Dissertations / Theses: 'Brecht, Bertolt, Theater Theater Theater'

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Boner, Jürg. "Dialektik und Theater die Dialektik im Theater Bertolt Brechts /." Zürich : Zentralstelle der Studentenschaft, 1995. http://catalog.hathitrust.org/api/volumes/oclc/35815830.html.

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Lang, Joachim. "Episches Theater als Film : Bühnenstücke Bertolt Brechts in den audiovisuellen Medien." Würzburg Königshausen & Neumann, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2864715&prov=M&dokv̲ar=1&doke̲xt=htm.

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Gonçalves, Natália Kneipp Ribeiro. "A "didática" nas peças didáticas de Bertolt Brecht : ensino em cena /." Araraquara, 2016. http://hdl.handle.net/11449/138286.

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Orientador: José Luís Vieira de Almeida
Coorientador: Teresa Maria Grubisich
Banca: Vicente Concílio
Banca: José Eduardo de Oliveira Santos
Banca: Maria Eliza Brefere Arnoni
Banca: Renata Soares Junqueira
Resumo: O presente trabalho caracteriza-se como pesquisa bibliográfica e tem como objetivo a compreensão da didática a partir do estudo das peças didáticas de Bertolt Brecht (1898-1956), as quais são uma tipologia do teatro épico brechtiano e compreendem as seguintes obras: "O voo sobre o oceano" (escrita em 1928/1929); "A peça didática de Baden-Baden sobre o acordo" (escrita em 1929); "Aquele que diz sim"/"Aquele que diz não" (encenadas sempre em conjunto, escritas em 1929/1930); "A decisão" (escrita em 1929/1930); "A exceção e a regra" (escrita em 1929/1930) e "Os Horácios e os Curiácios" (escrita em 1934); além dos fragmentos "O malvado Baal, O Associal" e "Decadência do egoísta Johann Fatzer". A didática é a categoria central deste trabalho, o universo são as peças didáticas de Bertolt Brecht e o método de análise é o materialismo histórico e dialético. Pretendemos contribuir com a discussão dos processos pedagógicos, sobretudo no que se refere à práxis pedagógica escolar e, para tanto, os caminhos trilhados em nossa pesquisa partiram da análise do conceito de didática presente na obra "Didática Magna", de Comênio (1592-1670), que é um marco referencial da Pedagogia Moderna, e se dirigiram ao estudo da didática nas peças didáticas brechtianas. Compomos um panorama sobre as condições sócio-históricas do teatro europeu, em fins do século XIX e início do século XX; enfatizamos as aproximações e distanciamentos do expressionismo e do teatro político de Erwin Piscator (1893-1966) em relação ao desenvolvimento do teatro épico brechtiano; discutimos o elemento didático presente em peças anteriores às didáticas; e, por fim, analisamos as peças didáticas e seus fundamentos. Assim, consideramos que a didática compreendida a partir das peças didáticas propicia que o ensino seja posto em cena e aponta...
Abstract: This work is characterized as bibliographic search and has aimed to understand the teaching from the study of learning plays of Bertolt Brecht (1898-1956) which are a type of Brechtian epic theater and consist the following works: "The Ocean Flight" (written in 1928/1929); "The learning play of The Baden-Baden Lesson on Consent" (written in 1929); "He Who Says Yes"/ "He Who Says No" (always together staged, written in 1929/1930); "The Decision" (written in 1929/1930); "The Exception and the rule" (written in 1929/1930) and "The Horations and the Curiatians" (written in 1934); beyond the fragments "Bad Baal, the Antisocial Man" e " Demise of the Egotist Johann Fatzer". The teaching is the central category of this work, the universe are the learning plays of Bertolt Brecht and the method of analysis is the historical and dialectical materialism. We intend to contribute to the discussion of pedagogical processes, particularly with regard to school pedagogical praxis and, therefore, the paths in our research set out the teaching this concept analysis in the work "Magna Didactics", of Comênio (1592-1670), wich is a reference point of the Modern Education, and headed to the study of teaching in Brechtian learning plays. We compose an overview of the socio-historical conditions of european theater, in the late nineteenth century and early twentieth century; we emphasize the similarities and differences of expressionism and political theater of Erwin Piscator (1893-1966) for the development of Brechtian epic theater; we discuss this didactic element in previous parts to learning; and finally, we analyze the learning plays and its fundamentals. Like this, we consider that the didactic understood from the learning plays provides that education be put into play and points out possibilities for dialogue between theater and education from the perspective...
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4

Lang, Joachim. "Episches Theater als Film Bühnenstücke Bertolt Brechts in den audiovisuellen Medien." Würzburg Königshausen und Neumann, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2864715&prov=M&dok_var=1&dok_ext=htm.

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Van, Dyke Susan S. "A Lighting Design for The Ohio State University Theatre Department Production of The Caucasian Chalk Circle by Bertolt Brecht." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392802533.

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Rulison, Megan. "The Full Complexity of Being Human: A Study of Science and Art." Thesis, Boston College, 2006. http://hdl.handle.net/2345/369.

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Thesis advisor: Scott T. Cummings
This Senior Honors Thesis evolved from a personal fascination with the intersection of art and science both in drama and on a grander theoretical scale. It is a three-part investigation with each part written in different voice with a different intention. The first is a short personal introduction offering insight to the genesis of the project. This is followed by a comparative dramaturgical analysis of two science plays, Bertolt Brecht's GALILEO and Michael Frayn's COPENHAGEN, examining the role of science in drama. The final component is a philosophical dialogue on the model of Brecht's MESSINGKAUF DIALOGUES which articulates larger philosophical questions in an examination of the similarities and differences between science and art
Thesis (BA) — Boston College, 2006
Submitted to: Boston College. College of Arts and Sciences
Discipline: Theater
Discipline: College Honors Program

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Regele, Hildegard C. "Kunstkrankheiten und Heilkünste : kathartische Dynamiken durch Samuel Hahnemanns Homöopathie und Bertolt Brechts episches Theater = [Art(ificial) illnesses and healing arts : cathartic dynamics through Samuel Hahnemann's homeopathy and Bertolt Brecth's epic theater] /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190541.

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Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 518-539). Also available for download via the World Wide Web; free to University of Oregon users.

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Oliveira, Urânia Auxiliadora Santos Maia de. "A criação de textos teatrais a partir de jogos e das peças didáticas de Bertolt Brecht." Programa de Pós-Graduação em Educação da UFBA, 2007. http://www.repositorio.ufba.br/ri/handle/ri/10509.

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Este trabalho trata de um projeto de pesquisa-ação realizado com um grupo de jovens de um bairro popular de Salvador que buscou compreender os potenciais emancipatórios que a atividade do Teatro-Educação poderia propiciar aos participantes. Atrelado a essa perspectiva buscou-se a elaboração de uma metodologia de ensino do teatro, a partir de jogos teatrais, da história de vida de cada aluno, da utilização de peças teatrais — que no caso específico desse estudo foram as peças didáticas de Bertolt Brecht —, e de técnicas de interpretação, que possibilitasse um processo de conscientização, um aperfeiçoamento técnico na arte de interpretar e a criação de textos teatrais referenciados na vivência dos participantes. Paralelamente ao trabalho de campo, foi realizada uma revisão bibliográfica centrada na teoria do teatro pobre, de Jerzy Grotowski; no teatro da crueldade, de Antonin Artaud; na realidade da cena com comportamentos inspirados na vida real, de Constantin Stanislavski. Também foram abordadas teorias de autores que têm proximidade com as pedagogias críticas e libertárias. A pesquisa resultou num espetáculo com os jovens participantes, aliando a experiência de vida de cada um a técnicas teatrais, resultando daí sujeitos mais críticos, com maior autonomia e uma interação com a realidade mais refinada, para composição de espetáculos cuja comunicação com o público seja eficaz e demonstre apuro técnico.
Salvador

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Trovo, Maria Caroline [UNESP]. "Teatro épico no Brasil: sobre a atualidade de Brecht." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/106232.

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O final da década de 1950 marca o início do percurso que levou ao desenvolvimento do teatro épico de Bertolt Brecht no Brasil. No ano de 1958,a primeira encenação profissional do dramaturgo alemão e o sucesso da apresentação de Eles não Usam Black-tie, de Gianfrancesco Guarnieri, no Teatro de Arena, levaram à criação do Seminário de Dramaturgia do Arena, aos estudos da obra de Brecht e à apropriação dos procedimentos artísticos brechtianos. Por sua vez, os Centros Populares de Cultura (CPC), criados em 1962 e extintos pelas forças militares em 1964, foram fortemente influenciados pela teoria e prática teatral brechtiana. O direcionamento da cena teatral brasileira ao teatro épico coadunou-se com o movimento ascensional das massas do início dos anos 1960 e à perspectiva de transformação social via revolução socialista. O golpe militar de 1964, no entanto, que interrompeu a mobilização política do início da década e pôs em refluxo a agitação cultural, teria retirado a perspectiva empírica de transformação que embasava o teatro épico de Brecht e tornado-o obsoleto. Portanto, nos anos 1990, no contexto de retomada do teatro político, coloca-se a questão da atualidade de Brecht, da potência crítica de suas técnicas artísticas, como o efeito de distanciamento. O presente trabalho, nesse sentido, analisa a peça Ópera dos Vivos. Estudo Teatral em Quatro Atos, da Companhia do Latão, grupo teatral paulistano que se propõe a efetivação de um teatro épico brechtiano, como ponto de partida da discussão da atualidade do dramaturgo na sociedade brasileira contemporânea
The end of the 1950s marks the beginning of the path that led to the development of the Bertolt Brecht epic theater in Brazil. In 1958, the first professional staging of the German dramatist and success submitting They do not Wear Black-tie, by Gianfrancesco Guarnieri, at the Arena Theatre, led to the creation of the Dramatic Arena Workshop, to the studies Brecht’s work and the appropriation of Brechtian artistic procedures. On the other hand, the Popular Culture Centers (CPC), created in 1962 and abolished by the military in 1964, were strongly influenced by Brechtian theater theory and practice. The direction of the Brazilian theater scene to the epic theater conformed to the ascension movement of the masses in early 1960s and the prospect of social change through socialist revolution. The military coup in 1964, however, interrupted the political mobilization in the decade beginning and put in reflux cultural agitation, it would have removed the empirical perspective transformation that based the Brecht epic theater and became obsolete. Therefore, in the 1990s, in the context of renewed political theater, there is the issue of Brecht relevance, the critical power of his artistic techniques, such as distancing effect. This research, in this sense, examines the Living Opera play. The Theatrical Study in Four Acts, the Latão Company, São Paulo theater group proposes to establish a Brechtian epic theater, as the starting point of the discussion of today's playwright in contemporary Brazilian society

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Füllner, Niklas [Verfasser]. "Theater ist eine Volkssauna Politisches Gegenwartstheater aus Finnland in der Tradition von Bertolt Brecht / Niklas Füllner." München : epodium Verlag A. Backoefer, 2014. http://d-nb.info/1058675222/34.

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Van, den Heever Frieda. "Bertolt Brecht en die funksionele gebruik van musiek." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2921.

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Thesis (MDram (Drama))--University of Stellenbosch, 2009.
This study focuses on Bertolt Brecht`s use of music in his epic theatre. After looking at his objectives against the background of his times, certain key aspects of his dramatic theory and practice in general are discussed e.g. its epic nature, Verfremdung, Gestus and his social engagement. This is important for an understanding of his functional use of music as an important element in his productions. Music as a sign system in drama is discussed with special reference to the genres in which music plays an essential role, viz. opera, in particular Wagner`s Gesamtkunstwerk and, most importantly, cabaret. The focus is on Brecht`s reaction against and point of connection with, each of these genres. The second part of the study focuses on the role of music in the practice of Brecht`s theatre. Naturally the specific composers with whom Brecht worked and specific productions are discussed. The relevant productions discussed are Aufstieg und Fall der Stadt Mahagonny (1930), Die Dreigroshenoper (1931) and Mutter Courage und Ihre Kinder (1939). Brecht worked against a background of social, political and economic upheaval. His art aimed at making people aware of unjustified social circumstances and inspiring them to engage in the task of changing these circumstances. For him this entailed communicating in a fresh way with words which had lost their meaning because of ideological abuse. For this purpose he made use of music in a very specific way. He tried – not always successfully – to avoid using music as an ornamental narcotic. This implied that music was always meant to serve the intention of the text, the Gestus. Music in Brecht`s theatre was dramatic not incidental, functional not ornamental, and music not as a means of escapism, but as an inspiration. The music, like all the other elements in his theatre, had to stimulate critical thinking and had to be of social use in order for it to be considered functional. The “great struggle for supremacy between music, text and production”, to which Brecht so often referred, complicated his goal of functionality and it was no easy task to marry his dialectical ideas. This caused for certain discrepancies between his theory and practice and I will take that into consideration in this study.

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Boy, Tânia Cristina dos Santos. "Protocolo: um gênero discursivo na pedagogia de leitura e escrita do teatro." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-23082013-104822/.

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A presente pesquisa estuda a criação de uma pedagogia de leitura e escrita no teatro através da utilização da metodologia de ensino-aprendizagem com o uso do instrumento de avaliação protocolo que pertence ao gênero discursivo e é proposto pela pesquisadora Ingrid Koudela. O corpus da pesquisa participativa é composto por fragmentos dos protocolos produzidos pelos alunos de Koudela em três encenações do curso de Teatro da Universidade de Sorocaba que a pesquisadora acompanhou, e do curso da Pós- Graduação da Escola de Comunicações e Artes da Universidade de São Paulo. O trabalho realiza um estudo sobre a escrita de Bertolt Brecht em seus diários, destacando momentos da vida familiar, do trabalho, de suas posições políticas e do seu processo criativo que são relacionados ao protocolo. Mostra o percurso do protocolo no Brasil na proposta de Koudela. Estabelece as relações feitas por Koudela entre o Jogo Teatral, a Fisicalização e a Avaliação do Sistema de Viola Spolin e ainda do Modelo de Ação brechtiano na escrita do protocolo. Realiza uma retrospectiva histórica das contribuições do protocolo em encenações, oficinas, cursos, palestras, entre outros. Com Vygotsky compreende a colaboração da fala aliada a experiência prática. Com o pensar de Bakhtin define o protocolo como gênero discursivo e desvela a contribuição da esfera artística do teatro, do dialogismo e da polifonia em sua escrita. Conectado a Michael Foucault compreende a Escrita de Si na ligação do protocolo com os hupomnêmata e a carta. Finalmente, demonstra a criação da pedagogia de leitura e escrita no teatro através da utilização da metodologia de ensino-aprendizagem com o uso do instrumento de avaliação protocolo que é compreendido como um gênero discursivo.
The present research studies the creation of a pedagogy of reading and writing in drama through the use of a methodology of teaching-learning with the use of the evaluation instrument protokoll considered by the researcher Ingrid Koudela. The object of the research is composed by pieces of protokoll produced by the pupils of Koudela in three works at the Theater Department of the University of Sorocaba, and at the University of São Paulo. The present research studies Bertolt Brecht, detaching moments of his family life, his work, his political position and his creative process that are related to the protokoll. The research does an analysis of the protokoll in Brazil as used by Koudela. It establishes the relations done by Koudela between the Theatre Game and the evaluation system by Viola Spolin. The research also does an historical retrospect of the contributions of the protokoll staging and workshops. Vygotsky helps to understand the contribution talking and writing allied to practical experience. Bakhtin helps to understand the protokoll a kind of contribution for the artistic sphere of the theater by the concepts of the dyalogism and the polyphony. Michael Foucault understands the Writing of Self as hupomnêmata and letter. Finally, the research demonstrates the pedagogy of reading and writing in drama through the methodology of teachinglearning by the use of the evaluation instrument protokoll.

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Gonçalves, Natália Kneipp Ribeiro [UNESP]. "A “didática” nas peças didáticas de Bertolt Brecht: ensino em cena." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/138286.

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Pró-Reitoria de Pós-Graduação (PROPG UNESP)
O presente trabalho caracteriza-se como pesquisa bibliográfica e tem como objetivo a compreensão da didática a partir do estudo das peças didáticas de Bertolt Brecht (1898-1956), as quais são uma tipologia do teatro épico brechtiano e compreendem as seguintes obras: “O voo sobre o oceano” (escrita em 1928/1929); “A peça didática de Baden-Baden sobre o acordo” (escrita em 1929); “Aquele que diz sim”/“Aquele que diz não” (encenadas sempre em conjunto, escritas em 1929/1930); “A decisão” (escrita em 1929/1930); “A exceção e a regra” (escrita em 1929/1930) e “Os Horácios e os Curiácios” (escrita em 1934); além dos fragmentos “O malvado Baal, O Associal” e “Decadência do egoísta Johann Fatzer”. A didática é a categoria central deste trabalho, o universo são as peças didáticas de Bertolt Brecht e o método de análise é o materialismo histórico e dialético. Pretendemos contribuir com a discussão dos processos pedagógicos, sobretudo no que se refere à práxis pedagógica escolar e, para tanto, os caminhos trilhados em nossa pesquisa partiram da análise do conceito de didática presente na obra “Didática Magna”, de Comênio (1592-1670), que é um marco referencial da Pedagogia Moderna, e se dirigiram ao estudo da didática nas peças didáticas brechtianas. Compomos um panorama sobre as condições sócio-históricas do teatro europeu, em fins do século XIX e início do século XX; enfatizamos as aproximações e distanciamentos do expressionismo e do teatro político de Erwin Piscator (1893-1966) em relação ao desenvolvimento do teatro épico brechtiano; discutimos o elemento didático presente em peças anteriores às didáticas; e, por fim, analisamos as peças didáticas e seus fundamentos. Assim, consideramos que a didática compreendida a partir das peças didáticas propicia que o ensino seja posto em cena e aponta possibilidades ao diálogo entre o teatro e a educação escolar na perspectiva da práxis.
This work is characterized as bibliographic search and has aimed to understand the teaching from the study of learning plays of Bertolt Brecht (1898-1956) which are a type of Brechtian epic theater and consist the following works: “The Ocean Flight” (written in 1928/1929); “The learning play of The Baden-Baden Lesson on Consent” (written in 1929); “He Who Says Yes”/ “He Who Says No” (always together staged, written in 1929/1930); “The Decision” (written in 1929/1930); “The Exception and the rule” (written in 1929/1930) and “The Horations and the Curiatians” (written in 1934); beyond the fragments “Bad Baal, the Antisocial Man” e “ Demise of the Egotist Johann Fatzer”. The teaching is the central category of this work, the universe are the learning plays of Bertolt Brecht and the method of analysis is the historical and dialectical materialism. We intend to contribute to the discussion of pedagogical processes, particularly with regard to school pedagogical praxis and, therefore, the paths in our research set out the teaching this concept analysis in the work “Magna Didactics”, of Comênio (1592-1670), wich is a reference point of the Modern Education, and headed to the study of teaching in Brechtian learning plays. We compose an overview of the socio-historical conditions of european theater, in the late nineteenth century and early twentieth century; we emphasize the similarities and differences of expressionism and political theater of Erwin Piscator (1893-1966) for the development of Brechtian epic theater; we discuss this didactic element in previous parts to learning; and finally, we analyze the learning plays and its fundamentals. Like this, we consider that the didactic understood from the learning plays provides that education be put into play and points out possibilities for dialogue between theater and education from the perspective of praxis.

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Schaffer, Timothy J. "Eric Bentley’s “Double” Lives." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1288392126.

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Rubilar, Enrique. "Mutter Courage und ihre Kinder als Beispiel für das Epische Theater Bertolt Brechts." Thesis, Högskolan Dalarna, Tyska, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:du-12661.

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Miranda, Rita Alves. "O teatro experimental de Brecht." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/11641.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
This master s thesis aims to approach the passage of Bertolt Brecht through the theater history and the influence of his proposal for the contemporary art. Initially, we analyzed Brecht s criticism towards some traditional conceptions of theater and the path taken by the author to think the crisis of drama that had settled times before. Along the way were considered some references and possible objections from Brecht to Aristotle and the Aristotelian model of theater. In this controversial debate, we analyzed the references to the Greek philosopher, to clarify weather Brecht really wanted to reject Aristotle, or he proposed an appropriation of that formal model. It is known that the Aristotelian model of theater was removed from the Poetics of Aristotle and suffered different appropriations in different epochs, one of them being the bourgeois reading. This view is refuted by Brecht, when he analyzes the reality of bourgeois drama and realizes that it was necessary that it be revised immediately, because the theater is no longer affecting the people, in the sense that their willingness depended on a relationship of passivity on the part of viewers. Facing this crisis of drama, some artists tried to reformulate it without however succeeding. Brecht, when began his work, had knowledge of these attempts and facing their failures, the goal was to make theater inaugurate a new place in society. In search of the best place he has in mind a place of production of consciousness, radically opposed to the bourgeois-capitalist logic that sought the alienation of individuals. So, now located outside the debate of reckoning with the past, Brecht focuses on your present and faces the ideas of György Lukács which oppose Brecht by thinking art in a different manner and attributing to him the image of Formalist. We also deal whit defending Brecht from these charges. This dissertation, different from common aspect of texts on Bertolt Brecht is not intended to scrutinize the techniques developed by the playwright in the formulation of the Epic Theater, or talking about the formal aspects of his work, but it is based on a philosophical approach, passing briefly through a few moments of the author s thought until it reaches the stage considered as a mature conception of theater, which is also the last phase of his career, when he revised many of his previous positions. This phase is one in which he writes pieces like The Good Soul of Setsuan (1939-1942) and Life of Galileo (1938-1939). Being so, our focus was this mature conception of the author s work and the characteristics of his thinking at that time, thinking that we take as very Brechtian itself. We focus at this moment of his work, to show the compatibility of his thought and a contemporary conception of theater
Este trabalho tem por objetivo abordar a passagem de Bertolt Brecht pela história do teatro e a influência de sua proposta na fase contemporânea da arte. Inicialmente, analisamos a crítica de Brecht dirigida a algumas concepções tradicionais de teatro e o caminho percorrido pelo autor para pensar a crise do drama que se instalara tempos antes. Nesse percurso foram consideradas algumas referências e possíveis objeções de Brecht a Aristóteles e ao modelo aristotélico de teatro. Nesse debate polêmico, analisamos as referências ao filósofo grego, a fim de esclarecer se o que Brecht pretendia era rejeitar mesmo Aristóteles, ou mais uma apropriação daquele modelo formal. Sabe-se que o modelo aristotélico de teatro foi retirado da obra Poética de Aristóteles e que sofreu apropriações segundo as épocas, sendo uma delas a leitura burguesa. Essa leitura é rebatida por Brecht que revê a realidade do drama burguês e percebe que era preciso que ele fosse revisto imediatamente, pois o teatro já não atingia mais as pessoas, mas sua disposição dependia de uma relação de passividade por parte dos espectadores. Frente a dessa crise do drama, alguns artistas, tentaram reformulá-lo sem, no entanto, obter sucesso. Brecht, quando deu início a seu trabalho, já tinha conhecimento dessas tentativas e diante desses fracassos, o objetivo era fazer o teatro inaugurar um novo lugar dentro da sociedade. Em busca do melhor lugar, ele tem em mente um lugar de produção de consciências, opondo-se radicalmente à logica burguesa-capitalista que buscava a alienação dos indivíduos. Assim, localizado já fora do debate de acerto de contas com o passado, Brecht concentrase em seu presente e enfrenta György Lukács que se opõe a Brecht ao pensar a arte de uma forma diferente, atribuindo a este a imagem de Formalista. Nos ocupámos de defender Brecht também dessas acusações. Esta dissertação, diferente do aspecto comum de textos sobre Bertolt Brecht não se propõe a analisar minuciosamente as técnicas desenvolvidas pelo dramaturgo na formulação do Teatro Épico, ou a falar dos aspectos formais de sua obra, senão que se apoia numa abordagem filosófica, que passa rapidamente por alguns momentos do pensamento do autor até chegar à fase considerada como fase de uma concepção madura de teatro, que é também a última fase de sua carreira, quando ele reviu muitas de suas posições anteriores. Esta fase é aquela em que ele escreve peças como A Alma Boa de Setsuan (1939-1942) e Vida de Galileu (1938- 1939). Neste momento do trabalho nosso foco foi essa dada concepção madura da obra do autor e as características de seu pensamento nessa época, pensamento que tomamos como próprio brechtiano. Concentramos nossa atenção neste momento da obra, a fim de mostrar a compatibilidade desse pensamento e uma concepção de teatro contemporânea

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17

Whitlock, Katherine Lynne. "Theatre and the video game beauty and the beast /." Columbus, Ohio : Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1086119742.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains ix, 264 p.; also includes grafics (some col.). Includes abstract and vita. Advisor: Lesley K. Ferris, Dept. of Theatre. Includes bibliographical references (p. 246-264).

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Laak, Lothar van. "Medien und Medialität des Epischen in Literatur und Film des 20. Jahrhunderts Bertolt Brecht - Uwe Johnson - Lars von Trier." Paderborn München Fink, 2007. http://d-nb.info/991577353/04.

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Goetz, Thomas. "Poetik des Nachrufs : zur Kultur der Nekrologie und zur Nachrufszene auf dem Theater /." Wien [u.a.] : Böhlau, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3045130&prov=M&dok_var=1&dok_ext=htm.

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Concilio, Vicente. "BadenBaden. Modelo de ação e encenação em processo com a peça didática de Bertolt Brecht." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-23082013-110650/.

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A presente pesquisa investiga o conceito de modelo de ação, um dos elementos que configuram a proposta de Bertolt Brecht para o exercício com suas peças didáticas. Para isso, em um primeiro capítulo, são contextualizados os aspectos que fundamentam essa proposta por meio de uma análise da situação em que tais ideias foram elaboradas. No capítulo seguinte, analisa-se com maior detalhamento as considerações do dramaturgo alemão referentes ao conceito de modelo de ação. Ainda neste capítulo, um experimento denominado Sete vezes Sr. Schmitt é abordado como possibilidade na prática com a peça didática. Por fim, no terceiro capítulo, descreve-se e examina-se os procedimentos artísticos e a encenação intitulada BadenBaden, tanto nos âmbitos das premissas que embasaram esse trabalho quanto nas repercussões desse processo para os artistas envolvidos. Dessa forma, especula-se acerca dos vínculos entre a proposta brechtiana das peças didáticas e a prática de encenação contemporânea, no campo da Pedagogia do Teatro.
The current research aims at investigating the concept of action model, one of the elements that constitutes Bertolt Brecht\'s proposal for the exercise with his own learning plays. In the first chapter, the founding aspects of his proposal are contextualized through an analysis of the context in which those ideas were conceived. The next chapter analyzes with more specific details the German dramaturge\'s considerations referring to the concept of action model; in the same chapter, the experiment called \"Seven times Mr. Schmitt\" is described as a possibility in the practice with the learning play. Finally, in the third chapter, the artistic procedures are described and analyzed, and the staging entitled BadenBaden, both in the premises that justify this research, as well as the repercussion of this process for the artists involved. Thus, the connections between Brecht\'s proposal for the learning plays and the contemporary staging practice are evaluated, in the context of the Theater Pedagogy.

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Tretow, Christine. "Caspar Neher - Graue Eminenz hinter der Brecht-Gardine und den Kulissen des modernen Musiktheaters eine Werkbiographie /." Trier : WVT, Wissenschaftlicher Verlag Trier, 2003. http://catalog.hathitrust.org/api/volumes/oclc/53848112.html.

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Nicolini, Cristina. "Uhakiki wa tamthilia za kiswahili zihusuzo VVU/UKIMWI." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-220452.

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Makala haya yanalenga kuchambua fani na maudhui, muundo na dhamira za tamthilia za Kiswahili zihusuzo VVU/UKIMWI, hasa tamthilia kutoka Tanzania, na uhusiano baina ya VVU/UKIMWI na mila za jadi kama sherehe za jando na unyago. Dhamira muhimu ya kujadili ugonjwa katika kazi za fasihi barani Afrika ilichimbuka katika sanaa za maonyesho ya jadi ya Kiafrika yaani katika shughuli za ngoma na miviga ya kidini kama matambiko kwa miungu, kumtolea Mungu kafara ili mgonjwa apate dawa au kupona. Maudhui yanayohusu ugonjwa yameingia katika tamthilia mamboleo kwa nia ya kuoanisha tamthilia ya kigeni na ngoma ya kijadi, hasa baada ya miaka ya 1980 (ling. Mlama 1983; Hussein 1983). Katika tamthilia za Tanzania za kisasa magonjwa yanayozungumziwa ni mengi, lakini kuanzia miaka ya themanini ugonjwa mpya, yaani VVU/UKIMWI, unachukua nafasi ya dhamira kuu katika kazi nyingi. Lengo kuu la makala haya ni kuchambua na kuhakiki tamthilia teule sita zihusuzo VVU/UKIMWI na kuandikwa zote na waandishi wa kutoka Tanzania. Ninachambua vipengele mbalimbali vya fani na maudhui nikiangalia uhusiano baina ya sifa za kimapokeo na za mamboleo. Ninafafanua pia athari za kimagharibi kutoka tamthilia ya Wayunani yaani vigezo vya Aristotle na dhana ya tanzia. Kwa kuunganisha nadharia za kale za Kimagharibi na za kisasa kutoka Afrika Mashariki, nitatumia pia nadharia ya korasi (Mutembei 2012), na vilevile kuchambua athari za ki-Brecht yaani ukengeushi ambazo zimekuwa na umuhimu mkubwa kwa tamthilia ya kutoka nchini kwingi Afrika na ulimwenguni kote.

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Rodrigues, Márcia Regina [UNESP]. "Traços épico-brechtianos na dramaturgia portuguesa: O render dos heróis de Cardoso Pires e Felizmente há luar! de Sttau Monteiro." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/99178.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Em Portugal, durante o Estado Novo, apesar de a comissão de censura proibir a obra do dramaturgo alemão Bertolt Brecht (1889-1956), os dramaturgos, atores e diretores conseguiram, de alguma forma, adquirir conhecimento sobre os pressupostos do teatro épico brechtiano e praticá-los nas suas criações dramatúrgicas e encenações. Assim, algumas das peças produzidas pela dramaturgia portuguesa na segunda metade do século XX, além de explorarem freqüentemente temas históricos – a fim de tratar do passado com vistas a analisar o momento presente –, anunciavam a estética do teatro épico de Brecht como uma inovação das formas dramáticas praticadas até então. Frutos da perspectiva brechtiana de teatro épico, O render dos heróis (1960), de José Cardoso Pires (1925-1998) e Felizmente há luar! (1961), de Luís de Sttau Monteiro (1926-1993) constituem o corpus desta Dissertação de Mestrado. Essas peças apresentam no seu enredo fatos remanescentes ou antecedentes da Revolução Liberal de 1820, com o objetivo de – por meio da alegoria – levar o leitor / espectador a uma análise crítica da situação político-social de Portugal sob o regime ditatorial de António de Oliveira Salazar. Analisamos as formas de apropriação do efeito de distanciamento – elemento caracterizador do teatro épico brechtiano – nessas peças, bem como a relação delas com o período político marcado pela censura salazarista. Para isso, a nossa base teórica é constituída principalmente pelas teorias acerca do teatro épico de Brecht, considerando-as no contexto do teatro português da década de 1960.
In Portugal, during the Estado Novo period, although the censorship committee prohibited the work by German dramatist Bertolt Brecht (1889-1959), dramatists, actors, and directors were able to, somehow, acquire knowledge concerning the assumptions of Brechtian epic theater and put them into practice in their dramaturgical creations and staging. This way, some of the plays produced by Portuguese dramaturgy in the second half of the 20th century, besides frequently approaching historical themes (in order to discuss the past aiming at analyzing the present), articulated the aesthetics of Brecht’s epic theater as an innovation of drama performed up to that point. Results of Brechtian perspective on epic theater, O render dos heróis (1960), by José Cardoso Pires (1925-1998) and Felizmente há luar! (1961), by Luís de Sttau Monteiro (1926-1993) are the corpus of this Master Degree’s dissertation. These plays have, in their plots, facts which are reminiscent or antecedent of the Liberal Revolution in 1820, with the objective of – through its allegory – leading the reader to a critical analysis of Portugal’s social-political situation under António de Oliveira Salazar’s dictatorship regime. Analyze appropriation forms and the elaboration of the distancing effect – characteristic elements in Brechtian theater – in these plays, as well as the relation between these plays and the political period marked by the Salazarian dictatorship. For that matter, our theoretical foundation is mainly made up by theories regarding Brecht’s epic theater, considering them in the Portuguese theater context in the 1960s.

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Dalalio, Maira Fanton. "Da violência ao diálogo - teoria e práxis de uma oficina teatral baseada em Grande Sertão: Veredas." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-17092012-123429/.

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Trata-se aqui de uma pesquisa intercultural e interdisciplinar envolvendo teatro e literatura em que foram aproximados os romances Os anos de aprendizagem de Wilhelm Meister (1795-6), de Johann Wolfgang von Goethe (1749-1832), e Grande Sertão: Veredas (1956), de João Guimarães Rosa (1908-1967), por meio de uma ideia de formação desenvolvida a partir da relação entre Bildung e uma tradição intelectual brasileira de ensaios de formação. Aliaram-se a esse estudo as teorias sobre o Teatro de Aprendizagem de Bertolt Brecht (1898-1956). Esse aparato teórico é utilizado para analisar uma oficina teatral baseada em uma adaptação de Grande Sertão: Veredas, oficina realizada em diversos locais do Brasil e da Europa entre 2004 e 2006. Através do desenvolvimento e aprofundamento de elementos estéticos e teóricos presentes nessa oficina, intitulada atores da violência atores do diálogo, juntamente com a análise de sua recepção, buscou-se entender e organizar essa experiência cênica com vistas à proposição de um método pedagógico.
This text is the result of an intercultural and interdisciplinary research involving theater and literature in which an approach has been made between the novels Wilhelm Meister Apprenticeship (1795-6), by Johann Wolfgang von Goethe (1749-1832), and Grande Sertão: Veredas (1956), by João Guimarães Rosa (1908-1967), using the formation concept developed from the relationship between Bildung and the Brazilian intellectual tradition of formation essays. Bertolt Brecht (1898-1956) theories about his Learning Theater have been allied to this study. This theoretical apparatus is used to analyze a theatrical workshop based on a Grande Sertão: Veredas adaptation. This workshop was performed in several places in Brazil and Europe between 2004 and 2006. Through the development and deepening of theoretical and aesthetic elements presented in this workshop, with the title actors of violence actors of dialogue, along with the analysis of its reception, we sought to understand and organize this theatrical experience targeting the proposition of a pedagogical method.

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Iglesias, Mira Antonio. "Ricard Salvat en Portugal: Brecht, Castelao e a sua época e censura." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/458764.

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Durante o curso académico de 1968/69, o grupo de teatro universitario Circulo de Iniciação Teatral da Academia de Coimbra (CITAC) contrata como director artístico ao catalán Ricard Salvat. Este era unha figura destacada polo seu traballo coa Escola de Arte Dramàtica Adrià Gual (EADAG) e pola súa vertente como profesor e ensaísta, así como polo seu coñecemento das teses teatrais de Bertolt Brecht. Salvat é contratado para realizar un traballo pedagóxico, cun curso de libre inscrición de historia do teatro, e un traballo artístico, coa preparación de dous espectáculos co CITAC. O primeiro destes espectáculos, titulado Brecht + Brecht, aborda as teses brechtianas dun modo práctico ao tempo que reflexiona sobre acontecementos históricos como o crack da bolsa de 1929, sendo acollido polo público con grande interese. O segundo espectáculo estaba destinado a ser unha ambiciosa montaxe, relacionada co teatro épico e o teatro documento e con colaboradores estranxeiros do nome de Luís Seoane ou Isaac Díaz Pardo e a colaboración de músicos como José Niza. Este proxecto, titulado Castelao e a sua época (CSE), pretendía ser un diálogo entre culturas ibéricas centrado na figura de Alfonso Daniel Rodríguez Castelao, político e artista galego. O texto dramático do espectáculo estaba formado por máis de 140 textos autónomos. Eses textos son de autores, entre outros, como Rosalía de Castro, Joan Maragall, Federico García Lorca, Almada Negreiros ou André Bretón, pertencentes a diferentes campos culturais destacando a presenza portuguesa, galega e catalá. Infelizmente para o traballo de Salvat, o curso 1968/69 sería lembrado en Coímbra pola Crise Académica de 1969, onde os estudantes se enfrontaron ás autoridades universitarias nun dos desafíos máis famosos á ditadura portuguesa. A policía do Estado Novo, Policia Internacional e de Defesa do Estado (PIDE), nun ataque contra o movemento estudantil, prende e expulsa a Salvat do país o que, sumado á anterior negativa de autorización para a representación de CSE que fora levada polos servizos de censura, fixeron con que o traballo deste segundo espectáculo se perdese. Despois do acontecido, a memoria de CSE foise perdendo co tempo. Con esta investigación tentamos recuperar, case 50 anos despois da suposta estrea de CSE, o traballo de Salvat en Coimbra, polo que abordamos un estudo do seu curso de teatro, das principais teses teatrais que impulsaban a súa actividade artística en 1969 e presentamos unha edición crítica e comentada do texto dramático de CSE, até o de agora inédito, partindo dos materiais de traballo do grupo e da versión enviada á censura para a súa avaliación. Estudamos tamén as marcas que a censura deixou sobre ese texto así como outros materiais da PIDE sobre director e identificamos as consecuencias artísticas e culturais que dese proxecto falido naceron.
During the 1968/69 academic year, the university theatre group Circulo de Iniciação Teatral da Academia de Coimbra (CITAC) hired the Catalan playwright Ricard Salval as artistic director. He was well-known for his work at the Escola de Arte Dramática Adrià Gual (EADAG), and for his activities as a teacher and essayist. Salvat was hired to teach a free registration course on the history of theatre and coordinate two shows at CITAC. The first show, Brecht+Brecht, represented the most serious approach to Brechtian theses made in Portugal until then, and was therefore received by the public with great interest. The second show, Castelao e a súa época (CSE), was conceived as a grand performance combining epic theatre and documentary theatre, and encouraging an Iberian cultural dialogue on the figure of the Galician artist and politician, with the help of artists such as Luís Seoane, Isaac Díaz Pardo and Jose Niza. This drama was composed of 142 autonomous texts written by authors from various literary fields such as Rosalía de Castro, Federico García Lorca, Joan Maragall, Almada Negreiros and André Breton. Unfortunately, the preparation and premiere of this show coincided with a moment of special tension in Portugal known as the 1969 academic crisis. Thus, in an attack on the academic movement, the autorities of the Estado Novo (New State) banned the performance and Ricard Salvat was expelled from the country. Later, the memory of the project was gradually lost. Our research has recovered Salvat’s work in Coimbra, nearly fifty years after the intended premiere of CSE. We have studied his theatre course and the main characteristics of his artistic activity in 1969. Here, we provide a critical and commented edition of the dramatic text of CSE, unpublished until now, based on the materials of the group and on the version delivered to censors for evaluation. We have also examined the marks of censorship in the text and other materials collected by the Portuguese International and State Defense Police (PIDE) about the group director. Lastly, we have identified the artistic and cultural consequences arising from this unsuccessful project.

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Pastorelli, Vinícius Marques. "Da irresistível peleja entre piratas e tubarões - um estudo sobre a parceria Brecht/Weill." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-12052015-100649/.

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Sob a perspectiva de um reexame do momento de formação do teatro épico contemporâneo, esta dissertação consiste num estudo sobre o trabalho colaborativo de Bertolt Brecht e Kurt Weill nos anos de 1926 a 1933, com ênfase para o assim chamado teatro de atualidades elaborado pelos artistas. Tomando como linha condutora os três momentos centrais da República de Weimar (a crise de 1919-1923, a estabilização econômica e o craque de 1929) tentamos apreender como lírica, teatro e música confluíram criticamente na criação de um teatro político à altura das questões suscitadas pelo processo histórico de realinhamento capitalista sob o governo de coalizão de esquerda SPD/USPD, bem como de suas complexas implicações na cultura. Para tanto, em diálogo com a crítica literária brasileira e alemã, realizamos uma leitura da obra do jovem Brecht pautada pela questão do reaproveitamento que o dramaturgo fizera da música em seu livro de estreia como lírico, Hauspostille (1927), onde certo veio da cultura urbana anticapitalista dos cabarés da belle époque foi mobilizado, através da influência da lírica e do teatro de Frank Wedekind. Noutro nível, sob a linha condutora do projeto brechtiano de uma ópera culinária, procuramos traçar um apanhado das questões que marcaram a formação da linguagem musical de Kurt Weill, problematizando o desenvolvimento de seu trabalho coletivo com o Novembergruppe, sua abordagem da ópera moderna e da música utilitária e finalmentee seu pensamento sobre as potencialidades estético-políticas do rádio. O trabalho se conclui, enfim, pela análise de três obras da parceria Brecht/Weill: Berliner Requiem (1929), Mahagonny Songspiel (1927) e A ópera dos três vinténs (1928).
Through the perspective of a re-examination of contemporary Epic Theater, this dissertation consists of a study about the collaborative work of Bertolt Brecht and Kurt Weill from 1926 to 1933, centered upon the so called Zeittheater invented by both artists. By following the thread between the three main periods of Weimar Republic (the 1919-1923 political crisis, the stabilization period and the economical crash of 1929) our intention was to understand how Brechts previous lyric poetry, music and theatre enabled the autor to critically incorporate into his political theater matters brought up by the context of capitalistic re-alignment made by the left coalision government of SPD/USPD, as well as the impact of this complex political setting on culture. In order to do so and to maintain a dialoge with both brazillian and german literary criticism, we have sketched a reading of young Brechts work, focused on the appreciation of the influence of Frank Wedekinds lyric poetry and theater where a certain tendence of belle époque anti-capitalistic cabaret culture is registered on Brechts music, mainly through an interpretation of his first poetry book Hauspostille (1927). On another level, we have sketched the central issues that oriented the making of a new musical language by Kurt Weill, especifically the meaning of his collective work with Novembergruppe, his approach on Gebrauchsmusik and modern opera, his essays about aesthetical and political potencialities of radio and how they combined with Brechts project of culinary operas. Lastly this study is concluded by the analysis and interpretation of three different works by Brecht/Weill: Berliner Requiem (1929), Mahagonny Songspiel (1927) and The Threepenny Opera (1928).

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Calló, Beatriz Georgopoulos [UNESP]. "O arsenal político-estético-pedagógico do teatro épico-dialético na práxis da Brava Companhia." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154751.

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O teatro de grupo de São Paulo é responsável pela maior parte da produção teatral da cidade. Decorrente de processos de luta da categoria, esse sujeito histórico foi o grande ator social no que tange a descentralização e a democratização dos espetáculos de teatro. A partir dessa reunião de artistas e pensadores de teatro, é formulada e promulgada a Lei de Fomento ao Teatro Para a Cidade de São Paulo, que prevê a destinação de recursos públicos para a manutenção dos coletivos. Circunscrita nessa esfera está a Brava Companhia, grupo da periferia da Zona Sul da cidade de São Paulo, que realiza seu trabalho militante, transitando com os expedientes brechtianos, que estão presentes em grande parte da pesquisa estética dos grupos paulistanos. O trabalho analisa essa influência de Bertolt Brecht no trabalho da Companhia, tendo a peça Este lado para cima – isto não é um espetáculo como objeto dessa análise.
The group theater of Sao Paulo is responsible for most of the city's theatrical production. Due to the struggle processes of the category, this historical subject was the great social actor in what concerns the decentralization and democratization of theater plays. From this organization of artists and theater thinkers, the Law for the Promotion of Theater for the City of São Paulo, which implicates the destination of public resources for the maintenance of the collectives, is formulated and promulgated. Circumscribed in this sphere is the Brava Companhia, a group on the outskirts of the South Zone of the city of São Paulo, which carries out its militant work, transiting with the Brechtian expedients, which are present in most of the aesthetic research of the groups from Sao Paulo. The work analyzes this influence of Bertolt Brecht on the work of the Company, having the piece Este lado para cima – isto não é um espetáculo [This side up - this is not a spectacle] as object of this analysis.

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Schaffer, Bernardo Davi. "O teatro épico na modernidade: notas a partir de “A vida de Galileu Galilei”, de Bertolt Brecht." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2707.

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Através deste trabalho de pesquisa, pretende-se apresentar uma análise sobre a representação do desenvolvimento tecnológico na dramaturgia de Bertolt Brecht na peça teatral “A Vida de Galileu Galilei”. Na primeira parte, apresenta-se o panorama histórico do século XX, tema que serve como base ao assunto tratado. Na segunda parte do trabalho, apresentam-se as referências que articulam a tecnologia como tema político, no âmbito do período analisado. Por último, a análise refletirá sobre a relação social da tecnologia com a sociedade no decorrer do século XX, investigando a hipótese de que a tecnologia faz parte da ideologia social hegemônica mas pode ser usada também pela militância cultural e democrática. A peça analisada retrata o início da Ciência moderna, e evidencia como desde o seu início a ciência nunca foi imparcial frente aos conflitos ideológicos e sociais. Portanto, analisar a peça e colocá-la no contexto da história contemporânea permite entender a relação da tecnologia com a linguagem e com a estética no escopo de cada período.
In this research work we intend to present an analysis on the representation of technological development in the dramaturgy of Bertolt Brecht. In the first part of this work the 20th century will be presented as the historic base for this study. The second part will reflect on the social relation between technology and society throughout the 20th century, an era in which technological rationality cursed the paths of History. At last, the analysis will be made taking for model the play “Life of Galileo”. The play takes as a scenario the initial phase of the Modern Age, making it clear that Science has never been neutral to ideological and social conflicts. Therefore, making an analysis of this play and putting it in comparison with the events of Contemporary History allows us to understand the relation between technology, language and aesthetics in the scope of each historic period that is analyzed in this work.

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Garde, Ulrike 1964. "The Australian reception of Austrian, German and Swiss drama : productions and reviews between 1945 and 1996." Monash University, German Studies, 2000. http://arrow.monash.edu.au/hdl/1959.1/8820.

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El-Hady, E. "The influences of the theatre of Bertolt Brecht on the Egyptian theatre during the 1960s." Thesis, Royal Holloway, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361053.

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This study examines the influences the Brechtian theatre had on the Egyptian theatre during the 1960s. Two factors determined the choice of this specific period. First, the fact that Brecht was introduced for the first time on the Egyptian stage in the early sixties, with the result that a growing interest in his works was generated among Egyptian dramatists, directors and intellectuals. Secondly, the Egyptian theatre was going through an unprecedented era of revival in the sixties, reflecting a nation-wide upsurge of cultural interest in general. The latter was initiated, promoted and generously subsidized by the state. The revival of the Egyptian theatre and the introduction of Brecht were both products of new political and social realities emerging in Egypt at this particular moment of history. The main argument of the thesis rests on examining how these factors contributed to establishing Brecht as the most influential figure on the Egyptian theatre in the period. These factors are given full consideration in Part One. The introduction seeks to put the Egyptian theatre into its historical Arabic perspective. It gives a critical account of the indigenous forms of theatre and the common ground they had throughout the Arab world, long before the arrival of the western form in the nineteenth century. The account ~s also meant to underline some corresponding elements between these indigenous forms and the Brechtian concept, which were brought into focus as a resul t of the call for a genulne Egyptian theatre of identi ty that emerged at the time. Chapter I examlnes the sociopolitical background against which the Egyptian reception of Brecht took place, followed by a cri tical account of the Brechtian theatre in Chapter II. Chapter III deals wi th the introduction of Brecht to Egypt, giving critical accounts of productions of four of his plays on the Egyptian stage in the sixties. Part Two deals wi th Brechtian influences on Egyptian plays written in the sixties. It is divided into four chapters, each of the first three examines the works of a leading dramatist, with critical accounts focusing on their dramaturgy and subjectmatter. The last chapter tackles the Brechtian influence through a different perspective, by examining Egyptian adaptations of three plays by Brecht. The conclusion summarizes the argument of the thesis as a whole.

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Russo, Anna. "Bertolt Brecht und Dario Fo : Wege des epischen Theaters /." Stuttgart ; Weimar : J. B. Metzler, 1998. http://catalogue.bnf.fr/ark:/12148/cb38814203m.

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Choi, Eun-Nyoung [Verfasser], Bernd [Akademischer Betreuer] Witte, and Volkmar [Akademischer Betreuer] Hansen. "Die modifizierte Theorie der literarischen Unbestimmtheit. Eine vergleichende Untersuchung von Wolfgang Isers Wirkungsästhetik und Bertolt Brechts episch-dialektischem Theater am Beispiel der epischen Oper Aufstieg und Fall der Stadt Mahagonny / Eun-Nyoung Choi. Gutachter: Bernd Witte ; Volkmar Hansen." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2013. http://d-nb.info/1045345571/34.

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Ghosh, Yashowanto Narayan. "Bertolt Brecht's Leben des Galilei: a Mythic Dimension in Epic Theatre." Thesis, Portland State University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10843558.

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The history of Bertolt Brecht’s play Leben des Galilei extends through the writing of its three versions during 1938 to 1955—a period of two decades that also encompassed the entirety of the Second World War. The period also covers the atom bomb from its development to America’s use of the bomb in Hiroshima and Nagasaki, as well as the beginning of the Cold War, which included the sustained threat that nuclear weapons might be used any day. This thesis traces, and offers interpretations of, changes in Brecht’s Leben des Galilei from its inception in 1938–1939—when the protagonist, a scientist, is portrayed in a positive light—through the play’s American version in 1947, where it bitterly accuses science and scientists of having betrayed society and humanity, and finally to its last version in 1955, where the protagonist struggles to prevent the normalization—the familiarization—of the threat of nuclear warfare.

Next to the writing of the Leben des Galilei, the thesis also focuses on the main critical readings of the play. A large fraction of the critical readings, but not all of them, interpret the play either as a judgment of science or as an invitation to pass judgment on science.

The thesis compares Leben des Galilei with three different groups of other texts. The first comparison is with two other plays that also address the problem of science in the age of nuclear weapons, and the second comparison is with other work of Brecht himself. The first comparison leads to the observation that the muted note of optimism in the final version of Leben des Galilei is exceptional, and the second comparison to the apparently unrelated observation that it was uncharacteristic of Brecht to make explicit a certain literary allusion in Leben des Galilei. The two observations converge to a possible common explanation from a comparison with a still third group of texts, a cycle of Native American myths which appear in the oral traditions of various Native American tribes spread throughout the New World.

Finally, the thesis addresses the question of why a modern-day literary text, addressing the essentially modern problem of nuclear warfare, and addressing that problem using the essentially modern techniques of Brechtian theatre, might have structures parallel to the structures of primitive mythology.

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Rice, Andrea. "Rebooting Brecht: Reimagining Epic Theatre for the 21st Century." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555688903742283.

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Moore, Melanie K. "Exhibit A: An Application of Verbatim Theatre Dramaturgy." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24118.

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This research-creation thesis describes and analyzes the dramaturgical methodologies of verbatim theatre – a form of documentary theatre that uses transcripts as the dominant source of its dialogue – through the practical exercise of play writing. This paper marks the theoretical component of my thesis, which analyzes both the dramaturgical process and the historical context of my play Exhibit A. Using verbatim transcripts from legal evidence for its dialogue, the play examines the psychology of two teenage boys responsible for the brutal rape and murder of an 18-year-old Canadian woman in 2010. As documentary theatre emphasizes socio-political themes, this thesis considers the dramaturgical, aesthetic, and ethical considerations of verbatim theatre through my experience as a playwright and researcher. Acknowledging both the historical antecedents of documentary theatre and its contemporary examples, this thesis will define an original typology of verbatim theatre entitled the “Subcategories of Verbatim Theatre”. These subcategories are identified as Tribunal, Literary, Historical Drama, Expository and Participatory. Each privileges different types and usages of documents, which are further defined as being primarily related to “text” or “aural” based testimony. The thesis relates the dramaturgical principles of each subcategory to artistic choices made in Exhibit A. A description of the various incarnations of verbatim and documentary theatre, as well as an analysis of my experience as a documentary playwright examines the dramatic representation of reality as highly constructed in this form of theatre where the selection and editing of a documentary play's archive is a creative process that is not dissimilar from the creation of fictional drama. In that sense, the documentary genre can be said to present a dramatic representation of the playwright's subjective version of the truth. Exhibit A thus stands as my creative reconstruction of the evidence presented in the Kimberly Proctor murder trial.

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Trovo, Maria Caroline. "Teatro épico no Brasil : sobre a atualidade de Brecht /." Araraquara, 2012. http://hdl.handle.net/11449/106232.

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Orientador: Eliana Maria de Melo Souza
Banca: Rosângela Patrota
Banca: José Adriano Fenerick
Banca: Natália M. Fernandes
Banca: Renata Soares Junqueira
Resumo: O final da década de 1950 marca o início do percurso que levou ao desenvolvimento do teatro épico de Bertolt Brecht no Brasil. No ano de 1958,a primeira encenação profissional do dramaturgo alemão e o sucesso da apresentação de Eles não Usam Black-tie, de Gianfrancesco Guarnieri, no Teatro de Arena, levaram à criação do Seminário de Dramaturgia do Arena, aos estudos da obra de Brecht e à apropriação dos procedimentos artísticos brechtianos. Por sua vez, os Centros Populares de Cultura (CPC), criados em 1962 e extintos pelas forças militares em 1964, foram fortemente influenciados pela teoria e prática teatral brechtiana. O direcionamento da cena teatral brasileira ao teatro épico coadunou-se com o movimento ascensional das massas do início dos anos 1960 e à perspectiva de transformação social via revolução socialista. O golpe militar de 1964, no entanto, que interrompeu a mobilização política do início da década e pôs em refluxo a agitação cultural, teria retirado a perspectiva empírica de transformação que embasava o teatro épico de Brecht e tornado-o obsoleto. Portanto, nos anos 1990, no contexto de retomada do teatro político, coloca-se a questão da atualidade de Brecht, da potência crítica de suas técnicas artísticas, como o efeito de distanciamento. O presente trabalho, nesse sentido, analisa a peça Ópera dos Vivos. Estudo Teatral em Quatro Atos, da Companhia do Latão, grupo teatral paulistano que se propõe a efetivação de um teatro épico brechtiano, como ponto de partida da discussão da atualidade do dramaturgo na sociedade brasileira contemporânea
Abstract: The end of the 1950s marks the beginning of the path that led to the development of the Bertolt Brecht epic theater in Brazil. In 1958, the first professional staging of the German dramatist and success submitting They do not Wear Black-tie, by Gianfrancesco Guarnieri, at the Arena Theatre, led to the creation of the Dramatic Arena Workshop, to the studies Brecht's work and the appropriation of Brechtian artistic procedures. On the other hand, the Popular Culture Centers (CPC), created in 1962 and abolished by the military in 1964, were strongly influenced by Brechtian theater theory and practice. The direction of the Brazilian theater scene to the epic theater conformed to the ascension movement of the masses in early 1960s and the prospect of social change through socialist revolution. The military coup in 1964, however, interrupted the political mobilization in the decade beginning and put in reflux cultural agitation, it would have removed the empirical perspective transformation that based the Brecht epic theater and became obsolete. Therefore, in the 1990s, in the context of renewed political theater, there is the issue of Brecht relevance, the critical power of his artistic techniques, such as distancing effect. This research, in this sense, examines the Living Opera play. The Theatrical Study in Four Acts, the Latão Company, São Paulo theater group proposes to establish a Brechtian epic theater, as the starting point of the discussion of today's playwright in contemporary Brazilian society
Doutor

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François, Jean-Claude. "Le theatre allemand de l'apres-guerre (1945-1950) : traditions et novations." Paris 8, 1987. http://www.theses.fr/1987PA080154.

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Cette these etudie la renaissance de la vie theatrale en allemagne, apres la seconde guerre mondiale et l'effondrement du regime nazi, sous un double aspect : la nature du repertoire (das drama) et le fonctionnement de l'appareil theatral (das theater). La premiere partie decrit les conditions materielles, politiques et morales de cette renaissance dans le contexte de l'occupation et de la guerre froide. Les principaux debats de cette periode (la denazification, le retour des exiles, la reeducation du peuple allemand) sont evoques dans leur rapport avec la vie theatrale. La seconde partie est consacree au repertoire issu de l'exil des auteurs dramatiques antinaziz. Cinq grands noms (wolf, bruckner, brecht, zuckmayer, weisenborn) emergent d'un ensemble tres divers dans le fond comme dans la forme. A propos de cinq grandes pieces, l'etude suit de tres pres le chemin qui conduit des intentions premieres de l'auteur a l'ecriture de la piece et a sa reception (qui varie selon les mises en scene, les lieux, les publics). Elle s'appuie sur une documentation jusqu'ici non utilisee (memoires, lettres, critiques theatrales des differents journaux de berlin et d'autres villes). Un bilan des pieces representees au cours de cette periode (une vingtaine d'auteurs)fait apparaitre les reussites et les echecs dans la "rehabilitation" des dramaturges antinazis exiles. Une troisieme partie concerne le repertoire dramatique etranger et les auteurs que les puissances d'occupation font connaitre a un public avide de nouveautes apres douze annees d'autarcie. La nature de la politique culturelle suivie dans chacune des zones influe sur le choix des auteurs, surtout des qu'il s'agit de sujets "politiques". Mais a berlin, la ville aux quatre secteurs, on peut voir sans entraves tout ce que les quatre puissances ont a offrir : wilder, sartre et simonov declenchent dans l'opinion et la presse des debats passionnes. La quatrieme partie etudie la production dramatique de langue allemande. Il existe certes une generation de jeunes auteurs, mais, mis a part borchert, ils ont une ecriture plutot traditionnelle. Les novations viennent "de l'exterieur". Avec brecht, qui oppose un langage dramatique et scenique nouveau aux tenants du naturalisme. Avec les jeunes suisses frisch et durrenmatt, qui font entendre un ton nouveau, plus sceptique et qui renouvellent les genres en les melant (parabole onirique et farce historique)
This thesis makes a study of the revival of theatrical life in germany after world war ii and the collapse of the nazi regime from two points of view : the nature of the repertory (das drama) and the apparatus of the theater (das theater). The first part describes the material, political as well as moral conditions of this revival in the context of the foreign occupation and the cold war. Major debates during that period of history (denazification, the return of exiled, the reeducation of the german people) are evoked in relation to the atrical scene. The second part is dedicated to the repertory which took roots in the exile of antinazi playwrights. There are five outstanding wawes in a group of authors in which variety can be found in the form as well as in the substance : wolf, bruckner, brecht, weisenborn, zuckmayer. In reference to five famous plays, this study focuses closely on the path which leads from the origininal intentions of the authors to the writing of the play as well as well as to the degrees of acceptance of this work - which vary according to the production, the places of performance and the audience. It is founded upon documents which, to this day, have not been quoted (dissertations, letters, critical material about theater published in newspapers in berlin and other cities. A third part lay stress on the foreign drama repertory and the authors that thanks to the armies of occupation - have been brought to the knowledge of an audience who could fancy novelties after a period of 12 years of autarky. Cultural policies in each of the occupied zones influence the choice of the authors, especially in the case of "political"subjects. In berlin, the four-zones-city, wilder, sartre and simonow sparked off passionate debates in the press as well as in the public opinion. The fourth part emphasizes the production of drama in the german language. It is indeniable that exists a new generation of young authors but, except for borchert, their literary art is rather traditional. Innovations come from "outside". This is the case for brecht who opposes a new langage of the drama and of the stage to the champions of naturalism. This is also the case for the young swiss authors frisch and durrenmatt who gave birth to a form of writing which is innovative and tainted with skepticism. They also renew styles by blending them - imaginary parable and historic farce among others

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Bai, Rongning. "Brecht and China : a mutual response." Thesis, University of Warwick, 1996. http://wrap.warwick.ac.uk/4493/.

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This thesis deals with the cross-cultural relations between Brecht and China through an analysis of how Brecht responded to the traditional Chinese theatre and how his drama was received in turn by modern Chinese theatre. It attempts to examine the respective socio-cultural or political contexts wherein such kind of crosscultural contacts were needed, and the consequent aesthetic-theatrical as well as socio-cultural or political changes brought about by these contacts that have produced two distinctively independent yet related forms of theatre. It is argued that Brecht's search for a theatre style of his own amidst the sociocultural as well as political crises between the two world wars made him look to the East for inspirations, and his direct encounter with Mei Lanfang enabled him to interpret the latter's acting in such a way that he responded to it with his postulation of the alienation effect and modification of a gestic performance style. His repudiation of the well-made dramatic theatre brought his epic theatre closer to the traditional Chinese theatre whose aesthetic principles he shared in constructing a non- Aristotelian episodic form of drama. In his experimentations with new modes of theatrical expressions, he did not simply borrow or copy the forms and content of classical Chinese drama; he appropriated, transformed and renewed them, for example, in The Caucasian Chalk Circle, for the particular purpose of instructing audiences in a scientific age. China! s reception of Brecht has had much to do with the country's changing socio-cultural as well as political situations. Chinese theatre practitioners responded to him because he was a politically, culturally and aesthetically suitable figure. His epic drama provided an alternative style for the Chinese in their attempt to innovate their realist spoken drama imported from the West, and was also introduced into local forms of performing arts in hope that the traditional Chinese theatre could be resurrected. Furthermore, he prompted Huang Zuolin to theoretically re-examine Chinese operas, which the latter integrated with techniques of Brecht and Stanislavsky into spoken drama to establish a new theatre style called Xieyi drama.

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Flegel, Silke [Verfasser]. "Bühnenkämpfe : Autor-Dramaturgen in der frühen DDR: Brecht, Kipphardt, Hacks / Silke Flegel." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2017. http://d-nb.info/1136248374/34.

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Thompson, Robyn, and n/a. "'Stepping out' with Gargantua learning new research practices in the educational theatre of absurdity." University of Canberra. Education, 2003. http://erl.canberra.edu.au./public/adt-AUC20050726.094032.

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Access to new forms, conduct and practices of educational research remain elusive providing researchers stay within the narrow theoretical constructs�the static, single vista of conventional research models. This dissertation presents the findings of an experimental study that aims to extend the discourse of educational research through a 'performative ethnographic analysis' by using a single-site case study approach. The case study is an analytical parody based on multiple discourse relevant to a 'new' and different approach to educational research so that a more comprehensive and complex process of reading and writing text becomes possible. Throughout this process, a generative methodology and interpretative base are anticipated to provide a metaphoric focus for a critical dialogue. The discourse informing the theoretical and interpretative base of the study include philosophy, science, visual arts, literary theory, critical postructuralist theory and theatre performance. The data are presented as a series of performance narratives in the form of socio-drama, interspersed with critical reflection that enables the researcher, the research participant and reader to become part of a triadic construct. The findings from this study have major implications for informing contemporary educational research, as they demonstrate that by approaching research in 'new' and different ways, the researcher and the educational community have access to insights that are unavailable within the constraints of conventional models of research.

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Collins, Heidi. "Post May '68 French theatre by women: the play of language and emotion." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6928.

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In the period following the May 1968 protests, French women began to create theatre that highlighted women’s struggles. This study explores the dual influence of Antonin Artaud and Bertolt Brecht on plays by Hélène Cixous, Simone Benmussa, and the Théâtre du Soleil led by Ariane Mnouchkine. Artaud argued that theatre should become a transformative experience through an explosion of sensory stimuli: music, light, noise, and imagery. Conversely, Brecht wanted to use theatre to revolutionize society and theorized that by maintaining historical and emotional distance between the audience and the play, spectators would be encouraged to think critically about the its significance and be compelled to action. The female playwrights and directors studied created powerful theatre by combining these ideas in a manner mimicking Julia Kristeva’s notion of subject formation. Kristeva proposes that the human subject is never stable. Instead, it oscillates between the non-discursive, emotion-filled state she labels the semiotic and the more language- and logic-propelled symbolic register. These two realms are in constant tension as the semiotic disrupts the logic of the symbolic and in turn, the symbolic strives to regulate the semiotic impulses. In this study, I argue that the ideas of Artaud are aligned with the semiotic while those of Brecht resemble the symbolic. In the plays examined, the non-linguistic elements of the design and mise-en-scène engage with the didactic aims of the playwrights and directors, causing the spectator to connect emotionally with the story while simultaneously reflecting on its real-world signification.

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Westen, Daniel. "Was der Tragödie die polis, ist dem Lehrstück der Kommunismus die Werkstruktur des genrevereinenden Theaters in Kohärenz mit den gesellschaftlichen, politischen und kulturellen Veränderungen der Zeit." Tönning Lübeck Marburg Der Andere Verl, 2009. http://d-nb.info/99703114X/04.

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Karoula, Ourania. "Thorn in the body politic : a transatlantic dialogue on the aesthetics of commitment within modernist political theatre." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/5684.

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This thesis investigates the transatlantic manifestation of the debate regarding the aesthetics of commitment in the modernist literary and theatrical tradition. Within the debate theatre occupies a privileged position since (because of its two-fold roles both as theory and performance) it allows a critique both of performative conventions and methods and also a dialectical consideration of the audience’s socio-political consciousness. The debate, often referred to as form versus content – schematically re-written as ‘autonomy’ versus ‘commitment’ – and its transatlantic evaluation are central to modernist aesthetics, as they bring into question the established modes of perceiving and discussing the issue. A parallel close reading will reveal the closely related development of the European and the American traditions and evaluate their critical strengths and shortcomings. The first part of the thesis discusses the positions of Georg Lukács and Bertolt Brecht, Theodor Adorno and Walter Benjamin in tandem with those of the New York Intellectuals, especially as expressed in the latters’ writings in the Partisan Review. The second part extends this transatlantic dialogue through a consideration of the theatrical works of the New York Living Newspaper unit of the Federal Theatre Project (FTP) in the USA and Bertolt Brecht’s vision of and relationship with ‘Americana’ as revealed through such plays as In the Jungle of Cities, Man Equals Man, St Joan of the Stockyards and the 1947 version of Galileo. The Federal Theatre and Brecht’s respective dramaturgies demonstrate differences in the articulation and application of the aesthetics of commitment and politics of engagement. A close reading of four plays by the Living Newspaper unit will not only reveal the influence of the Russian Blue Blouse groups and Meyerhold’s theatrical experimentations, but also how the unit’s playwrights and administration attempted to re-write this aesthetic. Hallie Flanagan (the director of FTP), recognising the limitations of Broadway and having sensed the audience’s need for a new kind of theatre, realised early on the importance of ‘translating’ the European aesthetics of commitment to conform with the American New Deal discourse. Brecht’s plays manifest not only the differences with respect to the European aesthetics of commitment, but also its highly complicated development. His American experiences revealed that the failings of the FTP’s attempt to establish a viable national theatre with a social agenda prohibited a more powerfully theatrical connection (theoretical and performative) between the two traditions. Both the European and the American modernist aesthetics are informed by Marxist cultural and literary theory, particularly by the writings centred on the political efficacy of a work of art with respect to its reception and its modes of production. The politico-aesthetic encounter of the Marxist tradition of engagement with a commitment to aesthetic formalism (often associated with the autonomy position) led to a confrontational and polemical rather than dialectical argumentation. However, this thesis maintains that the arguments were not simply articulated by theorists at opposing ends of the political spectrum. At the same time, Brecht and the Federal Theatre Project’s interest in the advancements of the European avant-garde and fascination with the notion of ‘Americana’ demonstrate the necessity to examine the issue of commitment in a more dialectical manner. While their notion of the aesthetics of commitment differed, this thesis argues for the necessity, not only of revisiting some of the fundamental premises regarding the role and function of this aesthetics in modernist political theatre, but also of reading the two traditions in conjunction.

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Marcus, Reker Katherine B. ""Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The Musical." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/876.

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This thesis proposes a critical study of the theoretical framework of Urinetown, asking the question of whether or not the show is truly a “Brechtian musical,” utilizing the tenets and beliefs of Bertolt Brecht. Set in a quirky, Gotham-like town where you have “to pay to pee” due to a severe drought, Urinetown follows a cast of absurdist characters as they navigate a society plagued by the perils of big business, ecological devastation, and the inequalities of capitalism. While the show appears to make a relevant social commentary, supporting a righteous rebellion to overthrow the evil Urine Good Company, in the end, by proving that revolution does not always succeed, writers, Kotis and Hollman invalidate these commentaries, proving that despite its Brechtian appearance, the show in its textual form is much more simply a comedic parody. However, Pomona College’s production, in which I played Hope Cladwell, takes on a much more severe tone, creating legitimate commentary by replacing many of the comedic, two-dimensional characters with living breathing, realities. In a text traditionally lacking authenticity, I approached Hope Cladwell with the intention of finding strength and satire in an otherwise vapid character.

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Correro, Augustine III. "Performing Tennessee Williams." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2713.

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This thesis is dedicated to illustrating the unique challenges of staging works by the playwright Tennessee Williams, and to making suggestions on how to avoid common pitfalls in production, performance, and direction of his plays. It uses evidence from the playwright’s various biographical works as well as insight and conjecture from the author’s experience to illuminate these challenges and help the reader to avoid hackneyed or ineffective staging practices. It touches on the effect of film adaptations on stage performances; the typical portrayal of American Southern characters onstage; the aural ramifications of Williams’s poetry to a now-visually-centered audience; stylistic elements similar to Williams’s contemporaries, including Rice, Brecht, O’Neill, and others; the delicacy of Williams’s signature meter and rhythm in his plays; dramaturgical groundwork in the playwright’s intentions; and a systemization of archetypical Williams characters. This thesis does not prescribe a cut-and-dried set of rules and regulations for performing Williams’s works, for the simple reason that the Williams canon is so diverse that no singular set of “tricks” will be effective in every play. Furthermore, the author understands that a producer, director, or actor will not find use in all facets of a rigid “system”. The thesis does outline a number of practices whose aims are to make productions more effective from an integral perspective. There are exercises to attempt, questions to pose, and matters to consider in the staging of Williams’s plays during any part of production—from in-class reading to designing the scenery, and from deciding why to put a Williams play in a season to the living moments of an actor’s performance. The thesis aims to be helpful, informative, and accessible, rather than doctrinaire: much like the playwright’s works, its purpose is to illuminate dark corners of something that viewers think they already fully understand.

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Oliveira, Alexandra Marinho de [Verfasser], Nikolaus [Akademischer Betreuer] Müller-Schöll, Nikolaus [Gutachter] Müller-Schöll, and Jörn [Gutachter] Etzold. "Bertolt Brecht and theatre photography: aesthetic and political involvement / Alexandra Marinho de Oliveira ; Gutachter: Nikolaus Müller-Schöll, Jörn Etzold ; Betreuer: Nikolaus Müller-Schöll." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2019. http://d-nb.info/120113126X/34.

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Pacheco, Deise Abreu. "Experimento do acordo - escritura sobre o aprendizado na tempestade." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-07052009-144853/.

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Descrição da pesquisa teórico-prática desenvolvida com a Peça didática de Baden Baden sobre o Acordo, de Bertolt Brecht, em experimentos cênicos realizados em 2006-2007. A escritura expõe procedimentos estéticos e pedagógicos favorecidos pelo aprendizado com a peça didática (Lehrstück) do autor alemão. O trabalho aborda a produção estética das oito artistas participantes dos experimentos cênicos por meio do exercício de escritura e leitura de seu processo de criação.
Theoretic practical description research of Das Badener Lehrstück, by Bertolt Brecht, with theatrical experiments produced between 2006-2007. The writing exposes aesthetic and pedagogical procedures made possible by the learning with the Lehrstück (learning play) by the German author. The work reflects the aesthetic production of eight artists participating in the theatrical experiment through writing and reading exercise in the creative process.

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Vinciguerra, Maria. "Pour un theatre "dialectique" : étude comparative de deux pratiques esthétiques les Mains sales et Mère courage et ses enfants." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59239.

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This thesis examines the theoretical foundations of Brecht's and Sartre's "dialectical" theatre. Proceeding first from their most significant theoretical writings, it then studies representative plays--Mutter Courage und ihre Kinder and Les Mains sales--in an attempt to make explicit the relationship between theory and artistic practice. The textual analysis proper develops certain aspects of theme, structure and reception which in turn reveal meaningful differences and contradictions. Sartre's "dramatic" theatre in fact evidences a sort of ideological creativity whereas Brecht's "epic" theatre presents a more primordial artistic creativity. Therefore, though the concept of dialectical theatre (essentially political and/or historic) is a common thought-structure to both dramatists, its actualization differs. I will argue that Sartre's work shows a view of the art process as ideologically predetermined and almost ineluctable. Brecht's more primordial work, on the other hand, shows process as a creative anagnorisis, more immediate and archetypal. In the last chapter, I will give an overview of the changes in consciousness produced by these approaches of "dialectical" theatre and substantiate these by criticism that has dealt with the subject.

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Taylor, Aaron. "The Pathology of Alienation: A Psycho-Sociological Approach to the Theater of Paloma Pedrero." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?ucin1109022646.

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Thesis (Ph. D.)--University of Cincinnati, 2005.
Advisor: Taylor. Title from electronic thesis title page (viewed \May 20, 2008). Keywords: Paloma Pedrero; Theater; Gestalt therapy; Robert Merton; Sociology; Alienation; Marginalization; Pathology; Theatrics; Aristotle; Brecht; Antonio Buero Vallejo; Neorealism; Twentieth-century Spain; Realism; Deviancy; Deviance; Socialization; Deviant; Retr. Includes abstract. Includes bibliographical references.

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Midence, Diaz Luis Fernando. "THE GOAT OR, WHO IS SYLVIA?: A PERFORMANCE AT MIAMI UNIVERSITY." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1179850855.

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Dissertations / Theses on the topic 'Brecht, Bertolt, Theater Theater Theater'

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