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1
Ruffini, Rosaria. "Les Afriques de Peter Brook." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030109.
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L’objectif de la thèse est d’analyser le rapport entre Peter Brook et le continent africain. La thèse retrace les origines de son attrait pour l’Afrique, les principes qui motivent cette affinité et les étapes saillantes : les voyages, les mises en scène et la longue collaboration avec de nombreux acteurs africains. L’étude explore l’époque de la création du Centre International de Recherche Théâtrale [CIRT] à Paris ; l’arrivé au CIRT du premier acteur africain Malick Bowens ; l’aventure du voyage en Afrique de 1972 ; la rencontre avec l’ethnologue et écrivain malien Amadou Hampâté Bâ ; l’arrivé aux Bouffes du Nord de l’acteur-conteur Sotigui Kouyaté qui deviendra le protagoniste de nombreux spectacle ; le rapport avec les dramaturges sud-africains Athol Fugard et Barney Simon. La dissertation consacre un chapitre à chaque spectacle « africain » : Les Iks [1975], L’Os [] Woza Albert ! [1989], Le Costume [1999], Tierno Bokar [2004], Sizwe Banzi est mort [2006], et Eleven and Twelve [2009] portrait de l’Afrique du début du siècle. La voie africaine aide à éclaircir et à interpréter l’oeuvre entière du metteur en scène, car elle concrétise sur scène les théories esquissées dans l’Espace VideThe purpose of this study is to analyze the dynamics of the relationship between Peter Brook and the African continent. The thesis traces the origins of this attraction, his evolution and the striking stages: the journeys, the plays and the long collaboration with many Africans actors. The study investigates the creation of the Centre International de Recherche Théâtrale [CIRT] in Paris; the arrival at the CIRT of the first African actor Malick Bowens; the adventure of the journey in Africa in 1972; the meeting with the Malian ethnologist and writer Amadou Hampâté Bâ; the arrival at the Bouffes du Nord of the actor-storyteller Sotigui Kouyaté that will become the main actor of many plays; the relationships with the South Africans playwrights Athol Fugard and Barney Simon. The dissertation dedicates a chapter to every "African" play: Les Iks [1975], L’Os [1979] Woza Albert ! [1989], Le Costume [1999], Tierno Bokar [2004], Sizwe Banzi est mort [2006], et Eleven and Twelve [2009], portrait of Africa of the beginning of the century. The “African way” helps to elucidate and to interpret the whole work of the director : it concretize on stage the premonitory theories written in The Empty Space
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King, Helen Cole. "L'espace sonore dans l'oeuvre de Peter Brook /." Lille : Atelier national de reproduction des thèses, 2004. http://catalogue.bnf.fr/ark:/12148/cb41040082m.
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Cole-King, Helen. "L'espace sonore dans l'oeuvre de Peter Brook." Paris 3, 2004. http://www.theses.fr/2004PA030097.
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Cette étude propose un examen approfondi du rôle joué par le son dans l’ensemble de la démarche artistique du metteur en scène. Bien qu’il n’occupe qu’une place effective d’accompagnement dans la plupart des spectacles et projets brookiens, le son participe de manière conséquente à la genèse et la construction de ceux-ci. La voix de l’acteur constitue un moyen privilégié d’accès aux sources de l’émotion et à la signification profonde d’un texte de théâtre. L’accompagnement musical seconde l’activité théâtrale en tant que générateur et réflecteur des énergies sur scène, exprimant la dimension indicible et invisible de la fable représentée. L’étude de figures sonores telles que la voix source, l’écho et la vibration fondamentale attestent de la recherche minutieuse d’un accord, voire d’un équilibre vibratoire, recherche qui est au cœur de la créativité et du projet brookiensThis study sets out to examine in depth the part played by sound in the stage director’s global artistic approach. Although its actual role in preparation work and in performance is only to provide an accompaniment, sound contributes in no small way to the birth and development of the latter. Voice is the chosen means by which the actor is able to uncover the springs of emotion and the deepest meanings of a dramatic text. The musical accompaniment supports the performance as a generator and a reflector of the energies on stage, expressing whatever is ineffable and invisible in the story being performed. The study of such figures of sound as the voice of the origins, the echo and the fundamental vibration testify to a painstaking search for a harmony, or a vibratory balance, search which lies at the heart of Peter Brook’s work and creativity
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Mouat, William Manning D. "The tragedy of Carmen : Georges Bizet and Peter Brook /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11406.
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Thesis (D. Mus. Arts)--University of Washington, 1996.Vita. Includes the program from the production of Carmen at the University of Puget Sound on August 12 and 13, 1995, in pocket. Includes bibliographical references (leaves [109]-111).
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Mitter, Shomit. "The great imitator : Peter Brook and the director in rehearsal." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259462.
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Arora, Harbeen. "L'acteur et ses doubles selon Peter Brook et Ariane Mnouchkine." Paris 3, 2005. http://www.theses.fr/2005PA030081.
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Ariane Mnouchkine et Peter Brook semblent être aujourd'hui deux figures incontournables du théâtre contemporain. Mais au-delà de leur renommée individuelle, c'est l'écho du travail de l'acteur qui va retenir ici notre attention. L'acteur en formation, à travers cette étude comparative, va osciller entre trois dimensions : interprète, créateur et être. En observant les nuances de cette triple dimension, une nouvelle orientation du théâtre moderne se joue chez nos deux metteurs en scène autour de quatre voies communes : le dialogue avec les cultures étrangères, la valorisation de la troupe, la quête de l'universel et l'influence de l'Orient. Fort de ces quatre initiations communes, l'acteur va voir son jeu notablement muer. Il va donc s'agir de capter ces moments de nouvelles énergies qui ne cessent de naître aux confluents des nouvelles vagues venant des deux côtés de la Manche, et qui deviennent, bien que de façon éphémère, des moments de grâce pour cet acteur en apprentissage. Lorsqu'on se penche sur ces doubles émergeants de l'acteur, " féminin " pour Mnouchkine, " androgyne " pour Brook, on est irrémédiablement entraîné au-delà du simple patrimoine occidental vers des horizons plus vastes, universels, aux confins de l'Ailleurs. Pour mettre en évidence une éthique analogue du travail du comédien chez les deux créateurs, une mise en parallèle singulière semble devoir s'établir entre, d'un côté la conception théâtrale de Brook et la pensée indienne, et de l'autre la pratique de Mnouchkine avec l'éthique japonaise. Cette double adéquation : Mnouchkine/Brook et Brook/L'Inde– Mnouchkine/ Le Japon, au-delà d'un cheminement parallèle, présente avant tout une continuité ascensionnelle où ici le discours de Mnouchkine ne serait que cet aspect plus pédagogique de celui de Brook, tout en lui servant d'échelon psychique indispensable. Mais le mouvement, loin de s'arrêter, n'est que transhumance infinie, puisque tous deux dans leurs démarches tendent à imposer cette élévation de " trans ", cette recherche ininterrompue du théâtre et de l'acteur lui-même, tout comme Artaud l'avait fait au siècle précédent, lorsqu'il impulsait l'enivrement de la " transe " comme paradigme théâtralIn the context of European contemporary theatre, Ariane Mnouchkine and Peter Brook are indeed names to reckon with. Yet, this study goes beyond the individual recognition of each. Here, it is rather the echo of their interconnected work on the actor that is of interest. By comparing the approaches of Brook and Mnouchkine, this study will reveal that the actor-under-training today is oscillating between three dimensions: Translator, Creator and Being. As the nuances of this triple dimension are observed, especially in the context of four common axes that characterize the work of these two directors – the dialogue with foreign cultures, the valorization of the troupe, the quest of the universal and the influence of the Orient – a new orientation in the work of the modern actor seems to come into play. Under the sway of the above-mentioned forces, the actor's performance transforms. Evidently, while traversing the poetico-theatrical paradigm of our two practitioners, the actor-student experiences rare moments of renewed energy, otherwise called moments of grace. This study aims to capture the genesis of this creative state. The doubles of the actor that thus emerge – " femininity " for Mnouchkine and " androgyny " for Brook – take us irremediably beyond the simple heritage of the Occident, and toward larger (and universal) horizons that reach out to the Other, the Distant. To demonstrate an analogous discipline of actor-training in the work of these two theatre directors, a rapprochement has been suggested between the theatrical conception of Brook and the Indian/Hindu thought, on the one hand, and between the theatrical practice of Mnouchkine and the Japanese/Buddhist spirit, on the other. Apart from representing a parallel trajectory, this double concordance, Mnouchkine/Brook and Brook/India – Mnouchkine/ Japan, seeks to present above all a relationship of continuity in contiguity: wherein the Mnouchkien praxis reveals itself to be the twinning pedagogic aspect of Brook's discourse, nourishing it in indispensable ways. Finally, just as Artaud had envisaged the elevation of the transe as an integral part of the new theatrical paradigm, similarly, the practices of Brook and Mnouchkine have provided to the modern actor the elevation of trans: the uninterrupted research of the theatre and of oneself in infinite transhumance
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Matuella, Sandra <1970>. "L’occhio del cocchiere. Lo sguardo di Peter Brook nella regia d’opera." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6049.
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Questo lavoro si propone di indagare il pensiero di Peter Brook sul teatro d’opera, dal momento che la sua attività registica nel mondo della lirica, benché marginale rispetto al teatro e al cinema, costituisce un’esperienza fondamentale per la sua visione umana e artistica. A partire dal cospicuo materiale autobiografico del regista inglese, la mia tesi è volta a dimostrare la duplicità del suo pensiero, diviso tra il prima e il dopo di quel discrimine costituito dagli insegnamenti del mistico armeno Georges Ivanovič Gurdjieff, appresi di Brook tramite diverse vie, a partire dal 1951, subito dopo la conclusione del suo travagliato impegno alla Royal Opera House di Londra, e culminati nel 1979 con la realizzazione del film Incontri con uomini straordinari, tratto dall’omonima autobiografia di Gurdjieff.
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Santandrea, Maya. "NEW HISTORICIST READING OF MARAT/SADE." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1149790393.
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Johnson, Jeremy. "The Shock of Presence Peter Brook & Jerzy Grotowski – The Reinvention of Australian Theatre." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18140.
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Peter Brook and Jerzy Grotowski were seminal influences upon the Australian performance revolution in the 1970s and into the 1980s through the methodologies and concepts of theatre practice outlined in their respective texts: The Empty Space and Towards a Poor Theatre. These manifestos served as a blue print for a theatrical groundswell emerging from Melbourne in the early 1970s in Carlton at both La Mama and Australian Performance Group (APG) at the Pram Factory, and at the same time in Sydney with the Nimrod theatre and Rex Cramphorn’s Performance Syndicate. An examination reveals these Directors shared spiritual and traditional sources from Eastern European backgrounds (Brook being of Russian Jewish heritage and Grotowski Eastern Orthodox Catholic), the approach of Constantin Stanislavski (particularly for Grotowski), and their mutual reverence for the teachings of Armenian mystic, George Ivanovitch Gurdjieff. An analysis of key moments and how Brook and Grotowski were central figures in the initiation of an Australian performance revolution of the 1970s; and the performance renaissance which emerged from women’s theatre as a reaction to the male-centric ‘ocker’ sensibilities at the time during a movement in which Brook and Grotowski figured prominently. How Brook and Grotowski’s methodological ideas uncovering meaning in tradition and deeper levels of performance enquiry were sidelined, and eventually marginalized to all but a few fringe groups as a result of mainstream performance concerns with aesthetic considerations, and the globalization of economic rationalism is observed.
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Castro, Ana Luiza de Magalhães. "A conferência dos pássaros = reflexões sobre o ator narrador no teatro de Peter Brook = The conference of the birds: reflections on the actor narrator in the theatre of Peter Brook." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284555.
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Orientador: Suzi Frankl SperberDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este estudo desenvolve uma reflexão sobre a presença da narrativa no teatro de Peter Brook. Compreendendo-a como resultante de sua pesquisa em direção à "qualidade" e à "vida" da cena. Da noção de narrativa, de cunho tradicional, deriva o conceito de experiência que dialoga com as premissas propostas por Brook para o seu teatro. O espetáculo "A Conferência dos Pássaros" foi escolhido para este estudo por apresentar plenamente a atuação narrativa no percurso do teatro de Peter Brook, conjugando, também, o saber desenvolvido pelo grupo, no primeiro ciclo de trabalho que se iniciou com a criação do Centro Internacional de Pesquisa Teatral - CIRT, em 1970
Abstract: This work develops a reflection about the presence of narrative in the theater of Peter Brook. Understanding this presence as a result of his search toward the "quality" and "life" of the scene. From the notion of traditional narrative derives the concept of experience, that dialogue with the premises proposed by Brook for his theater. The play "The Conference of the Birds" was chosen for this study because it presents the fully narrative acting in the Peter Brook's theatre process. It combines the knowledge developed by the group in the first cycle of their work that began with the creation of CIRT - International Centre for Theatre Research in 1970
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena
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Brito, Lisa Souza. "O teatro de Peter Brook no cinema de Marat/Sade: um estudo de aspectos da visão teatral de Brook em sua obra cinematográfica Marat/Sade." Universidade do Estado de Santa Catarina, 2012. http://tede.udesc.br/handle/handle/1261.
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Previous issue date: 2012-05-31Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
O presente trabalho tem como objetivo analisar aspectos da busca de Peter Brook no campo teatral. O espetáculo estudado para a compreensão do tema é A perseguição e o assassinato de Jean-Paul Marat, representados pelo Grupo Teatral do Hospício de Charenton, sob a direção do Senhor de Sade, cujo roteiro se inspira no texto dramatúrgico de autoria de Peter Weiss. Esta pesquisa busca ainda discutir o conceito de teatralidade presente no filme de Brook, tendo como ponto inicial a questão do olhar, a partir de autores como Josette Féral, Patrice Pavis, Matteo Bonfitto, e procurando estabelecer um diálogo com facetas das ideias teatrais do próprio Brook. O estudo da linguagem cinematográfica do diretor inglês procura assim considerar a teatralidade do filme fazendo uma analogia com questões do pensamento de Antonin Artaud, que dizem respeito ao teatro como um duplo da vida, em seu Teatro da Crueldade, e com as ideias de Bertolt Brecht em seu Teatro Épico, que considera o mundo passível de transformação
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GURGEL, GABRIELA LIRIO. "EN FILMANT UNE PIÈCE : THÉÂTRE ET CINÉMA DANS L`OUVRE DE PETER BROOK." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4978@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOEn filmant une pièce : Théâtre et cinéma dans l`ouvre de Peter Brook est une étude approfondie de l`ouvre du metteur en scène anglais fixé depuis 1970 à Paris, où il a partagé sa vie entre ces deux arts. La thèse a pour but d`aborder sa trajectoire professionnelle de même qu`examiner les rapports entre les deux langages, la façon dont ces deux derniers se conjuguent et d`analyser quelles sont les limites existant entre la représentation scénique et cinématographique. La thèse est divisée en deux parties, la première étant consacrée aux investigations théâtrales : des débuts dans le théâtre commercial, en passant par les influences de noms comme Grotowski, Barba, Becket et Brecht, au théâtre expérimental du Lamda Theatre dans la Royal Shakespeare Company, aux recherches menées au long des innombrables voyages en Afrique, en Afghanistan et aux États-Unis, à la création du Centre International de Créations Théâtrales (C.I.C.T) à Paris et de sa compagnie multiculturelle. Une trajectoire en spirale dans laquelle le centre ne cesse de se réduire. La seconde partie de la thèse présente une discussion théorique concernant les rapports entre cinéma et théâtre, à laquelle s`ajoutent les théories de Bazin, Bellour, Amengual, Deleuze et une étude sur le concept de théâtralité et de son influence dans le septième art, ainsi que la recherche sur le concept d`adaptation cinématographique de dramaturgie. Dans cette partie, sont en outre présentées la filmographie peu connue du réalisateur au Brésil et l`analyse de cinq adaptations cinématographiques de pièces autrefois mises en scène par Brook, Marat/Sade (1966), Le Roi Lear (1970), La Cerisaie (1981), Carmen (1983) et Mahabharata (1989). Théâtre et cinéma - la dualité brookienne - interagissent à partir de deux autres concepts piliers de son ouvre : espace vide et shifting viewpoint. En quête d`une ligne de non-permanence et dans sa fuite d`un style unique, d`une formule ou tendance unique, Brook bâtit une identité artistique singulière qui réside dans la clé de la différence et de la simplicité. Entre deux arts, deux pays, deux activités diverses, son ouvre tend à soulever des questions, susciter des doutes pour s`ouvrir à de nouvelles possibilités de création.
Filmando uma peça. Teatro e cinema na obra de Peter Brook é um estudo aprofundado da obra do diretor inglês, radicado em Paris desde 1970, que dividiu sua vida entre as duas artes. A tese tem como objetivo abordar sua trajetória profissional, bem como investigar as relações entre as duas linguagens, de que forma ambas se conjugam e quais são os limites existentes entre a representação cênica e a cinematográfica. Dividida em duas partes, a primeira é dedicada às investigações teatrais: do início no teatro comercial, passando pelas influências de nomes como Grotowski, Barba, Beckett e Brecht; ao teatro experimental do Lamda Theatre, na Royal Shakespeare Company, às pesquisas empreendidas através das inúmeras viagens pela África, Afeganistão e Estados Unidos, à criação do Centre International de Créations Théâtrales (C.I.C.T), em Paris, e de sua companhia multicultural. Uma trajetória em espiral na qual o centro não cessa de se reduzir. A segunda parte da tese apresenta uma discussão teórica acerca das relações entre cinema e teatro, à qual se somam as teorias de Bazin, Bellour, Amengual, Deleuze; um estudo sobre o conceito de teatralidade e sua influência na sétima arte, bem como a pesquisa sobre o conceito de adaptação cinematográfica de dramaturgias. Ainda nessa parte, são apresentadas a filmografia do diretor, pouco conhecida no Brasil, e a análise de cinco adaptações cinematográficas de peças que foram anteriormente encenadas por Brook - Marat/Sade (1966), Rei Lear (1970), O jardim das Cerejeiras (1981), Carmen (1983) e Mahabharata (1989). Teatro e cinema - o duplo brookiano - interagem a partir de outros dois conceitos fundadores de sua obra: espaço vazio e shifting viewpoint. Na busca por uma linha da não- permanência, fugindo de um único estilo, uma única fórmula ou tendência, Brook constrói uma identidade artística singular que se inscreve na clave da diferença e da simplicidade. Entre duas artes, dois países, duas atividades diversas, sua obra busca levantar questões, suscitar dúvidas, abrindo-se a novas possibilidades de criação.
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Ortiz, Sergio Ricardo Lessa. "Do espaço vazio ao circulo aberto: rumo à cenografia e indumentária sagradas de Peter Brook." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-10022014-110825/.
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Do espaço vazio ao círculo aberto: rumo à cenografia e indumentária sagradas de Peter Brook identifica e expõe o processo de criação do espaço teatral, dos cenários e dos trajes de cena, nos espetáculos Marat-Sade, Sonho de uma Noite de Verão, Mahabharata, Qui est lá e A Tragédia de Hamlet, realizados pelo grande encenador do século XX. Reflete, documenta e identifica os princípios que orientam os projetos de concepção dos elementos visuais das peças, durante a concepção do espetáculo e, a partir da análise destes documentos, aponta para a evolução de seu teatro rumo ao que Brook define como teatro sagrado.From the empty space to the open circle: towards Peter Brook\'s holy set and costumes design identifies and explains the process of creating theatrical space, the sets and the costumes of Marat-Sade, Midsummer Night Dream, Mahabharata, Who is there and The Tragedy of Hamlet, performed by the great director of the twentieth century. Reflects, documents and identifies the principles that guided the design projects of the visual elements of those plays during their conception, and from the analysis of these documents, points to the evolution of his theatre towards what Brook defines as holy theatre.
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Bychek, Oleksiy. "Divadlo krutosti v tvorbě Petera Brooka." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177671.
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This work is concentrated on the period of ?Theatre of Cruelty? and following theatre experiments in work of Peter Brook. It´s historical basis are years 1963-1970 and it explores the influences of Antonin Artauds theories on Brooks praxis, areas, where these men encountered. Main goal of this work is to reflect confrontaion of Artauds ideas with practical theatrical process and to tell, how much were they real and how much not: to explain their contribution to theatre.
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Santos, Fernando Freitas dos. "Em busca do peixe dourado : aproximações entre Peter Brook e uma prática teatral na escola." Universidade do Estado de Santa Catarina, 2016. http://tede.udesc.br/handle/handle/2518.
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Fundação de Amparo à Pesquisa e inovação do Estado de Santa Catarina - FAPESC
This study aims to look at the theater in school education from the goldfish figure. This fish so unique, revealed by Peter Brook, is associated with the quality of the time that is captured in a theatrical event. The English director states that the configuration of a spectacle resembles the development of a fishing net process, since the entanglement of wires and the bonds of us determine the species of fish to be hooked. For this reason, in this study, they are chosen four pedagogical aspects considered most relevant in theatrical processes directed by Peter Brook, in an attempt to understand how a fishing net can act in a fruitful way to attract the goldfish in an educational context. Thus, the thesis is divided into two parts: the first is carried out one study of metaphor goldfish and selected pedagogical aspects: "amorphous intuition," dialogue "empty space" and game. In the second, a description and analysis is made of how the chosen aspects were articulated a theatrical practice carried out from March to August 2015 with students ages ranging from seven to twelve years old in a school of Florianópolis, Santa Catarina.
O presente trabalho visa olhar para o ensino de teatro na escola a partir da figura do peixe dourado. Esse peixe tão singular, revelado por Peter Brook, está associado à qualidade do momento que é capturado em um evento teatral. O encenador inglês expõe que a configuração de um espetáculo se assemelha ao processo de elaboração de uma rede de pesca, visto que o entrelaçamento dos fios e as amarras dos nós determinam a espécie de peixe que será fisgada. Por essa razão, na presente pesquisa são escolhidos quatro aspectos pedagógicos considerados como os mais relevantes nos processos teatrais dirigidos por Peter Brook, na tentativa de compreender como uma rede de pesca pode atuar de maneira profícua para atrair o peixe dourado em um contexto educacional. Desse modo, a dissertação se divide em duas partes: na primeira é realizada um estudo da metáfora do peixe dourado e dos aspectos pedagógicos selecionados; ?intuição amorfa?, diálogo, ?espaço vazio? e jogo. Na segunda é feita uma descrição e análise de como os aspectos elegidos foram articulados a uma prática teatral realizada de março a agosto de 2015 com alunos de faixas etárias que variam dos sete aos doze anos em uma escola de Florianópolis, Santa Catarina.
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Alwan, Saleh. "Esthétique de la mise en scène chez Peter Brook : l'intuition à la recherche d'une forme." Paris 1, 1995. http://www.theses.fr/1994PA010693.
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Il s'agit d'une thèse qui porte sur la caractère novateur de l'œuvre de Peter Brook. À travers l'étude et l'analyse de représentations et de créations effectuées par le metteur en scène. La thèse s'articule autour de trois axes :. L'innovation (en quoi l'expérience théâtrale de Peter Brook est novatrice). Le plaisir (comment Brook réussit à concilier cette innovation sans entamer le plaisir du au spectateur). L'universalité (pourquoi, à travers une osmose singulièrement caractéristique, l'expérience de Brook a enrichi le théâtre mondial et, en même temps, s'en est enrichie)This these is about the innovating character of Peter Brook's works. Through the studying and analysis of the performances and creations realized by the producer, this these moves around three axes:. Innovation : (what makes the theatrical experience of peter brook so innovating). The pleasure: (how brook conciliate this innovation without spoiling the audience's pleasure). . The universalism : (how the esperience of brook has embellished the theatre in the world and in the same time Brook's works, through an osmose particularly characteristics)
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Castel-Branco, Inês. "L'Espai teatral dels anys seixanta. Revolució i ritual en el Living Theatre, Peter Brook i Jerzy Grotowski." Doctoral thesis, Universitat Politècnica de Catalunya, 2007. http://hdl.handle.net/10803/6098.
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Als anys seixanta sorgeix un teatre profundament transgressor, que abandona els edificis convencionals a la recerca de llocs buits, pobres, flexibles. Rere aquesta actitud hi ha una crítica a la societat del moment, considerada elitista, alienadora i passiva. Gran part dels arguments que caracteritzaven el teatre fins aleshores perden la seva validesa. El concepte d'espectacle és substituït pel de ritual; el d'espectador, pel de participant; el d'entreteniment, pel de compromís. El teatre s'immisceix en l'agitada vida política, social i espiritual d'una dècada revolucionària. Finalment, i amb mig segle de retard en relació amb les altres arts, el teatre agafa el relleu de les avantguardes teatrals i entra en la modernitat.L'estudi del recorregut artístic de Peter Brook, Jerzy Grotowski fundador del Teatre Laboratori i la parella Julian Beck i Judith Malina fundadors del Living Theatre ens permet analitzar l'intrincat context dels seixanta en països com França, Anglaterra, Itàlia o Polònia. Es tracta de directors revolucionaris i alhora interessats pel sagrat, creadors d'un teatre ritual que sacseja els espectadors i els demana una implicació autèntica.
A la introducció de la tesi ens preguntem per la permanència del sagrat en el teatre dels seixanta. Resseguint la biografia dels nostres directors, hi descobrim un profund coneixement de les tradicions religioses i una voluntat d'adaptar els seus principis i les seves tècniques psicofísiques al teatre. El teatre es mostra així com un receptacle laic de rituals que pertanyien a les religions. En el desig de regenerar-lo, la gent del teatre reclama una litúrgia col·lectiva capaç d'apropar actors i espectadors en un acte total. Volent unir l'art i la vida, directors i actors s'aïllen en petites comunitats per experimentar unes relacions humanes vertaderes i inventar nous processos de creació.
La primera part de la tesi, més panoràmica, situa el teatre dins els corrents de pensament i els moviments artístics de l'època. Mentre els antropòlegs i sociòlegs constaten un retorn de la festa i la ritualitat, els estudiants es revolten pels carrers de París. El Maig del 68 marca un abans i un després també en el teatre: abandonant les obres dramàtiques, el vestuari especial, les escenografies i fins i tot els edificis, el teatre surt al carrer, es desteatralitza i es revesteix de ritualitat. Aquest rebuig de les institucions i les convencions té paral·lelismes amb el land art, l'arte povera, els happenings o el body art, sintonitzant també amb els situacionistes, el guerrilla theatre o el street theatre.
La segona part de la tesi incideix sobre la ritualitat del teatre dels seixanta i l'espai que se'n deriva. Analitzant el nou paper atorgat a l'actor, el director i el públic, hi descobrim un mateix procés de despullament, de renúncia a les tècniques apreses i eliminació dels obstacles personals. El teatre respon així a una via negativa que cerca la seva purificació i un retorn a l'essencialitat. Les mediacions escèniques, massa mundanes, esdevenen obstacles a la trobada viva entre actors i espectadors. Ara importa l'element humà, el sacrifici de l'actor que regenera tota la comunitat, el ritual que aplega i connecta amb un passat compartit. El teatre es converteix en una realitat molt més corporal, cinètica, dependent de l'actor.
L'espai d'aquest teatre passa a definir-se a partir dels moviments, les dinàmiques i les relacions que s'estableixen en escena. No depèn ja exclusivament de l'arquitectura ni de l'escenografia, sinó fonamentalment d'un ordre humà on compten les distàncies, les orientacions, les fronteres, la configuració i disposició de tots els participants. En certa manera, es tracta d'un espai sagrat que cal descobrir i potenciar. Un espai ritual, consagrat en cada actuació. Un espai real, que no preten simular res. Un espai simbòlic, que recupera les formes geomètriques primordials. Un espai unitari, sense barreres de cap tipus. Un espai buit, expectant, disponible.
There emerged in the nineteen sixties a deeply defiant theatre that deserted conventional buildings in search of empty, poor but flexible places. Behind this attitude there was a critique of the society of the times, that was considered to be elitist, hostile and passive. The majority of the scripts that characterised theatre up to that moment became obsolete. The concept of performance was substituted by ritual, spectator by participant, entertainment by compromise. Theatre became mixed up in the restless political, social and spiritual life of a revolutionary decade. Finally, half a century later than other arts, theatre seized the prominence of the theatrical vanguards and entered modernity.
The study of the artistic careers of Peter Brook, Jerzy Grotowski - founder of the Teatr Laboratorium - and the couple Julian Beck and Judith Malina - founders of the Living Theatre - provides an opportunity to analyse the intricate context of the sixties in France, England, Italy or Poland. It involved revolutionary directors who were simultaneously interested in the sacred, creators of a theatre ritual that perturbed spectators and required their authentic participation.
In the introduction to the thesis, we question the permanence of the sacred in sixties theatre. Revisiting the biography of our directors, we discover their knowledge of religious traditions and their desire to adapt their psycho-physical techniques to theatre. Theatre thus presented itself as a lay performance of rituals that belonged to religions. In the desire to regenerate it, theatre people sought after a collective liturgy capable of bringing actors and spectators together. With a desire to unite art and life, directors and actors isolated themselves in small communities to test true human relations and invent new creative processes.
The first part of the thesis is an overview, locating theatre in the artistic thought and movements of the time. While anthropologists and sociologists were proclaiming the return of feast and ritual, students were revolting on the streets of Paris. May 68 marked the before and after of theatre too, by forsaking dramatic composition, special costumes, stage backdrops and accessories and even the theatre buildings. Theatre took to the street, shed its conventional theatrical hallmarks and overlaid itself with rituality. This rejection of institutions and conventions has affinities to land art, arte povera, happenings or body art, and remains in tune also with the situationists, guerrilla theatre or street theatre.
The second part of the thesis focuses on the rituality of the theatre of the sixties and its ensuing space. Analysing the new role given to the actor, the director and the public, we discover a same process of deprivation, of rejection of learned techniques and of elimination of personal obstacles. The theatre thus responded to a via negativa that sought its purification and a return to the essential. The scenic mediations, that were far too mundane, became converted into obstacles in the living encounter between actors and spectators. Now what mattered was the human element, the sacrifice of the actor that regenerated a whole community, the ritual that congregates and connects with a shared past. Theatre became a more corporal reality, kinetic, and dependent upon the actor.
The space of this theatre came to be defined out of the movements, the dynamics and the relations that were established on stage. It no longer depended upon architecture or scenery except that of a human order where distances, orientations, borders, configurations and the dispositions of all the participants counted. To a certain extent, it was a sacred place that needed to be discovered and strengthened. A space of ritual, consecrated at each performance. A real space, that did not try to simulate anything. A symbolic space, that revived basic geometrical forms. A unitary space, without barriers of any type. An empty space, eager and available.
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Leite, Martha Dias da Cruz. "A "vida" da cena : um estudo da corporeidade do ator em estado de expressão cenica." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284359.
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Orientador: Eusebio Lobo da SilvaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este presente trabalho tem como objetivo realizar uma série de reflexões sobre o fenômeno da presença de ¿vida¿ na representação do ator. Como ponto inicial para esta tão complexa discussão, partimos de um estudo do conceito de Centelha da Vida (termo metafórico criado pelo diretor inglês Peter Brook para falar sobre a ¿vida¿ que emana de uma cena e a torna interessante e envolvente para quem a assiste) e ampliamos, postumamente, a discussão para outros autores como: Stanislavsky, Grotowski e Burnier. Para tanto, adotamos o pressuposto do ator como uma corporeidade que se relaciona com outras corporeidades (que no caso seriam os demais atores e o público) utilizando como suporte as teorias de Merleau-Ponty e os estudos de Antônio Damásio sobre corpo e mente. Como forma de investigação, propomos duas frentes de laboratórios práticos de criação: a pesquisa com a linguagem de sinais aplicada à cena e uma observação e análise do processo de criação da peça ¿Intersecções: peças curtas de Harold Pinter¿. O intuito de tais laboratórios foi efetuar uma investigação sobre a questão da organicidade da representação do ator, aproveitando a semelhança entre as essências dos conceitos de Centelha da Vida, verdade teatral e organicidade
Abstract: This work aims to carry out a series of reflections on the phenomenon of the presence of ¿life¿ during the actor¿s performance. As a starting point for such a complex discussion, we consider the study of the concept Spark of Life (a metaphorical term minted by English director Peter Brook to describe the ¿life¿ which emanates from a scene making it interesting and involving for the audience) further extending the discussion to other authors such as: Stanislavsky, Grotowski, and Burnier. In order to accomplish our objective, we have adopted the presupposition of the actor as a corporality who interacts with other corporalitys (being them other actors and the audience) using as theoretical support Merleau-Ponty¿s theory and Antônio Damásio¿s studies about body and mind. As an investigative method we have proposed two different practical creation laboratories: the research on sign language applied to the scene, and the observation and analysis of the creation process of the play ¿Intersections: Harold Pinter¿s short plays¿. The objective behind those laboratories was to conduct an investigation into the actor¿s performance organicidade, taking advantage of the similarities in the essences of the concepts Spark of Life, theatrical truth and organicidade
Mestrado
Mestre em Artes
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Du, Plessis Tanya Lenore. "In search of the culture of links : the use of myth and ritual in the work of Peter Brook." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002368.
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This thesis examines the use of elements of myth and ritual in the work of Peter Brook, focusing primarily on The Mahabharata ( 1986 ). The argument proposes that Brook uses myth and ritual as an integral part of his search for the culture of links .. This thesis examines the precise functioning of myth and ritual in Brook's theatre, and places his work in relation to the concepts of interculturalism and postmodernism. In so doing, The Mahabharata is seen as a valid and important step in Brook's search for the culture of links. Chapter One formulates broad-based concepts of myth and ritual, and examines their function in society and culture, as well as their role in theatre. Chapter Two offers a brief discussion of the use of elements of myth and ritual in Brook's productions, beginning with King Lear (1962), and ending with 0rghast (1971). The discussion illustrates the multiple functions which myth and ritual serve in Brook's work. Chapter Three examines the trend of interculturalism, placing Brook's work within this franlework. Attention is given to the moral and political issues implicit in interculturalism. The chapter highlights the need for intercultural theatre to be evaluated in terms of artistic criteria, rather than on anthropological or political grounds. Finally, there is a discussion of the work of other intercultural theatre practitioners. Chapter Four examines Brook's Mahabharata. A detailed discussion of the authenticity and visual presentation of Brook's interpretation shows how Brook mediates between the Indian epic and a Western audience An examination of the critical response offers insights into the dangers of insensitive cross-cultural contact.. Chapter Five offers a critical summary of the argument. Brook's search for the culture of links has led him to use elements of myths and rituals of non-Western cultures. In so doing, Brook seeks to bring their living quality to his work, and to forge links between the peoples and cultures of the world.
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Graybill, David Joseph. "In the shadow of Peter Brook : designing and redesigning 'A Midsummer Night's Dream' at the Royal Shakespeare Company, 1970-2000." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8543/.
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The Royal Shakespeare Company's 1970 production of A Midsummer Night’s Dream, directed by Peter Brook and designed by Sally Jacobs, is the most influential production of Shakespeare in the twentieth century. Indeed its design licenced audiences, critics, academics, and practitioners to visualize the setting of the play as something more than a staid palace in Athens and a sylvan forest of actual shrubbery. Incorporating a wide range of archival material including the previously unknown full-length recording of that production, I trace how the scenography for the 1970 production has shaped institutional trends of designing Dream at the Royal Shakespeare Theatre, both visually and conceptually. In the six main stage RSC productions that followed, those directors and designers all responded to the famous white-box design to varying degrees, highlighting trends within the institution. In 1989, an artistic movement in stage design began, as practitioners at the RSC, instead of avoiding the innovative box set, boldly appropriated the design and production concepts from the 1970 production. This history of designing Dream at the RSC and the critics and academics who write on this topic, have not only shaped the modern impression of Brook and Jacobs’s production, they have noticeably transformed it.
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Lombardi, Elisa <1975>. "In Between : The Gap of quality L'influenza dell'insegnamento di Gurdjieff nel teatro di Peter Brook, Decalan Donnellan e Robert Lepage." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3056/3/Lombardi_Elisa_Tesi.pdf.
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Lombardi, Elisa <1975>. "In Between : The Gap of quality L'influenza dell'insegnamento di Gurdjieff nel teatro di Peter Brook, Decalan Donnellan e Robert Lepage." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3056/.
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Glynn, Dominic. "Recalibrating ancient mythology for contemporary performance : the Mises en scène of the Mahabharata by Peter Brook and Les Atrides by Ariane Mnouchkine." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:dabebfc9-390c-4478-ae43-58e2d9797e72.
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There is consensus in academic circles that the directors Peter Brook and Ariane Mnouchkine have similar approaches to theatre practice and occupy the same position in the landscape of theatre production in France. Yet there have not been any in-depth studies that unpack the similarities and differences between the two practitioners. Considering their stature on the national French and international stages, such a gap of scholarship needed to be filled. By examining the specificities of their practices via the analysis of their two most emblematic productions, the Mahabharata and Les Atrides, this thesis hopes to provide an appraisal of their practices at a time when they are moving away from theatre. More specifically, this thesis looks at how the two directors transferred ancient archetypal and mythological narratives to the contemporary French stage. It considers how they used successful, parallel methodologies to adapt and render present an Ancient Sanskrit epic on the one hand (Brook), and Ancient Greek drama on the other (Mnouchkine). I uncover in their work the matrix for adaptation, located in the discourse of storytelling and in the post-Brechtian concept of estrangement, that I label ‘décalage’. Moreover, the thesis hopes to provide an appraisal of the supremacy of directors on the French stage in the nineteen eighties and advocates for the cultural necessity of theatre as an art form, at a time of crisis in France.
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Silva, Elizabete Araujo da. "O palhaço bruto de Timochenco Wehbi." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21197.
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This work aims at investigating how the plot of the play Palhaços, by Timonchenco Wehbi, can be connected to the basic elements of what Peter Brook has called Rough Theatre: a kind of theatre that, beyond merely proposing the centrality of human actions, brings up at its core the search for a critical positioning of artists and public alike. In order to conduct such an endeavour, we will start by reading and analyzing Palhaços to demonstrate how the reflection of artistic procedures is capable of critically influencing both artists and public, and is intrinsic to Wehbi’s dramaturgical architecture. Thus, it would be possible to compare the latter with the ideas about theatre that Peter Brook puts forth in his work The empty space. Finally, we intend to bring light to the fact that the theatre of provocation and contestation (i.e., the rough) is indeed an aesthetic and thematic project of Wehbi's, which we can access through the conversation between an artist, a clown called Careta, and a man from the public, a shoe seller called Benvindo, both of whom are characters in Palhaços
O presente trabalho propõe investigar como o enredo do texto dramatúrgico Palhaços, de Timonchenco Wehbi, pode estar ancorado nos preceitos daquilo que Peter Brook nomeou de Teatro Bruto. Um teatro que, além de se ocupar fundamentalmente das ações humanas, traz em sua essência a busca de um posicionamento crítico do artista e seu público. Para tanto, partiremos da leitura e análise de Palhaços para demonstrar como na peça a reflexão do fazer artístico é intrínseca à arquitetura dramatúrgica proposta por Wehbi e, sendo assim, possível de a aproximarmos das reflexões sobre o teatro que Peter Brook faz em sua obra O espaço vazio. Pretendemos, por fim, evidenciar como o teatro da provocação e da contestação, portanto, o bruto, acaba por ser um projeto estético e temático de Wehbi, ao qual teremos acesso por meio da conversa entre um artista, o palhaço Careta, e um homem vindo do público, o vendedor de sapatos Benvindo, personagens do texto dramatúrgico Palhaços
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Mléčková, Zuzana. "Průhledy skrz Petera Brooka." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78102.
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The aim of this work is to find answers for young actor's questions about the purpose, ways and methods of the theatre in experience and ideas of meaningful English director Peter Brook.
During finding out these answers we can know much more, because Peter Brook is the very versatile artist, the admirer of traditional works of art and the great experimenter at once.
His artistic work is in conjunction with the real life and that is why the result of this work is not only instructions about artistic methods and techniques, but also finding and understanding his life philosophy.
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Kalugampitiya, Nandaka M. "Authorship, History, and Race in Three Contemporary Retellings of the Mahabharata: The Palace of Illusions, The Great Indian Novel, and The Mahabharata (Television Mini Series)." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1462188638.
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Mekeel, Lance. "From Irreverent to Revered: How Alfred Jarrys Ubu Roi and the "U-Effect" Changed Theatre History." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371827527.
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Peslin, Daniela. "Le Théâtre des Nations : (1957-1968) : Premier Festival International de Théâtre après la deuxième guerre mondiale." Paris 3, 2008. https://faraway.parisnanterre.fr/login?url=https://www.vlebooks.com/vleweb/product/openreader?id=UPN&accId=9224405&isbn=9782296214781&uid=^u.
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Le Théâtre des Nations fut le lieu unique de confrontation des créations théâtrales, lyriques et chorégraphiques internationales de 1957 à 1968. Ce plus grand festival de théâtre du monde concentra les forces capables de perpétuer les valeurs du théâtre et de bouleverser les structures traditionnelles du répertoire. Après le traumatisme de la seconde guerre mondiale, il contribua à l’émergence en France et en Europe d’une volonté d’ouverture sur le monde. Il accueillit de grands auteurs qui, par la confrontation de leurs projets sur la scène parisienne, confirmèrent l’existence d’une communauté internationale du Théâtre. Alors inconnus, la plupart sont aujourd’hui les grands maîtres du XXe et du XXIe siècle. En accueillant de même certains créateurs révolutionnaires, il fera souffler un vent de jeunesse et de liberté préfigurant les événements de Mai 68. L’analyse des événements précurseurs permet de comprendre les conditions de son institutionnalisation et la définition de ses trois missions qui ont permis d’explorer en onze ans un champ illimité de culture au bénéfice des professionnels, des artistes et des spectateurs: la découverte des traditions théâtrales majeures venues de quatre continents, la recherche de nouvelles formes scéniques, et la consécration des troupes les plus prestigieuses. L’étude du Théâtre des Nations exige aussi d’adopter une approche sociologique et historique car il fut impliqué dans les grandes questions de l’époque, entre autres la reprise des relations politiques et diplomatiques d’après guerre, et la reconnaissance des droits d’artistes originaires de régimes totalitaires ou d’anciennes colonies. Le plus international de tous les festivals internationaux, le Théâtre des Nations reste ce qu'il a toujours été, un défi au mondeThe Theatre of Nations - Théâtre des Nations - was the unique place of confrontation of international theatrical, lyric and choreographic creations from 1957 till 1968. The biggest festival of theatre in the world concentrated forces able to perpetuate the values of theatre and to change the structures of theatre directory in depth. After the traumatism of World War II, this Festival contributed to launch in Europe a will of opening to the world. By welcoming authors challenging their visions on the Parisian stages, it confirmed the actuality of an international community of theatre. Barely known at the time, most of these authors are today the grand masters of the XXth and XXIst century. By receiving also revolutionary creators, the festival blew a wind of youth and freedom forecasting May 68 events. The analysis of previous similar attempts helps to understand the context of its emergence and the definition of its three missions which allowed exploring in eleven years an endless field of culture for the benefit of the professionals, the artists and the audience: the discovery of the major traditions coming from four continents, the research of new forms of scenic arts, and the consecration of the most prestigious theatre companies. A sociological and historical approach helps also to analyze this phenomenon which was involved in the biggest questions of its time, among them the after war resumption of political and diplomatic relationships, and the recognition of the rights of artists born in totalitarian countries or ancient colonies. The most international of all international festivals remains what it always was, a challenge to the world
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Collier, Mary Blackwood. "La Carmen essentielle et sa réalisation au spectacle." Paris 4, 1990. http://www.theses.fr/1990PA040104.
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La première partie de cette thèse traite des analyses littéraire et musicale de la Carmen de Prosper Mérimée et de la Carmen de Georges Bizet. Notre intérêt se concentre sur la qualité mythique de Carmen telle que Mérimée la créa et son expression musicale transposée par Bizet. Dans la deuxième partie de cette étude, sept représentations, au vingtième siècle, du personnage de Carmen, sous une forme théâtrale, sont présentées et analysées par rapport à la multiplicité des points de vue sur le personnage principal comme phénomène culturel et social. Quatre adaptations de Carmen ont été choisies pour cette étude : la Carmen Jones d'Oscar Hammerstein, la Carmen de Roland Petit, la Carmen de Peter Brook, et celle de Carlos Saura; et trois interprétations de la Carmen de Bizet et nos jours sont étudiées : celles de Bodo Igesz, de Francesco Rosi, et de Peter HallThe first part of this thesis focuses on literary and musical analyses of prosper Merimee’s and of Georges Bizet’s Carmen. We are concentrating on the mythical quality with which Merimee imbued Carmen and for which Bizet created an expression in purely musical terms. In the second part; seven twentieth-century representations of the character of Carmen in theatrical form are presented and analyzed in regard to the multiplicity of viewpoints on the main character as a cultural and social phenomenon. Four adaptations of Carmen have been chosen for this study: Oscar Hammerstein’s Carmen Jones, Roland Petit's Carmen, Peter Brook's and Carlos Saura's Carmen; and three contemporary interpretations of Bizet’s Carmen are examined : the Carmens by Bodo Igesz, Francesco Rosi, and Peter Hall
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Kroemer, Oliver B. [Verfasser], Jan [Akademischer Betreuer] Peters, and Oliver [Akademischer Betreuer] Brock. "Machine Learning for Robot Grasping and Manipulation / Oliver B. Kroemer. Betreuer: Jan Peters ; Oliver Brock." Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2015. http://d-nb.info/111111353X/34.
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Kroemer, Oliver Barnabas [Verfasser], Jan [Akademischer Betreuer] Peters, and Oliver [Akademischer Betreuer] Brock. "Machine Learning for Robot Grasping and Manipulation / Oliver B. Kroemer. Betreuer: Jan Peters ; Oliver Brock." Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2015. http://nbn-resolving.de/urn:nbn:de:tuda-tuprints-45842.
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Schildhauer, Peter [Verfasser], Alexander [Akademischer Betreuer] Brock, and Ulrich [Akademischer Betreuer] Busse. "Textsorten im Internet zwischen Wandel und Konstanz : eine diachrone Untersuchung der Textsorte Personal Weblog / Peter Schildhauer. Betreuer: Alexander Brock ; Ulrich Busse." Halle, Saale : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2014. http://d-nb.info/1054950644/34.
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Richards, Michael John. "Actors, gurus and devotees : participant manipulation and response in the theatre and in charismatic religious events." Thesis, Queensland University of Technology, 2000. https://eprints.qut.edu.au/35830/1/35830_Richards_2000.pdf.
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Sri Lanka is the theatre of a three decade-long armed ethnic conflict between the predominantly Sinhala
government and the Liberation Tigers of Tamil Eel am - the militant group fighting for a separate state for
the island's Tamil speaking people. This contemporary conflict is rooted in a perceived historical crisis
between Tamil and Sinhala ethnic groups which spans more than two millennia.
This study examines the perceived historical crisis between the two lingua ethnic nations from a postmodern
perspective, to better understand the contemporary interpretation which has led to a militant and at
times terrorist conflict. It also focuses on the fusion of contemporary and historical narratives used by the
L TTE to further their strategic goals.
The study defines the notion of terrorism as a politico-military strategy stripped of its populist pejorative
interpretations, to understand the strategy of terrorism as part of a communication process designed to
terrorise a target audience and demand its political compliance by harnessing terror as a psychological
weapon.
The study further discusses the role of traditional mainstream media in this communication process and the
result of state imposed media censorships set in place to prevent terrorist news voices from reaching the
media consumer.
This thesis argues media censorship creates a news media vacuum ideally suited to terrorist-backed
alternative cyber media, such as Tamilnet, which are resistant to state imposed media censorship. This
results in the alternative media being the only significant source of news from the conflict zone, creating a media monopoly which allows terrorist narratives and politically loaded reports to filter into mainstream media copy.
Based on an analysis of Tamilnet, this study outlines the role of terrorist-backed cyber media and its
relationship with traditional and contemporary sources of news in the current media landscape.
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Schneider, Tilman Carlo [Verfasser], Peter M. [Akademischer Betreuer] Kappeler, Julia [Akademischer Betreuer] Ostner, Tim H. [Akademischer Betreuer] Clutton-Brock, Mark Pd [Akademischer Betreuer] Maraun, Stefan [Akademischer Betreuer] Scheu, and Oliver [Akademischer Betreuer] Schülke. "Social organisation of the narrow-striped mongoose (Mungotictis decemlineata) in Kirindy Forest C.N.F.E.R.E.F., Madagascar / Tilman Carlo Schneider. Betreuer: Peter M. Kappeler. Gutachter: Peter M. Kappeler ; Julia Ostner ; Tim H. Clutton-Brock ; Mark Pd Maraun ; Stefan Scheu ; Oliver Schülke." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2016. http://d-nb.info/1083255568/34.
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Silva, Nelson Rodrigues da. "O Teatro Sagrado de Peter Brook." Master's thesis, 2016. http://hdl.handle.net/10362/18412.
Full textAbstract:
O Teatro Sagrado de Peter Brook é uma incisiva reflexão e investigação sobre o conceito de Teatro Sagrado criado por este encenador, e é também a explanação de um processo peculiar de criação, essencialmente de expressão teatral. A presente dissertação de mestrado é um trabalho que explora e aborda estudos, filosofias, entrevistas e a espiritualidade na vida e obra de um dos maiores mestres teatrais do século XX, destacando duas das suas principais obras, Mahabharata (1985) e A Tragédia de Hamlet (2000). Trata-se de um mergulho, por assim dizer, no Teatro Sagrado de Peter Brook, um teatro singular, uma estética inconfundível.The Sacred Theatre of Peter Brook is an incisive reflection and study about the notion of sacred theatre created by this director, and the explanation of a peculiar process of creation, essentially of theatrical expression. This Master’s degree dissertation explores and addresses studies, philosophies, interviews and the spirituality of the life and the work of one of the greatest theatre masters of the twentieth century. Two of his main works are highlighted: Mahabarata (1985) and The Tragedy of Hamlet (2000). It is a dive, so to speak, into the Sacred Theatre of Peter Brook, a singular theatre, an unmistakable aesthetics
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"En filmant une pièce : théâtre et cinéma dans l'ouvre de peter brook." Tese, MAXWELL, 2004. http://www.maxwell.lambda.ele.puc-rio.br/cgi-bin/db2www/PRG_0991.D2W/SHOW?Cont=4978:pt&Mat=&Sys=&Nr=&Fun=&CdLinPrg=pt.
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"L'Espai teatral dels anys seixanta. Revolució i ritual en el Living Theatre, Peter Brook i Jerzy Grotowski." Universitat Politècnica de Catalunya, 2007. http://www.tesisenxarxa.net/TDX-0313109-102000/.
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