a long distance or in the presence of obstacles. Therefore, there is always a need to establish a trade-off between the flowability, passing ability, and stability properties of SCC suspensions. This should be taken into consideration to design the casting process and the mixture proportioning of SCC. This is called “workability design” of SCC. An efficient and non-expensive workability design approach consists of the prediction and optimization of the workability of the concrete mixtures for the selected construction processes, such as transportation, pumping, casting, compaction, and finishing. Indeed, the mixture proportioning of SCC should ensure the construction quality demands, such as demanded levels of flowability, passing ability, filling ability, and stability (dynamic and static). This is necessary to develop some theoretical tools to assess under what conditions the construction quality demands are satisfied. Accordingly, this thesis is dedicated to carry out analytical and numerical simulations to predict flow performance of SCC under different casting processes, such as pumping and tremie applications, or casting using buckets. The L-Box and T-Box set-ups can evaluate flow performance properties of SCC (e.g., flowability, passing ability, filling ability, shear-induced and gravitational dynamic segregation) in casting process of wall and beam elements. The specific objective of the study consists of relating numerical results of flow simulation of SCC in L-Box and T-Box test set-ups, reported in this thesis, to the flow performance properties of SCC during casting. Accordingly, the SCC is modeled as a heterogeneous material. Furthermore, an analytical model is proposed to predict flow performance of SCC in L-Box set-up using the Dam Break Theory. On the other hand, results of the numerical simulation of SCC casting in a reinforced beam are verified by experimental free surface profiles. The results of numerical simulations of SCC casting (modeled as a single homogeneous fluid), are used to determine the critical zones corresponding to the higher risks of segregation and blocking. The effects of rheological parameters, density, particle contents, distribution of reinforcing bars, and particle-bar interactions on flow performance of SCC are evaluated using CFD simulations of SCC flow in L-Box and T-box test set-ups (modeled as a heterogeneous material). Two new approaches are proposed to classify the SCC mixtures based on filling ability and performability properties, as a contribution of flowability, passing ability, and dynamic stability of SCC.