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Thematische Bibliographien / Theatre (philosophy) / Dissertationen

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Dissertationen zum Thema „Theatre (philosophy)“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 20. Februar 2023

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1

Darroch, Michael. "Theatre and the materialities of communication." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102797.

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This dissertation is situated within the field of media studies, with a particular focus on the "materialities of communication." The concept of "materialities" is oriented to the underlying conditions that allow communication to take place: the places, carriers and modes of communication that serve to shape and even alter meaning. My dissertation asks how this "material turn" can usefully be applied to and help develop the study of theatre.<br>The dissertation is divided into four chapters. In Chapter 1, I undertake a critical review of the theoretical literature regarding materialities and i

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2

Milne, Andrew Greg. "A critique of the philosophy of modern theatre." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385351.

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3

Rehorek, Karel. "The philosophy and practices of the Paperbag Theatre Company /." Title page, contents and conclusion only, 1992. http://web4.library.adelaide.edu.au/theses/09AR/09arr3452.pdf.

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4

Katsouraki, Evanthia. "Theatre director's philosophical entanglements : aesthetics and politics of the modernist theatre." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33250.

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This thesis presents a conceptual examination of the modernist director read through Gillian Rose's speculative lenses of the 'broken middle'. Highlighting the significance of speculative philosophy, I explore the meaning of the director as a mediating subjectivity. I demonstrate how a speculative reading of the director can act as a corrective to the received totalitarian, despotic image of the director. I urge for the rehabilitation of the director as a history and as a practice and I propose the emergence of this figure as being the outcome of a complex theatrical articulation entangled wit

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Shadle, Jennifer Klicker. "Protect, Preserve, and Reform: An Analysis of Three Plays by David Mamet Through the Lens of Kirkian Conservatism." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1528484860315471.

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6

Hadley, Bree Jamila. "Habit in the theatre : Henri Bergson, Gilles Deleuze and performance, with particular reference to the physical theatre of Yumi Umiumare and David Pledger." Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5287.

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7

Barclay, Julia Lee. "Apocryphal theatre : practicing philosophies." Thesis, University of Northampton, 2009. http://nectar.northampton.ac.uk/3597/.

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Apocryphal Theatre: Practising Philosophies is a practice-based research project that consists of examples of my theatre practice (as research) and a written thesis. In this thesis, I argue that theatre can be seen to be an act of philosophy, by tessellating Maurice Merleau-Ponty's definition of philosophy as consisting of relearning to look at the world and Gilles Deleuze and Felix Guattari's proposition that philosophy is the creation of concepts, and pointing to post-WWII theatre artists whose work both fulfill this definition of philosophy and have informed Apocryphal Theatre's work. Inclu

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Dalmasso, Frederic. "Alain Badiou's transitory theatre." Thesis, Loughborough University, 2011. https://dspace.lboro.ac.uk/2134/10180.

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This thesis explores how theatre informs Badiou's philosophy through detailed analysis of Badiou's theory of theatre and his six plays L'Écharpe rouge, Incident at Antioch and the Ahmed tetralogy . It argues that theatre has provided an ideal and material ground for Badiou to rehearse concepts he developed in his Logics of the Worlds (2006) and Second Manifesto for Philosophy (2009), such as that of ideation and incorporation. By placing theatre at the core of Badiou's work, this thesis provides a different point of entry into Badiou's philosophy: it demonstrates the overarching nature of Bad

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Johnston, Daniel Waycott. "Active Metaphysics: Acting as Manual Philosophy or Phenomenological Interpretations of Acting Theory." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/3984.

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This thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy and th

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Fletcher, Narelle, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "The Role of the translator in theatre." THESIS_FPFAD_SD_Fletcher_N.xml, 1997. http://handle.uws.edu.au:8081/1959.7/757.

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The author approaches the subject of translating for theatre both as a theatre practitioner and professional translator working in three languages. Translation is generally regarded as process of linguistic transfer from one language to another language in written form. Theatrical texts are an unique literary form because their written form is a base, anchor and springboard for the text in performance. Until recently, translation studies have tended to oscillate between lofty pronouncements which remain too general to be easily applicable to the practical task of translating and close textual

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McCoy, Allen. "TYA Methodology Twentieth-Century Philosophy, and Twenty-First Century Practice: An Examination of Acting, Directing, and Dramatic Literature." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3943.

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Throughout the twentieth century, theatre for young audiences (TYA), or children's theatre, has been situated as something "other" or different than adult theatre, a kind of theatre--but not really theatre, a construct which opened the door to numerous "how to" philosophies geared specifically toward the theatre for young audiences practitioner. As a twenty-first century theatre practitioner, I am interested in how these philosophies are situated within or against current professional practices in the TYA field. This interest led me to the main question of this study: What are the predominant

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Jaeger, Suzanne Monique. "The theatre of a certain living pulsation a study of Merleau-Ponty's philosophy /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0028/NQ39275.pdf.

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Bonshek, Corrina. "Australian deterritorialised music theatre : a theoretical and creative exploration." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/40061.

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This project consists of a theoretical examination of Australian music theatre and a portfolio of musical compositions. The thesis proposes an innovative analytical model for music theatre/multi-media with a distinctive perspective. Adapting concepts from feminist Deleuzean theorists, it advances a notion of feminine difference that moves beyond earlier debates between essentialists and anti-essentialists. This theoretical framework guides the close examination of three works ― Andrée Greenwell’s Laquiem: Tales from the Mourning of the Lac Women (1999), Greenwell’s Laquiem (2002) and Gretchen

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Unwin, Charles. "Dramatization and philosophy of history in Orange Book explication of a site-responsive work and its research." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/10876.

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Includes bibliographical references.<br>The explication presents Orange Book as a piece of site-responsive public space performance, showing how similar patterns of thought and feeling emerging in both research and artwork led to elaborating the notion of an art methodology for the work. The explication further considers a process of research into drama and history in relation to contemporary performance: where narrative dramatic forms,whether organic or fragmented, show history as a fait accompli, an aesthetic orientation around open structures and non-narrative performance modes allows for a

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Latto, Jeff. "The idea of transmutation in the theatre of Giulio Camillo /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61052.

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Transmutation is explored with respect to the sixteenth century text L'Idea del Theatro, by Giulio Camillo, linking the arts of alchemy, eloquence and divination. Alchemy establishes the doctrine of transmutation; eloquence is founded on the creative movement of deviation, while divination points to symbolization. The 'corporeal visions' of Camillo are set in opposition to the 'single eye' vision from which originate theories on perspective by the architects Leon Bastista Alberti and Sebastiano Serlio.

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Johnston, Daniel Waycott. "Active Metaphysics: Acting as Manual Philosophy or Phenomenological Interpretations of Acting Theory." University of Sydney, 2008. http://hdl.handle.net/2123/3984.

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PhD<br>This thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy a

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Picardie, Michael. "Towards a philosophy of theatre inspired by Aristotle's poetics and post-structuralist aesthetics in relation to three South African plays." Thesis, University of South Wales, 2014. https://pure.southwales.ac.uk/en/studentthesis/towards-a-philosophy-of-theatre-inspired-by-aristotles-poetics-and-poststructuralist-aesthetics-in-relation-to-three-south-african-plays(031e80c8-04cc-4060-86df-770d67477b26).html.

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I have attempted a reading of Aristotle in terms of mimesis, ethos, mythos, lexis, hamartia, anagnorisis, peripeteia, catharsis and anamnesis - as an existential “being there” (Dasein) of the characters’ freedom and actual historicity - in three of my plays in which I performed or witnessed in productions in England, Wales, three Scandinavian countries, the U.S. and South Africa. I have analysed other Southern African “womanist” performative drama and feminist theatre. I assume with the ancient Greeks that in serious theatre there is theoria, an educated, discursive looking, which involves a d

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Bonshek, Corrina. "Australian deterritorialised music theatre a theoretical and creative exploration /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19308.

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Thesis (Ph.D.) -- University of Western Sydney, 2007.<br>A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the University of Western Sydney, College of Arts, School of Communication Arts. Includes bibliography.

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Epling, Leslie Rose. "Costume Designing for Theatre of the Absurd - Come and Go, Footfalls, and The Dumb Waiter." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/honors/6.

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In October of 2010, ETSU staged three one-act plays in the Theatre of the Absurd genre--Come and Go and Footfalls by Samuel Beckett and The Dumb Waiter by Harold Pinter. This thesis gives a brief overview of Theatre of the Absurd and how Beckett and Pinter helped to shape and define the genre. It also gives an analysis of these three plays from the perspective of the costume designer.

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Lacy, Rachel. "Hamlet's Objective Mode and Early Modern Materialist Philosophy." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32430.

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Hamlet's tragedy is constructed as a perspective of matter that is destined for decay, and this "objective," or "object-focused," mode of viewing the material world enhances theatrical and theological understandings of the play's props, figurative language, and characters. Hamlet's "objective mode" evokes early modern materialist philosophies of vanitas and memento mori, and it is communicated in theatre through semiotic means, whereby material items stand for moral ideas according to an established sign-signified relation. Extending an objective reading to Hamlet's characters reveals their fu

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Babcock, Kimberly John. "Modern Dramatic Tragedy and Aristotle's Poetics: A Comparison." W&M ScholarWorks, 1987. https://scholarworks.wm.edu/etd/1539625396.

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Fleming, Chris 1970, of Western Sydney Hawkesbury University, and Faculty of Social Inquiry. "Theoria : performance and epistemology." THESIS_FSI_XXX_Fleming_C.xml, 1999. http://handle.uws.edu.au:8081/1959.7/407.

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What might it mean to attempt to figure theatre as thought? More specifically, what possible relations hold between theatre and epistemology - that area of philosophy concerned with theories of knowledge? This study is a series of cross-disciplinary engagements that seek to articulate some of the relations between theatre, performance, and epistemology, to investigate performance as a 'deployed logic' in relation to those disciplines concerned with discovering and generating knowledge. For some thinkers in the continental tradition, the very thought of writing about the relations between perfo

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Watson, Ian T. "The Psychology of Theatre and Film: In Theory and Practice." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4202.

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This thesis utilizes theories and ideas from the field of psychology to inform intertextual and interdisciplinary readings that compare and contrast theatre and film texts. In Chapter One, I compare Carlos Fuentes' drama Orchids in the Moonlight to Nicolas Winding Refn's film Bronson in order to investigate the extent each oscillates between Carl Jung's notion of the collective unconscious and Gilles Deleuze and Félix Guattari's schizoanalytic paradigm. I found that while these vacillating aspects helped illuminate different perspectives of each text, Orchids in the Moonlight more closely repr

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Morelos, Ronaldo. "Symbols and power in the theatre of the oppressed." Thesis, Queensland University of Technology, 1999.

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Augusto Boal developed Theatre of the Oppressed as a way of using the symbolic language of the dramatic arts in the examination of power relations in both the personal and social contexts. Boal understood that symbolic realities directly influence empirical reality and that drama, as an art form that employs the narrative and the event, serves as a powerful interface between symbols and actuality. In the dramatic process, the creation and the environment from which it emerges are inevitably transformed in the process of enactment. These transformations manifest in the context of power relatio

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Ohanyan, Rima. "The Theatre of a Thousand Plateaus : How can architecture accommodate the postmodern conceptions of the theatre and provide spaces for non-conventional theatricals where narrative is deconstructed and the audiences are active co-creators or co-participants?" Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-174995.

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Today’s world has undergone through a variety of changes shifting from metaphysical way of thinking into postmodernism which has left its footprint in the aspects of literature, art and theatre. But architecture doesn’t reflect those changes in the theatrical world because buildings are not adjusted to the postmodern performances. In this research I made a journey through postmodern philosophy, literature, art, architecture, and theatre and tried to analyze the main tools of postmodernism, such as deconstruction of narrative, displacement etc. Then I applied them into my project which makes an

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Cull, Laura Katherine. "Differential presence : Deleuze and performance." Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/97094.

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This thesis argues that presence in the performing arts can be reconceived, via the philosophy of Gilles Deleuze, as an encounter with difference or ‘differential presence’ which is variously defined as immanence, destratification, affect/becoming, and duration. These definitions are developed through a series of four analyses of exemplary performance practices: 1) The Living Theatre; 2) Antonin Artaud; 3) Allan Kaprow and 4) Goat Island. Chapter One recuperates the Living Theatre from a dominant narrative of ‘failure’, aided by the Deleuzian concepts of ontological participation, immanence, p

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Pantano, Daniel. "The rapid unexpected." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001237.

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Ortega, Manez Maria. "Mimèsis en jeu. Une analyse de la relation entre théâtre et philosophie." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040170.

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Théâtre et philosophie présentent au long de leur histoire des modes d’interaction divers. L’approche privilégiée est ici l’analyse de la querelle qui opposa, au Ve siècle av. J.-C. en Grèce, deux de leurs représentants : Aristophane et Platon. Une analyse des œuvres qui véhiculent leurs attaques respectives permet de dégager les enjeux de cet affrontement ainsi que d’en mesurer la portée. Depuis cette perspective, la notion de mimèsis apparaît mise en jeu : terme d’origine théâtrale et portant essentiellement le sens du « jeu » de l’acteur, la mimèsis est utilisée par Platon comme l’argument

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Ribeiro, António Pinto. "Restauro e consideração sobre a possibilidade da constituição de uma crítica para as artes do corpo." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 1994. http://dited.bn.pt:80/29744.

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Laastad, Dyvik Synne. "Performing gender in the 'theatre of war' : embodying the invasion, counterinsurgency and exit strategy in Afghanistan." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/46848/.

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This thesis offers a critical feminist reading of the war in Afghanistan, from invasion, through the practice of counterinsurgency, to the training of the Afghan National Army as a central part of NATO's exit strategy. Empirically it focuses on the discourses, policies and practices of the US and Norwegian militaries in Afghanistan. It draws on a range of material including military doctrine and policy, parliamentary discussions, public policy documents, interviews, political statements and soldiers' memoirs. Deploying the theoretical framework of performative gender with an emphasis on embodi

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Pelletier, Louise 1963. "Nicolas Le Camus de Mézières's architecture of expression, and the theatre of desire at the end of the Ancien Régime, or, the analogy of fiction with architectural innovation." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36674.

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Cette dissertation explore le role de l'architecture en tant que langage expressif, a travers la theorie de caractere en France a la fin du dix-huitieme siecle. Depuis l'Antiquite, Vitruve avait etabli le role expressif de l'architecture dans sa definition du terme "decorum". Pour Vitruve, toutefois, l'architecture exprimait un ordre qui transcendait sa materialite, l'ordre de l'univers.<br>Vers la fin du dix-septieme siecle, des changements culturels importants transformerent la nature meme de l'architecture. Le questionnement des fondations naturelles de l'architecture plongea la discipline

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Novais, Douglas Rodrigues 1985. "Introdução ao estudo histórico-filosófico da técnica e da ação cômica do ator." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284393.

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Orientadores: Sara Pereira Lopes, Mario Alberto Santana<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-20T19:34:39Z (GMT). No. of bitstreams: 1 Novais_DouglasRodrigues_M.pdf: 986891 bytes, checksum: d9190e69c8259abb219d91ab63a25f14 (MD5) Previous issue date: 2012<br>Resumo: O Presente trabalho apresenta um estudo histórico-filosófico introdutório sobre as questões da técnica e da ação cômica no trabalho do ator. Com o objetivo de identificar os principios que fundamentam cada um desses campos para propor um estudo que

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Misdolea, Ana-Maria. "Dies peruorsus. Vision et visible dans le théâtre de Plaute : enjeux dramatiques, médicaux et philosophiques." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL159.

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La tromperie dans le théâtre de Plaute repose souvent sur l’articulation entre vision et visible. Le spectacle tient une grande place dans le ludus romain et Plaute accentue le jeu sur la sensorialité dans son texte. Mais le contexte intellectuel de la période hellénistique, dans lequel ont été composées les pièces grecques dont s’inspire Plaute, invite à une relecture de la tromperie, en lien avec l’erreur. L’examen du lexique de la vision fait émerger des situations dans lesquelles le regard est engagé. Est affirmée par les personnages, et tout à la fois remise en question, la confiance acco

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Day, Fe. ""Patterns in a world in slippage" Playback theatre as professional development in three primary healthcare centres in Aotearoa New Zealand : a thesis submitted to Auckland University of Technology in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD), 2007." Click here to access this resource online, 2007. http://hdl.handle.net/10292/474.

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This thesis is an account of praxis: it examines Playback conceptually, and portrays a programme of practical work exploring the experience of workplace audiences of five Playback Theatre performances, delivered from 2002-2005. The aim of the performances was to assist multi-disciplinary teams of staff in community health centres in Auckland New Zealand to communicate and work together with more understanding of each other. The thesis describes Playback as a way not only to elicit complex narratives which allow for diverse points of view to be expressed, but also as an aesthetic reworking of t

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Derek, Gingrich. "Unrecoverable Past and Uncertain Present: Speculative Drama’s Fictional Worlds and Nonclassical Scientific Thought." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31507.

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The growing accessibility of quantum mechanics and chaos theory over the past eighty years has opened a new mode of world-creating for dramatists. An increasingly large collection of plays organize their fictional worlds around such scientific concepts as quantum uncertainty and chaotic determinism. This trend is especially noticeable within dramatic texts that emphasize a fictional, not material or metafictional, engagement. These plays construct fictional worlds that reflect the increasingly strange actual world. The dominant theoretical approaches to fictional worlds unfairly treat these pl

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Schramm, Helmar. "Karneval des Denkens : Theatralität im Spiegel philosophischer Texte des 16. und 17. Jahrhunderts /." Berlin : Akademie Verlag, 1996. http://catalogue.bnf.fr/ark:/12148/cb37539660h.

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Schneider, Ulrich Johannes. "Theater in den Innenräumen des Denkens." Universitätsbibliothek Leipzig, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-149076.

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Gegen die Unumgänglichkeit des philosophiehistorischen Wissens sich zu stellen, haben verschiedene Denker unternommen, andere wollen die Umgangsformen der Philosophiegeschichte reformieren und neue Modelle des (historischen) Umgangs einführen. Gilles Deleuze nun scheint beides zu versuchen, indem er dem philosophiehistorischen Wissen als Philosoph jede Evidenz bestreitet und es zugleich als Philosophiehistoriker in einer neuen Umgangsweise aufhebt. Seine Philosophie ist offenbar verträglich mit einer Rede über andere Philosophien, ja scheint sie sogar zu fördern, wenn man so die Tatsache inter

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Rups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual." Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/771.

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The outward form of the text in which the spiritual search is housed is 'performance-ritual', that is, performed 'ritual'. This genre has its 'performance' roots in the dance pioneers and its 'ritual' roots in the Christian church. The contents of this performed text is influenced by an emerging ecofeminist consciousness. In this way, the thesis has a grassroots inspiration as well as crossing academic areas of performance studies, ritual studies, and feminist spirituality. The project begins by an examination of 20th Century feminist and ecofeminist writing on spirituality, which evokes the s

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Garcin-Marrou, Flore. "Gilles Deleuze, Félix Guattari : entre théâtre et philosophie. Pour un théâtre de l’à venir." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040231.

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Gilles Deleuze et Félix Guattari ne sont pas connus pour avoir manifesté un réel intérêt pour le théâtre. En adoptant une première approche historique et biographique, ce jugement s’avère être une injustice profonde envers ces deux esprits, car l’un ne cesse d’évoquer le théâtre afin d’en faire une critique constructive et l’autre se révèle être l’auteur d’une production théâtrale inédite à ce jour, dont nous dévoilons les enjeux dramaturgiques. Dans une seconde partie, il s’agit de cartographier une pensée du théâtre hétérogène, défendue par les deux philosophes : le théâtre est utilisé dans

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Kirschner, Bennett A. "Do We Make a Sound? An American Morality Play." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2615.

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Gouttefangeas, Maud. "Au théâtre des pensées. Essais de Péguy, Valéry, Artaud et Michaux." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040045.

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Il existe un théâtre des pensées, un espace de création et de jeu où se révèle l’activité pensante. Dans leurs essais, Péguy, Valéry, Artaud et Michaux ont pratiqué un tel théâtre. Par-delà leurs différences, leurs pensées sont remarquables en ce qu’elles cherchent à se représenter à elles-mêmes à travers un modèle théâtral, lequel se configure au point d’intersection de trois théâtres. Le premier renvoie au théâtre réel du premier XXe siècle, qui voit se développer des expérimentations de mise en scène. Les lieux de spectacles et les milieux artistiques dans lesquels évoluent les quatre auteu

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Paul, Salomé. "Avatars contemporains du tragique grec : le Mythe dans la dramaturgie de Sartre, Anouilh, Camus, Paulin, Kennelly et Heaney." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL029.

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Cette étude a pour objectif de démontrer le changement paradigmatique qui s’est opéré dans l’approche du phénomène tragique et du genre de la tragédie à l’époque contemporaine. La tragédie, telle qu’elle est pratiquée par les Grecs durant le Ve siècle avant J.-C., se construit autour du concept de dikè, c’est-à-dire de justice. Toutefois, au XXe siècle, la pensée tragique se porte sur la question de la liberté humaine. Cette transformation quant à l’appréhension philosophique et dramatique du phéno-mène résulte des événements socio-politiques qui secouent le monde occidental, et plus particuli

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Frias, Cassiane Tomilhero. "Um Artaud surrelealista e internado em Rodez = pontos de tensão entre teatro e poder." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283966.

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Orientador: Verônica Fabrini Machado de Almeida<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-16T05:47:04Z (GMT). No. of bitstreams: 1 Frias_CassianeTomilhero_M.pdf: 3569078 bytes, checksum: d9c0428c2f4e4972db506b74c49433af (MD5) Previous issue date: 2010<br>Resumo: Esta pesquisa propõe uma investigação sobre os aspectos políticos presentes nas obras de Antonin Artaud e as implicações do trabalho deste autor na relação entre teatro e poder. Levando em consideração a extensa obra de Artaud e sua grande contribuição par

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Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.

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Schneider, Ulrich Johannes. "Theater in den Innenräumen des Denkens: Gilles Deleuze als Philosophiehistoriker." Fink, 1996. https://ul.qucosa.de/id/qucosa%3A12767.

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Gegen die Unumgänglichkeit des philosophiehistorischen Wissens sich zu stellen, haben verschiedene Denker unternommen, andere wollen die Umgangsformen der Philosophiegeschichte reformieren und neue Modelle des (historischen) Umgangs einführen. Gilles Deleuze nun scheint beides zu versuchen, indem er dem philosophiehistorischen Wissen als Philosoph jede Evidenz bestreitet und es zugleich als Philosophiehistoriker in einer neuen Umgangsweise aufhebt. Seine Philosophie ist offenbar verträglich mit einer Rede über andere Philosophien, ja scheint sie sogar zu fördern, wenn man so die Tatsache inter

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Damkjaer, Camilla. "The Aesthetics of Movement : Variations on Gilles Deleuze and Merce Cunningham." Doctoral thesis, Stockholms universitet, Institutionen för musik- och teatervetenskap, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-645.

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This thesis is an interdisciplinary study of the aesthetics of movement in Gilles Deleuze’s writings and in Merce Cunningham’s choreographies. But it is also a study of the movement that arises when the two meet in a series of variations, where also their respective working partners Félix Guattari and John Cage enter. It is a textual happening where the random juxtaposition between seemingly unrelated areas, philosophy and dance, gives rise to arbitrary connections. It is a textual machine, composed of seven parts. First, the methodological architecture of the juxtaposition is introduced and i

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Davies, Callan John. "Strange devices on the Jacobean stage : image, spectacle, and the materialisation of morality." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/19236.

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Concentrating on six plays in the 1610s, this thesis explores the ways theatrical visual effects described as “strange” channel the period’s moral anxieties about rhetoric, technology, and scepticism. It contributes to debates in repertory studies, textual and material culture, intellectual history, theatre history, and to recent revisionist considerations of spectacle. I argue that “strange” spectacle has its roots in the materialisation of morality: the presentation of moral ideas not as abstract concepts but in physical things. The first part of my PhD is a detailed study of early modern mo

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Johnston, Daniel Waycott. "Active metaphysics acting as manual philosophy or phenomenological interpretations of acting theory /." Connect to full text, 2007. http://hdl.handle.net/2123/3984.

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Thesis (Ph. D.)--University of Sydney, 2008.<br>Title from title screen (viewed January 21, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Faculty of Arts, Dept. of Performing Studies. Degree awarded 2008; thesis submitted 2007. Includes bibliography. Also available in print format.

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Thiéblemont, Caroline. "L’Esthétique du cynisme dans le théâtre contemporain." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA148/document.

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L’hypothèse d’une esthétique du cynisme dans le théâtre contemporain s’appuie sur un constat empirique : au sein d’un théâtre qui s’autoproclame bien souvent politique, sans néanmoins se revendiquer d’une quelconque idéologie, la scène contemporaine européenne voit se développer, depuis la fin des années quatre-vingt, bon nombre de textes et de spectacles qui, par l’intermédiaire des personnages qu’ils mettent en scène ou des situations qu’ils présentent, expriment un point de vue cynique sur le monde. Dans un mouvement global caractérisé par le regain d’intérêt des auteurs envers des thématiq

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Girardin, Catherine. "La philosophie de l'histoire par le théâtre dans l'oeuvre de Johann Gottfried Herder (1764-1774)." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100043.

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Cette thèse étudie comment Johann Gottfried Herder mène une réflexion sur la conceptualisation, l’écriture et les fonctions de l’histoire dans un même mouvement en philosophie de l’histoire et en théâtre. L’interdisciplinarité caractéristique de l’œuvre de l’auteur et l’intégration de l’esthétique et des arts dans sa pensée de l’histoire dans le cadre de l’historisme allemand (Historismus) sont des facteurs qui contribuent à faire de ses propres œuvres dramatiques un espace de réflexion sur l’expérience individuelle et collective du passé, ainsi que sur la position objective et subjective de l

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