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1
Darroch, Michael. "Theatre and the materialities of communication." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102797.
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This dissertation is situated within the field of media studies, with a particular focus on the "materialities of communication." The concept of "materialities" is oriented to the underlying conditions that allow communication to take place: the places, carriers and modes of communication that serve to shape and even alter meaning. My dissertation asks how this "material turn" can usefully be applied to and help develop the study of theatre.<br>The dissertation is divided into four chapters. In Chapter 1, I undertake a critical review of the theoretical literature regarding materialities and its applications to media theory. In Chapter 2, I begin to explore the implications of the material turn for theatre. Scholarly interest in the relation of media and theatre has largely been focused on the use of media and technology within theatrical practice. I argue that theatre cannot be conceived of separately from the prevailing communicational possibilities of a given era, even if we accept the capacity for artistic intervention within these parameters. I integrate theoretical standpoints on the reproducibility, iterability and liveness of theatrical presence into a broad discussion of media and communication and thereby demonstrate a more fundamental relationship between theatricality and mediality.<br>In Chapter 3, I extend my discussion of a "materialities of theatre" to the subject of translatability. Translation has long functioned as a metaphor for media as well as for theatrical representation. Discourses of the translatability between media forms have recently been revived by digital technologies that present translation as a model of universalization: the search for the perfect language into which all forms of knowledge can converge. Theatre works to converge media forms as a point of intersecting bodies, texts, voices and technologies, yet also remains persistently aware of the economy of shifting linguistic exchanges that renders total translation an impossible pursuit. I thus develop a study of the materialities of theatre that can attend to this disjunction in translation theory by addressing theatre as a point of medial convergence as well as a site of linguistic difference.<br>In Chapter 4, I elaborate upon these standpoints by discussing circulation as a theoretical concept that, on the one hand, complements the study of materialities of communication and, on the other hand, seeks to overcome the abovementioned disjunction of translation theory. Concentrating on the case of Montreal as a site of heightened linguistic interaction, I investigate theatre as a medial system that works to absorb, interrupt and rediffuse the linguistic materialities of this city.
2
Milne, Andrew Greg. "A critique of the philosophy of modern theatre." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385351.
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Rehorek, Karel. "The philosophy and practices of the Paperbag Theatre Company /." Title page, contents and conclusion only, 1992. http://web4.library.adelaide.edu.au/theses/09AR/09arr3452.pdf.
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Katsouraki, Evanthia. "Theatre director's philosophical entanglements : aesthetics and politics of the modernist theatre." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33250.
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This thesis presents a conceptual examination of the modernist director read through Gillian Rose's speculative lenses of the 'broken middle'. Highlighting the significance of speculative philosophy, I explore the meaning of the director as a mediating subjectivity. I demonstrate how a speculative reading of the director can act as a corrective to the received totalitarian, despotic image of the director. I urge for the rehabilitation of the director as a history and as a practice and I propose the emergence of this figure as being the outcome of a complex theatrical articulation entangled with the discipline of philosophy. Combining close readings of philosophical texts by Rose, Plato, Castoriadis, Badiou, Rancière, Laclau and Mouffe, among several other intellectual references in this study, I explore the director as a mode or trope of embodied philosophy. My argument also proposes the director as an Event, in Badiou's definition, and I trace this configuration as already taking place with the 'tragic' paradigm of the Athenian theatre. This Event of the director, I then argue, gets fully inaugurated in modernism as the Event of thought in theatre. I explore how the director acting as a mediator transforms theatre to what Puchner calls 'a theatre of ideas' while simultaneously philosophy becomes itself transformed to a theatre of thought. Chapter 1 outlines the key strands of Rose's thought and sets out the theoretical parameters of my examination. The chapter argues for a speculative reading of the director cross-examined with current positions within theatre historiography. The chapter paves a new understanding of the director, not historically, but conceptually, as a mode of embodied thought. Chapter 2 explores the relationship between the primacy and centrality of the aesthetic paradigm of theatre in philosophy and the role and practice of the poet - or 'chorodidaskalos' - who I consider as an early philosophical figuration of the modern director. I highlight speculative 'aporia' which in Rose indicates a path 'without a path' as the primary modality of thinking philosophically, already at work in tragedy, that renders the modernist director as a theatrical thinker. Chapter 3 puts forward the case of the director's mediating subjectivity by arguing for the Event of the director. I analyse Badiou's philosophy of the Event, making connections to speculative philosophy and illuminating the Evental dimension of this figure. Chapter 4 moves the examination to the Event of the director that I locate in Richard Wagner. My reading explores the philosophical dimension of Wagner as an artist and a thinker by which I rehabilitate his overtly negative image. I do this by reading Left Hegelianism, and anarchist philosophy more broadly, in Wagner's operatic works, writings, and political activism. Chapter 5 examines the 'speculative director' in the aesthetic project of Naturalism and Realism. The chapter includes a published section by which I explore the political mode of the director indirectly, by examining the articulatory discourse in Laclau and Mouffe's definition and the practice of affirmation. Chapter 6 looks at the avant-garde manifesto as a form of meta-language that seeks to actively re-shape theatre and the world as embodied, declaimed philosophy. The chapter repositions the avant-garde's aesthetic preoccupation with failure as a profoundly transformative project rather than as being incomplete. The included published article examines more closely the affinity between the Spartacus Manifesto by Rose Luxemburg (philosophy) and the more politicized forms of the Dada Berlin manifesto art (theatre). Chapter 7 is the concluding chapter by which I argue the case of the director finally having entered the theatre as a philosopher; that is, through Bertolt Brecht.
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Shadle, Jennifer Klicker. "Protect, Preserve, and Reform: An Analysis of Three Plays by David Mamet Through the Lens of Kirkian Conservatism." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1528484860315471.
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Hadley, Bree Jamila. "Habit in the theatre : Henri Bergson, Gilles Deleuze and performance, with particular reference to the physical theatre of Yumi Umiumare and David Pledger." Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5287.
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Barclay, Julia Lee. "Apocryphal theatre : practicing philosophies." Thesis, University of Northampton, 2009. http://nectar.northampton.ac.uk/3597/.
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Apocryphal Theatre: Practising Philosophies is a practice-based research project that consists of examples of my theatre practice (as research) and a written thesis. In this thesis, I argue that theatre can be seen to be an act of philosophy, by tessellating Maurice Merleau-Ponty's definition of philosophy as consisting of relearning to look at the world and Gilles Deleuze and Felix Guattari's proposition that philosophy is the creation of concepts, and pointing to post-WWII theatre artists whose work both fulfill this definition of philosophy and have informed Apocryphal Theatre's work. Included is an analysis of interviews with three contemporary theatre artists, Richard Foreman, Chris Goode and Ivana Muller, which explore their relationship with philosophical ideas in their work and how that informs their ability to create acts of philosophy. In practice, the research questions that underpin Apocryphal Theatre's research in labs, rehearsals and performance, are philosophical and create the potential for collective acts of philosophy. Apocryphal's practice as research as manifest in its ongoing lab and in the two productions included as part of this thesis, The Jesus Guy and Besides, you lose your soul or The History of Western Civilisation, will be analysed for the historical and philosophical bases of the primary concepts we have created through our research and the tools with which we embody them. The concepts and tools, which are used to address the research questions, are the witness, the grid, cutting up, levels of address and levels of presence. This thesis concludes that theatre and philosophy whilst separate disciplines can overlap in such a way that acts of philosophy can occur in the theatre, and that Apocryphal's theatrical project, which is collaborative, polyvocal and in performance invites the audience to be active witness/participants in the creation of the event, can be viewed as a collective act of philosophy.
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Dalmasso, Frederic. "Alain Badiou's transitory theatre." Thesis, Loughborough University, 2011. https://dspace.lboro.ac.uk/2134/10180.
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This thesis explores how theatre informs Badiou's philosophy through detailed analysis of Badiou's theory of theatre and his six plays L'Écharpe rouge, Incident at Antioch and the Ahmed tetralogy . It argues that theatre has provided an ideal and material ground for Badiou to rehearse concepts he developed in his Logics of the Worlds (2006) and Second Manifesto for Philosophy (2009), such as that of ideation and incorporation. By placing theatre at the core of Badiou's work, this thesis provides a different point of entry into Badiou's philosophy: it demonstrates the overarching nature of Badiou's materialist dialectic, which leads to exploring the relationship between politics and theatre. By ultimately defining Badiou's theatre as a theatre of inexist[a]nce and insisting upon the ontological nature of theatre, this thesis heralds new approaches to the relationship between theatre and philosophy.
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Johnston, Daniel Waycott. "Active Metaphysics: Acting as Manual Philosophy or Phenomenological Interpretations of Acting Theory." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/3984.
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This thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy and theatre and briefly consider the history of attacks on actors. I suggest that at the heart of antitheatricality is what Jonas Barish (1981: 3) calls ‘ontological queasiness’: theatre poses a problem in the distinction between ‘what is’ and ‘what is not’. Turning to phenomenology as a particular way of doing philosophy that challenges any dualistic understanding of subjectivity, I reflect on Martin Heidegger’s Being and Time as a lens for viewing the process of performing and preparing for a role. Heidegger emphasises the intermeshed relationship between the human subject, Dasein (Being-there), and the world to the point that it is impossible to consider one without the other. I have chosen three of the most influential theatre and acting theorists of the twentieth century and examine how each uncovers aspects of existence that are presented in Heidegger’s phenomenology. Firstly, I consider Constantin Stanislavski’s ‘system’ which emphasises action for a purpose within an environment, the individual’s relationship to objects in the world and its involvement with other people who share the same type of Being in the world. Secondly, I examine Antonin Artaud’s conception of theatre that seeks to resist the structures of Being, the way the world is interpreted by others (the ‘They’) and the way that the world gets handed over to consciousness for the most part. In many respects, Artaud’s theatre is the embodiment of Anxiety, a world-revealing state where Being becomes apparent. Thirdly, I discuss Bertolt Brecht’s theatre practice as an attestation to authenticity (a truthful engagement with human existence as possibility) through the medium of performance. Brecht seeks to engage audiences in philosophical debate and change the world. Like Heidegger, Brecht also stresses the historical and temporal constitution of the human subject, whilst emphasising practicality in theatre making. By examining these approaches to performance as case studies, this thesis rethinks the notional intersection of philosophy and theatre, concentrating on process rather than literary analysis. This application of phenomenology is new in that it does not merely consider theatre analysis from an ‘ideal’ audience point of view (i.e. provide a phenomenology of theatre). By focusing on acting, I emphasise the development of artistic creation and becoming, and show how certain types of acting are phenomenological. The bold upshot here is a conception of philosophy that acknowledges various theatre practices as embodied forms of philosophical practice. Furthermore, theatre might well be thought of as phenomenological because it can be an investigation of Being firmly entrenched in practical action and performance. Conversely, philosophy is more than just words on a page; it is a performed activity. Actors can be considered manual philosophers in so far as they engage with the problem of Being not in mere abstraction but in the practical challenges of performance.
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Fletcher, Narelle, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "The Role of the translator in theatre." THESIS_FPFAD_SD_Fletcher_N.xml, 1997. http://handle.uws.edu.au:8081/1959.7/757.
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The author approaches the subject of translating for theatre both as a theatre practitioner and professional translator working in three languages. Translation is generally regarded as process of linguistic transfer from one language to another language in written form. Theatrical texts are an unique literary form because their written form is a base, anchor and springboard for the text in performance. Until recently, translation studies have tended to oscillate between lofty pronouncements which remain too general to be easily applicable to the practical task of translating and close textual analysis which may appear fastidious and overly specific. The art of translation has often wanted to call itself a science, thereby ostensibly increasing its credibility. However nowhere more in the context of theatre can it be justifiably called an art, with all that entails in terms of subjectivity, cultural bias and transitory or timeless validity. There is no such thing as a perfect translation. Translation is a process of endless learning. Several translation theorists have offered broad categorisations or lengthy rationalised lists to help define the parameters of this most tangible practice. No such lists exist which addressed the specific criteria of translation for theatre. Through personal experience and critical reflection, this thesis will offer the beginning of a blueprint which may be useful for translators working in this field<br>Master of Arts (Hons)(Performance)
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McCoy, Allen. "TYA Methodology Twentieth-Century Philosophy, and Twenty-First Century Practice: An Examination of Acting, Directing, and Dramatic Literature." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3943.
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Throughout the twentieth century, theatre for young audiences (TYA), or children's theatre, has been situated as something "other" or different than adult theatre, a kind of theatre--but not really theatre, a construct which opened the door to numerous "how to" philosophies geared specifically toward the theatre for young audiences practitioner. As a twenty-first century theatre practitioner, I am interested in how these philosophies are situated within or against current professional practices in the TYA field. This interest led me to the main question of this study: What are the predominant twentieth-century philosophies on acting, directing, and dramatic literature in the TYA field; and how do they compare to what is currently practiced on the professional American TYA stage? In order to explore current practice, I focused on three theatres, two of which are nationally recognized for their "quality" TYA work, the Seattle Children's Theatre and the Children's Theatre Company in Minneapolis. The third company, the Orlando-UCF Shakespeare Festival, is one of the largest Shakespearean festivals in the country, and has a growing theatre for young audiences program. Between June and October of 2006, I conducted numerous interviews with professional managers, directors, and actors from these organizations. I also attended productions of Pippi Longstocking (Children's Theatre Company), Honus and Me (Seattle Children's Theatre), and Peter Rabbit (Orlando-UCF Shakespeare Festival). It was through these interviews and observations of these productions that I was able to gain data--methodology, techniques, and philosophy--on twenty-first century TYA acting, directing, and dramatic literature. My study has uncovered that although there are numerous twentieth-century "how to" philosophies, many current TYA practitioners are unfamiliar with them. Most of the twenty-first century TYA practice that I studied follows the trends of the adult theatre. This thesis serves as the culmination of my Master of Fine Arts in theatre for young audiences at the University of Central Florida. However, it is not a culmination of my study on the theatre for young audiences field. Past philosophies paired with current methodology, while providing models of quality, also open the door to numerous ideas for further study. This thesis challenges me in examining my own notions of quality acting, directing, and dramatic literature in the TYA field; and it is my hope that this challenge makes me a more informed, deliberate, and responsible theatre practitioner.<br>M.F.A.<br>Department of Theatre<br>Arts and Humanities<br>Theatre
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Jaeger, Suzanne Monique. "The theatre of a certain living pulsation a study of Merleau-Ponty's philosophy /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0028/NQ39275.pdf.
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Bonshek, Corrina. "Australian deterritorialised music theatre : a theoretical and creative exploration." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/40061.
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This project consists of a theoretical examination of Australian music theatre and a portfolio of musical compositions. The thesis proposes an innovative analytical model for music theatre/multi-media with a distinctive perspective. Adapting concepts from feminist Deleuzean theorists, it advances a notion of feminine difference that moves beyond earlier debates between essentialists and anti-essentialists. This theoretical framework guides the close examination of three works ― Andrée Greenwell’s Laquiem: Tales from the Mourning of the Lac Women (1999), Greenwell’s Laquiem (2002) and Gretchen Miller’s Inland (1999/2000) ― that complicate the category ‘music theatre’ in the way that they cross genre boundaries. Greenwell’s Laquiem: Tales from the Mourning of the Lac Women is a new music performance work based upon Kathleen Mary Fallon’s ‘The Mourning of the Lac Women’. This work has a close relationship to Laquiem (2002), a short film directed, composed and scripted adapted by Greenwell based upon the same text by Fallon. Inland is a radiophonic work that Miller also staged as a live performance. The thesis argues that changing format and interdisciplinary content of works such as these has contributed to the current proliferation of genre labels. Recent works can be defined under various descriptors such as ‘performance art’, ‘documentary opera’ or ‘installation performance’. The thesis offers the concept of ‘deterritorialised music theatre’ to address works that exist at and beyond the limits of music theatre as a category. The penultimate chapter applies a Deleuzean feminist framework to the composition portfolio submitted with the thesis. The creative work consists of two audio-visual installations (one with quadraphonic sound), a music-theatre work (exploring ‘action’- instrumental possibilities) and a music-art tour that includes music for string trio, singer and brass/sax septet.
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Unwin, Charles. "Dramatization and philosophy of history in Orange Book explication of a site-responsive work and its research." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/10876.
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Includes bibliographical references.<br>The explication presents Orange Book as a piece of site-responsive public space performance, showing how similar patterns of thought and feeling emerging in both research and artwork led to elaborating the notion of an art methodology for the work. The explication further considers a process of research into drama and history in relation to contemporary performance: where narrative dramatic forms,whether organic or fragmented, show history as a fait accompli, an aesthetic orientation around open structures and non-narrative performance modes allows for a constructive, ethically directed, philosophical engagement with historical process. The explication thus demonstrates implications of biography, philosophy, history and dramatization in my search for a distinctive performance idiom.
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Latto, Jeff. "The idea of transmutation in the theatre of Giulio Camillo /." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61052.
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Transmutation is explored with respect to the sixteenth century text L'Idea del Theatro, by Giulio Camillo, linking the arts of alchemy, eloquence and divination. Alchemy establishes the doctrine of transmutation; eloquence is founded on the creative movement of deviation, while divination points to symbolization. The 'corporeal visions' of Camillo are set in opposition to the 'single eye' vision from which originate theories on perspective by the architects Leon Bastista Alberti and Sebastiano Serlio.
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Johnston, Daniel Waycott. "Active Metaphysics: Acting as Manual Philosophy or Phenomenological Interpretations of Acting Theory." University of Sydney, 2008. http://hdl.handle.net/2123/3984.
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PhD<br>This thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy and theatre and briefly consider the history of attacks on actors. I suggest that at the heart of antitheatricality is what Jonas Barish (1981: 3) calls ‘ontological queasiness’: theatre poses a problem in the distinction between ‘what is’ and ‘what is not’. Turning to phenomenology as a particular way of doing philosophy that challenges any dualistic understanding of subjectivity, I reflect on Martin Heidegger’s Being and Time as a lens for viewing the process of performing and preparing for a role. Heidegger emphasises the intermeshed relationship between the human subject, Dasein (Being-there), and the world to the point that it is impossible to consider one without the other. I have chosen three of the most influential theatre and acting theorists of the twentieth century and examine how each uncovers aspects of existence that are presented in Heidegger’s phenomenology. Firstly, I consider Constantin Stanislavski’s ‘system’ which emphasises action for a purpose within an environment, the individual’s relationship to objects in the world and its involvement with other people who share the same type of Being in the world. Secondly, I examine Antonin Artaud’s conception of theatre that seeks to resist the structures of Being, the way the world is interpreted by others (the ‘They’) and the way that the world gets handed over to consciousness for the most part. In many respects, Artaud’s theatre is the embodiment of Anxiety, a world-revealing state where Being becomes apparent. Thirdly, I discuss Bertolt Brecht’s theatre practice as an attestation to authenticity (a truthful engagement with human existence as possibility) through the medium of performance. Brecht seeks to engage audiences in philosophical debate and change the world. Like Heidegger, Brecht also stresses the historical and temporal constitution of the human subject, whilst emphasising practicality in theatre making. By examining these approaches to performance as case studies, this thesis rethinks the notional intersection of philosophy and theatre, concentrating on process rather than literary analysis. This application of phenomenology is new in that it does not merely consider theatre analysis from an ‘ideal’ audience point of view (i.e. provide a phenomenology of theatre). By focusing on acting, I emphasise the development of artistic creation and becoming, and show how certain types of acting are phenomenological. The bold upshot here is a conception of philosophy that acknowledges various theatre practices as embodied forms of philosophical practice. Furthermore, theatre might well be thought of as phenomenological because it can be an investigation of Being firmly entrenched in practical action and performance. Conversely, philosophy is more than just words on a page; it is a performed activity. Actors can be considered manual philosophers in so far as they engage with the problem of Being not in mere abstraction but in the practical challenges of performance.
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Picardie, Michael. "Towards a philosophy of theatre inspired by Aristotle's poetics and post-structuralist aesthetics in relation to three South African plays." Thesis, University of South Wales, 2014. https://pure.southwales.ac.uk/en/studentthesis/towards-a-philosophy-of-theatre-inspired-by-aristotles-poetics-and-poststructuralist-aesthetics-in-relation-to-three-south-african-plays(031e80c8-04cc-4060-86df-770d67477b26).html.
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I have attempted a reading of Aristotle in terms of mimesis, ethos, mythos, lexis, hamartia, anagnorisis, peripeteia, catharsis and anamnesis - as an existential “being there” (Dasein) of the characters’ freedom and actual historicity - in three of my plays in which I performed or witnessed in productions in England, Wales, three Scandinavian countries, the U.S. and South Africa. I have analysed other Southern African “womanist” performative drama and feminist theatre. I assume with the ancient Greeks that in serious theatre there is theoria, an educated, discursive looking, which involves a dialectics of logos in dianoia intertwined in the mythos – ethical truth in the discourse of the plot. Whilst aesthetics cannot be reduced to psychobiography, creative writing is motivated in part by the author’s and the dramatic subjects’ psychoanalytically understood personal and political unconscious placed in the ethos – the character on the stage. The aesthetics of tragedy relate to both peripeteia (reversals) and anagnorisis (recognition of responsibility) which occur within an arc of development, crisis and denouement of the vicissitudes of purported wisdom in understanding how performative drama and critical theatre have been presented in what has become known as The Struggle in a post-apartheid South Africa and post-colonial Zimbabwe by comparison with historical conditions in South America, India, even China. The values of nous, phronesis and sophia, intuitive, practical and interpretative wisdom are connected to the Nicomachean and Eudemian Ethics with which the tragic-comic hero and his Other are imbued or violate. The post-structuralist aesthetic as developed in the literary theory of the twentieth century is essentially the interaction of synchronic and diachronic language emerging from the signifiance and the semiosis of the chora (the feminine or maternal unconscious) within the de-familarisation techniques of Russian and Czech Formalism. This provides a creative and meaningful limit to a consciousness of being-white and beingblack- in-the-world against disempowering Nothingness or perceived Otherness threatening moral beings. Nothingness and the Other are characterised magically and as witch-craft in oral-cultures which deny the unconscious and resort to paranoia and persecution of Otherness in the subject projected onto the other – the “colonial personality”. Shades of Brown has been re-written as Jannie Veldsman – A Film 8 Scenario and I have incorporated into a revised The Cape Orchard a retrospective anticipation of the coming of the new South Africa. I reflect on what tragic drama on the stage and in real life in South Africa means now that the new South Africa is over its honeymoon period and faces serious problems of failed governance. Within the dialectic of an enlightened rabbinical morality of Hillel the Elder (“What is hateful to you do not do to others….” and “If I am not for myself who will be for me…?”) and Kant’s categorical imperative of human beings as a priori ends, I follow the fortunes of an old Jewish veteran of The Struggle, dating back to the Defiance Campaign of 1952/3. Fugard’s work is exemplary in fostering a sense of Sartre’s Nothingness and nihilation which “haunts” Being and is the space of undecidability in relation to my condition of freedom allowing the transcendence of Being. Being asserts reparation and redemption in the face of the depressive and paranoid subject/object split in the subject’s being-in-the-world. Plays ideally submerge this existentialist, psychoanalytic and Aristotelian dramaturgy in the form of Kierkegaard’s faith and Nietzsche’s will which are part of the Encompassing in Karl Jasper’s metaphysics - the residue of a Judaeo-Christian ethics facing the anomie and aporia of the postmodern. The new South Africa was only ostensibly built on Greek and Judaeo- Christian secular ethics – “truth and reconciliation”. It inherited state, revolutionary and criminal violence, as well as a sophisticated economic infrastructure, masspoverty and a segregated educational, social and welfare system which in the milieu of ANC incompetence and corruption have for the very poor got worse but to the benefit of a new African oligarchy, the beneficiaries of a dysfunctional affirmative action policy. What is to be done? Irigaray’s striking metaphor “the speculum of the Other woman” suggests that we are reflected by the instrument we use for investigating what may be Other to us: “we” are westerners trying to live in Africa. “We” are Other – not as autochthonous as the African majority. But the autochthonous can also behave as Other and may even fail to recognise the Other in themselves. Franz Fanon’s “colonial personality”, like ex-president Thabo Mbeki, misunderstands the colonial Other in himself which, disastrously, he projects and attacks in the imaginary and persecutory Other, only to suffer the return of the Real, as do the dramatic fictions Van Tonder in Shades of Brown, Dianne Cupido in The Cape Orchard and Harry Grossman the old man’s son in The Zulu and the Zeide (inspired by a short story by Dan Jacobson). 9 The Russian and Czech Formalists and Structuralists show us how to foreground the Real through techniques of de-familiarisation which can be applied to modernist and post-modernist “womanist” performance drama and feminist theatre. Defamilarisation, especially in an Africa struggling between failed and successful colonialism and often ruled by more or less corrupt elites, sensitizes us to a moral nihilism which characterises the failed African state - described by Conrad as a “heart of darkness” transcended in aletheia – being oneself in the self-showing light of one’s ethos operating through a personal and political unconscious mystified in the rhetoric of oral-cultures. Playwrights such as Yael Farber, Fraser Grace, Aletta Bezuidenhout and Fatima Dike express a semiosis of the unconscious and the signifiance and “absurdity” of logos suggesting that all is not lost in post-apartheid Southern Africa as regards human values, whilst struggling with the political correctness demanded in The Struggle. A partially successful colonialism in parts of Africa could within a British education system, produce a Wole Soyinka who transcends the propaganda of agit-prop by showing the parabolic arc of tragedy afflicted with peripeteia. The weight of African backwardness is not only the negative heritage of colonialism and slavery but Africa’s immersion in traditional partially modernised, but still patriarchal, often tribally and religiously split oral-cultures. These enable the colonial personality to unconsciously or opportunistically exploit his paranoiac sense of his victimage at the expense of the writing-cultures of development which entail anamnesis and the redemption through anagnorisis.
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Bonshek, Corrina. "Australian deterritorialised music theatre a theoretical and creative exploration /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19308.
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Thesis (Ph.D.) -- University of Western Sydney, 2007.<br>A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the University of Western Sydney, College of Arts, School of Communication Arts. Includes bibliography.
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Epling, Leslie Rose. "Costume Designing for Theatre of the Absurd - Come and Go, Footfalls, and The Dumb Waiter." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/honors/6.
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In October of 2010, ETSU staged three one-act plays in the Theatre of the Absurd genre--Come and Go and Footfalls by Samuel Beckett and The Dumb Waiter by Harold Pinter. This thesis gives a brief overview of Theatre of the Absurd and how Beckett and Pinter helped to shape and define the genre. It also gives an analysis of these three plays from the perspective of the costume designer.
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Lacy, Rachel. "Hamlet's Objective Mode and Early Modern Materialist Philosophy." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32430.
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Hamlet's tragedy is constructed as a perspective of matter that is destined for decay, and this "objective," or "object-focused," mode of viewing the material world enhances theatrical and theological understandings of the play's props, figurative language, and characters. Hamlet's "objective mode" evokes early modern materialist philosophies of vanitas and memento mori, and it is communicated in theatre through semiotic means, whereby material items stand for moral ideas according to an established sign-signified relation. Extending an objective reading to Hamlet's characters reveals their function as images, or two-dimensional emblems, in moments of slowing narrative time. In the graveyard scene (5.1), characters and theatrical props cooperate to materialize the objective perspective. As a prop, Ophelia's corpse complicates the objective mode through its semantic complexity. Thus, she stands apart from other characters as one that both serves to construct and to deconstruct the objective mode. Hamlet's tragic outlook, which depends upon an understanding of matter as destined for decay, and of material items as ends in themselves rather than vehicles for spiritual transformation, is an early modern notion concurrent with theological debates surrounding the Eucharist. Drawing upon art-historical, linguistic, feminist, theological, and theatrical approaches, this thesis contributes to concurrent discourse on Hamlet's tragic genre.
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Babcock, Kimberly John. "Modern Dramatic Tragedy and Aristotle's Poetics: A Comparison." W&M ScholarWorks, 1987. https://scholarworks.wm.edu/etd/1539625396.
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Fleming, Chris 1970, of Western Sydney Hawkesbury University, and Faculty of Social Inquiry. "Theoria : performance and epistemology." THESIS_FSI_XXX_Fleming_C.xml, 1999. http://handle.uws.edu.au:8081/1959.7/407.
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What might it mean to attempt to figure theatre as thought? More specifically, what possible relations hold between theatre and epistemology - that area of philosophy concerned with theories of knowledge? This study is a series of cross-disciplinary engagements that seek to articulate some of the relations between theatre, performance, and epistemology, to investigate performance as a 'deployed logic' in relation to those disciplines concerned with discovering and generating knowledge. For some thinkers in the continental tradition, the very thought of writing about the relations between performance and the anachronistic; hasn't the idea of 'performance' undermined most of the central tenets of the discourse concerned with knowledge and the Real, with truth and falsity? This, of course, remains an open question, one pursued in this work. The thesis draws on a diverse series of wide-ranging examples in order to relate the inquiry to current work being done in philosophy and performance studies, but notes the theoretical incompleteness of studies relating theatre and performance to conceptions of knowledge.It attempts to fill a void in the literature by offering analyses that think the relations between dramatic and philosophical activity. In short, it hopes to re-open the dialogue between performance and epistemology by showing how philosophy regularly attempts to expunge its foundational elements from its imaginary.<br>Doctor of Philosophy (PhD)
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Watson, Ian T. "The Psychology of Theatre and Film: In Theory and Practice." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4202.
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This thesis utilizes theories and ideas from the field of psychology to inform intertextual and interdisciplinary readings that compare and contrast theatre and film texts. In Chapter One, I compare Carlos Fuentes' drama Orchids in the Moonlight to Nicolas Winding Refn's film Bronson in order to investigate the extent each oscillates between Carl Jung's notion of the collective unconscious and Gilles Deleuze and Félix Guattari's schizoanalytic paradigm. I found that while these vacillating aspects helped illuminate different perspectives of each text, Orchids in the Moonlight more closely represents the collective unconscious, while Bronson more robustly embodies schizoanalysis. In Chapter Two, I examine the magnitude to which the play and film version of Jean Cocteau's Orpheus illuminate his self-portrait. By analyzing the similarity and differences between how Cocteau depicts mirrors and the female personification of Death, I discovered the film version to more profoundly evoke and depict Cocteau's self-portrait. Finally, in Chapter Three, I discuss my process of writing a new play with film elements called Flooded—before providing a sample of the text, and later analyzing the advantages and disadvantages of the film contents in the play.
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Morelos, Ronaldo. "Symbols and power in the theatre of the oppressed." Thesis, Queensland University of Technology, 1999.
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Augusto Boal developed Theatre of the Oppressed as a way of using the symbolic language of the dramatic arts in the examination of power relations in both the personal and
social contexts. Boal understood that symbolic realities directly influence empirical reality and that drama, as an art form that employs the narrative and the event, serves as a powerful interface between symbols and actuality. In the dramatic process, the creation and the environment from which it emerges are inevitably transformed in the process of enactment. These transformations manifest in the context of power relations - in the context of the receptor's ability to make decisions and to engage in actions, and the communicator's ability to influence the receptor's opinions and behaviour. This thesis will examine two different
practices in which symbolic realities have been utilised in the context of human relations of power. Primarily, this thesis examines the theory and practice of Theatre of the Oppressed as it has developed. Additional(v, Theatre of the Oppressed will be examined in comparison with another body of theory and practice - one grounded in the martial and political fields. The similarities and differences between the two practices will be used as a way of elaborating
upon the objectives and methods of Theatre of the Oppressed, and as a way of examining the overall practice of 'cultural activism'. This thesis will look at the work of Augusto Boal from 1965 to 1998, and the body of his work known as Theatre of the Oppressed. Also examined will be the work of Edward Geary Lansdale from 1950 to 1983, chiefly his work in the Philippines and Vietnam. One is a theatre worker, a writer, director, theorist and politician.
The other retired as a major general in the US Air Force, a renowned intelligence operative and expert. This thesis will argue that they are working in the same field, albeit at different points in spectrums of material resources and ideology. They are both cultural activists. This
thesis will examine the way these two practitioners have used the narrative and the event, the myth and the ritual, to colour the canvas of cultures. Cultural activism is the orchestration of narratives and events. Cultural activists work with the symbolic in order to influence the actual.
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Ohanyan, Rima. "The Theatre of a Thousand Plateaus : How can architecture accommodate the postmodern conceptions of the theatre and provide spaces for non-conventional theatricals where narrative is deconstructed and the audiences are active co-creators or co-participants?" Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-174995.
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Today’s world has undergone through a variety of changes shifting from metaphysical way of thinking into postmodernism which has left its footprint in the aspects of literature, art and theatre. But architecture doesn’t reflect those changes in the theatrical world because buildings are not adjusted to the postmodern performances. In this research I made a journey through postmodern philosophy, literature, art, architecture, and theatre and tried to analyze the main tools of postmodernism, such as deconstruction of narrative, displacement etc. Then I applied them into my project which makes an attempt to translate the postmodern mind into a physical space and create a theatrical area. It tries to answer the question whether architecture is able to accommodate postmodern conceptions and performances where the audiences are the creators and active participants of their own narratives. The case study of the performance Sleep No More has become the concept for my design proposal where I also used displacement to combine several objects in a new context. The analysis and the design method have shown that architecture can accommodate all the cultural developments and can transform from postmodern conceptions into a physical space with the help of the same tools that are used in postmodern literature, art and philosophy. A building can become the embodiment of a post modernistic idea.
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Cull, Laura Katherine. "Differential presence : Deleuze and performance." Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/97094.
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This thesis argues that presence in the performing arts can be reconceived, via the philosophy of Gilles Deleuze, as an encounter with difference or ‘differential presence’ which is variously defined as immanence, destratification, affect/becoming, and duration. These definitions are developed through a series of four analyses of exemplary performance practices: 1) The Living Theatre; 2) Antonin Artaud; 3) Allan Kaprow and 4) Goat Island. Chapter One recuperates the Living Theatre from a dominant narrative of ‘failure’, aided by the Deleuzian concepts of ontological participation, immanence, production/creation and ‘the people to come’. Reframing the company as pioneers of methods such as audience participation and collective creation, the chapter argues that their theatrical ambition is irreducible to some simple pursuit of undifferentiated presence (as authenticity or communion). Chapter Two provides an exposition of three key concepts emerging in the encounter between Artaud and Deleuze: the body without organs, the theatre without organs, and the destratified voice. The chapter proposes that To have done with the judgment of god constitutes an instance of a theatre without organs that uses the destratified voice in a pursuit of differential presence – as a nonrepresentative encounter with difference that forces new thoughts upon us. Chapter Three defines differential presence in relation to Deleuze’s concepts of affect and becoming-imperceptible and Kaprow’s concepts of ‘experienced insight’, nonart, ‘becoming “the whole”’, and attention. The chapter argues that Kaprow and Deleuze share a concern to theorize the practice of participating in actuality beyond the subject/object distinction, in a manner that promotes an ethico-political sense of taking part in “the whole”. Finally, Chapter Four focuses on the temporal aspect of differential presence, arguing that through slowness, waiting, repetition and imitation, Goat Island’s performance work acknowledges and responds to ‘the need to open ourselves affectively to the actuality of others’ (Mullarkey 2003: 488).
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Pantano, Daniel. "The rapid unexpected." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001237.
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Ortega, Manez Maria. "Mimèsis en jeu. Une analyse de la relation entre théâtre et philosophie." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040170.
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Théâtre et philosophie présentent au long de leur histoire des modes d’interaction divers. L’approche privilégiée est ici l’analyse de la querelle qui opposa, au Ve siècle av. J.-C. en Grèce, deux de leurs représentants : Aristophane et Platon. Une analyse des œuvres qui véhiculent leurs attaques respectives permet de dégager les enjeux de cet affrontement ainsi que d’en mesurer la portée. Depuis cette perspective, la notion de mimèsis apparaît mise en jeu : terme d’origine théâtrale et portant essentiellement le sens du « jeu » de l’acteur, la mimèsis est utilisée par Platon comme l’argument majeur de sa critique de la poésie, autant que comme point d’articulation entre les deux mondes de son ontologie. La seconde partie de notre entreprise est consacrée à l’étude de l’élaboration platonicienne de ce concept dans la République. Cette synthèse est également opérée sur un plan littéraire par le dialogue en tant que forme d’écriture à la croisée entre philosophie et théâtre, que l’on aborde à travers l’étude des dialogues de Platon de ce double point de vue. On parvient ainsi à montrer, à partir des éléments analysés, qu’au cœur de l’opposition entre philosophie et théâtre s’ancre une liaison profonde, dont la nature contradictoire n’aura cessé de se manifester par la suite à travers le problème philosophique et le paradigme théâtral de la représentation<br>Theatre and philosophy present diverse modes of interaction throughout their history. In order to interrogate their relationship, this investigation will focus on the analysis of the quarrel which, in the fifth century B.C. in Greece, opposes two of their representatives, Aristophanes and Plato. An analysis of the works that launch their respective attacks will enable us to reveal the stakes of this confrontation, as well as to evaluate their impact. From this perspective, the notion of mimèsis appears at stake but also « at play » – hence, it is en jeu: term of theatrical origins which essentially contains the meaning of the actor’s « play », mimèsis comprises not only the central argument of Plato’s critique of poetry, but furthermore, the articulation point between the two worlds of his ontology. The second part of our research is dedicated to the study of Plato’s elaboration of this concept in the Republic. This synthesis is also operated on a literal level by the dialogue as a writing form at a crossroads between philosophy and theatre, which we will approach through the examination of Plato’s dialogues from this double point of view. Taken together the different elements of our analysis reveal that, at the heart of their opposition, lies a deep bound whose contradictory nature has not ceased to manifest itself in the philosophical problem and the theatrical paradigm of representation
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Ribeiro, António Pinto. "Restauro e consideração sobre a possibilidade da constituição de uma crítica para as artes do corpo." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 1994. http://dited.bn.pt:80/29744.
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Laastad, Dyvik Synne. "Performing gender in the 'theatre of war' : embodying the invasion, counterinsurgency and exit strategy in Afghanistan." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/46848/.
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This thesis offers a critical feminist reading of the war in Afghanistan, from invasion, through the practice of counterinsurgency, to the training of the Afghan National Army as a central part of NATO's exit strategy. Empirically it focuses on the discourses, policies and practices of the US and Norwegian militaries in Afghanistan. It draws on a range of material including military doctrine and policy, parliamentary discussions, public policy documents, interviews, political statements and soldiers' memoirs. Deploying the theoretical framework of performative gender with an emphasis on embodiment, it shows how particular gendered bodies are called into being and how the distinct practices of war in Afghanistan produce and rely on a series of multiple, fluid and, at times, contradictory performances of masculinity and femininity. It demonstrates how gendered performances should not be considered superfluous, but rather integral to the practices of war. It illustrates this, first, by examining the production of the (in) visible ‘body in the burqa' alongside the ‘protective masculinity' of Western politicians in the legitimation of the invasion; second, through the ‘soldier-‐scholars', ‘warriors' and the Female Engagement Teams (FETs) in practices of ‘population‐centric' counterinsurgency, examining the ways in which counterinsurgency is a gendered and embodied practice; and third, through the remaking of the fledgling Afghan National Army (ANA) recruits in the NATO exit strategy. The thesis furthers feminist studies on gender and war in International Relations by emphasising the multiplicity of gendered bodies and performances by problematizing singular notions of masculinity and femininity. It contributes to existing literature that reads the war in Afghanistan as a neocolonial and biopolitical practice, enhancing these readings by paying attention to the gendering of bodies and their performances, thereby expanding critical investigations into late modern ways of war and counterinsurgency.
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Pelletier, Louise 1963. "Nicolas Le Camus de Mézières's architecture of expression, and the theatre of desire at the end of the Ancien Régime, or, the analogy of fiction with architectural innovation." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36674.
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Cette dissertation explore le role de l'architecture en tant que langage expressif, a travers la theorie de caractere en France a la fin du dix-huitieme siecle. Depuis l'Antiquite, Vitruve avait etabli le role expressif de l'architecture dans sa definition du terme "decorum". Pour Vitruve, toutefois, l'architecture exprimait un ordre qui transcendait sa materialite, l'ordre de l'univers.<br>Vers la fin du dix-septieme siecle, des changements culturels importants transformerent la nature meme de l'architecture. Le questionnement des fondations naturelles de l'architecture plongea la discipline dans une crise potentielle de la signification architecturale. Les architectes du dix-huitieme siecle commencerent a explorer le pouvoir expressif de l'architecture en tant que produit d'une imagination personnelle et specifique au contexte culturel, et essayerent de preserver sa signification de facon a ce que l'architecture demeure un langage commun.<br>L'architecte francais et theoricien Nicolas Le Camus de Mezieres (1721--ca.1793) developpa une theorie de l'architecture suivant laquelle le caractere d'un batiment se devait d'exprimer sa destination ou le statu social du client pour lequel il etait construit. Contrairement aux theories de caractere precedentes en architecture, celle de Le Camus etait basee de facon explicite sur une analogie entre l'architecture et le theatre: le mode d'expression en architecture suivait une progression temporelle typique du deroulement dramatique dans une piece de theatre; l'augmentation graduelle de l'ornementation des portes et des seuils successifs rappelait la succession des decors dans une performance de theatre. Cette etude examine les theories d'expression au theatre qui influencerent de facon explicite les theorie architecturales de Le Camus, telles que la mise en scene et le jeu des acteurs. Une etude plus poussee du role social et politique du theatre dans sa forme construite met en evidence l'innovation architecturale de l'oeuvre batie de Le Camus.<br>Alors que les etudes precedentes sur Le Camus de Mezieres mettent l'emphase sur son plus important traite architectural, Le genie de l'architecture, ou l'analogie de cet art avec nos sensations, cette dissertation analyse egalement le vaste repertoire des oeuvres ecrites de Le Camus, incluant ses pieces de theatre, son roman, et une description d'un jardin pittoresque. Ces ouvrages revelent l'objectif reel qui sous-tend la theorie architecturale de Le Camus: la volonte d'exprimer la tension erotique d'une architecture des sens.
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Novais, Douglas Rodrigues 1985. "Introdução ao estudo histórico-filosófico da técnica e da ação cômica do ator." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284393.
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Orientadores: Sara Pereira Lopes, Mario Alberto Santana<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-20T19:34:39Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: O Presente trabalho apresenta um estudo histórico-filosófico introdutório sobre as questões da técnica e da ação cômica no trabalho do ator. Com o objetivo de identificar os principios que fundamentam cada um desses campos para propor um estudo que não se encerre na teoria, mas que sirva ao trabalho prático do ator, efetuamos um resgate e uma atualização das teorias clássicas sobre os assuntos e as confrontamos com três entrevistas de reconhecidos atores da área<br>Abstract: This dissertation attempts to present a historical-philosophical introductory study on the technique and comic action in the actor's work. In order to identify the principles underlying each of these fields to propose a study not only restricted to the theory but also useful for practical work, we relied on classical theories and also confronted three interviews with different acknowledged actor<br>Mestrado<br>Artes da Cena<br>Mestre em Artes da Cena
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Misdolea, Ana-Maria. "Dies peruorsus. Vision et visible dans le théâtre de Plaute : enjeux dramatiques, médicaux et philosophiques." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL159.
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La tromperie dans le théâtre de Plaute repose souvent sur l’articulation entre vision et visible. Le spectacle tient une grande place dans le ludus romain et Plaute accentue le jeu sur la sensorialité dans son texte. Mais le contexte intellectuel de la période hellénistique, dans lequel ont été composées les pièces grecques dont s’inspire Plaute, invite à une relecture de la tromperie, en lien avec l’erreur. L’examen du lexique de la vision fait émerger des situations dans lesquelles le regard est engagé. Est affirmée par les personnages, et tout à la fois remise en question, la confiance accordée à la vue. L’analyse du Miles gloriosus, dans lequel l’esclave trompeur déclare jeter une glaucuma sur les yeux de celui qu’il berne, révèle un schéma dont nous nous demandons s’il est pertinent pour les autres pièces de Plaute : tout en offrant à la vue un objet fallacieux, le trompeur sape la confiance du trompé dans l’évidence visuelle. Nous étudions alors les causes d’altération de la perception, qui figurent dans l’arsenal sceptique grec (ivresse, folie, rêve) puis envisageons la manière dont est manipulé le visible, par la ressemblance (similitudo), qu’elle soit due au déguisement ou à la geméllité. Émergent les deux pôles de la critique des sens par les scepticismes (pyrrhonien et néoacadémicien) : relativité des jugements subjectifs et indécidabilité de la nature de l’objet. Par l’affection oculaire et l’ensorcellement, métaphores de la tromperie et du trompeur, Plaute développe un discours médical original, entre grec et latin, et montre un seruus fallax forgeant des illusions. Son pendant, le jeune homme amoureux, vit dans l’illusion amoureuse qu’il a lui-même forgée<br>Deception in Plautus’ plays often rests on the articulation between vision and visible. Spectacle plays a crucial part in the Roman ludus and Plaute emphasises the topic of sensoriality in his text. But the intellectual context of the Hellenistic period, during which the Greek plays that have inspired Plautus have been composed, spurs us to take a fresh look at deception, in connection with error. The study of the lexicon of vision brings out various situations in which gaze is involved. The characters both assert and question the confidence granted to sight. The analysis of the Miles gloriosus, in which the deceitful slave declares that he will cast a glaucuma on the eyes of the one he aims to deceive, reveals a certain pattern : while offering to the gaze a fallacious object, the deceiver undermines the trust of the deceived in what he sees. We aim to understand if this pattern is relevant for other Plautus’ plays. We study the causes of alteration of perception, which appear in the Greek skeptic topoi (drunkenness, madness, dream) and then consider the way in which the visible is manipulated, thanks to resemblance (similitudo) through disguise or gemellity. There appear the two focuses of the criticism of the senses by the Skeptics (Pyrrhonian and neoacademician) : relativity of subjective judgments and undecidability of the nature of the object. Through ocular affection and of bewitchment, which are the metaphors of the deception and of the deceiver, Plautus develops an original medical discourse, between Greek and Latin, and shows a fallax seruus forging illusions. His counterpart, the young man in love, lives in the illusion of love that he has himself forged
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Day, Fe. ""Patterns in a world in slippage" Playback theatre as professional development in three primary healthcare centres in Aotearoa New Zealand : a thesis submitted to Auckland University of Technology in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD), 2007." Click here to access this resource online, 2007. http://hdl.handle.net/10292/474.
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This thesis is an account of praxis: it examines Playback conceptually, and portrays a programme of practical work exploring the experience of workplace audiences of five Playback Theatre performances, delivered from 2002-2005. The aim of the performances was to assist multi-disciplinary teams of staff in community health centres in Auckland New Zealand to communicate and work together with more understanding of each other. The thesis describes Playback as a way not only to elicit complex narratives which allow for diverse points of view to be expressed, but also as an aesthetic reworking of these narratives using action, music, dance, gesture and speech, in ways which have been influenced by 20th century avant-garde forms such as surrealism, dada, collage, jazz and poetry. Unlike some forms of theatre, Playback calls on elements of ritual and group method, in that it relies on audience members taking an active part in the performance by contributing narratives from their own lives. The thesis interrogates the notion of audience in theatre, using the words audience, spectator, spectactor, participant, public and polis, and specifically investigates two moments of the theatre as polis, in the French and Russian revolutions, when the potential of theatre to engage with the widest cross-section of the nation led to influential experiments and innovations in theatrical practice, each of which influenced the succeeding century. Some Playback discourse and practice is found to contain simplistic, even nostalgic, concepts of personal narrative, and the potential for performers’ interpretations in Playback to reinscribe social privilege is noted. In spite of its simple structure, Playback demands extremely complex skills from all the performers, not only the facilitator. In addition, the complex setting of the practical work encompasses both local NZ health initiatives and developments in global health. The work in each Healthcare Centre is described in a complete chapter: each containing details of the Centre and the Playback, seen through the findings of the patient focus groups, through comments made in interviews by the staff and through the researcher’s observation and experience. In all three Centres, existential and emancipatory metanarratives surfaced in the performances and in interviews. Professionalism was seen as meaning different things: at Ngākau it was a measure by which people were found to be unsatisfactory; at Oranga, it referred to applying the lessons of the Playback to one’s own practice; while at Pātaka, professionalism was evident in narratives of self care, dedication and seeking clarification and support from peers. While the study revealed limitations of Playback, it also pointed to some unique contributions this form of improvisational theatre can make to a programme of staff or group development. In particular, Playback can open up spaces, people and topics, for non-dogmatic, pluralistic, embodied thinking and reflection, leading people to more nuanced understandings of themselves and each other, and can even affect attitudes and behaviours.
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Derek, Gingrich. "Unrecoverable Past and Uncertain Present: Speculative Drama’s Fictional Worlds and Nonclassical Scientific Thought." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31507.
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The growing accessibility of quantum mechanics and chaos theory over the past eighty years has opened a new mode of world-creating for dramatists. An increasingly large collection of plays organize their fictional worlds around such scientific concepts as quantum uncertainty and chaotic determinism. This trend is especially noticeable within dramatic texts that emphasize a fictional, not material or metafictional, engagement. These plays construct fictional worlds that reflect the increasingly strange actual world. The dominant theoretical approaches to fictional worlds unfairly treat these plays as primarily metafictional texts, when these texts construct fictional experiences to speculate about everyday ramifications of living in a post-quantum mechanics world. This thesis argues that these texts are best understood as examples of speculative fiction drama, and they speculate about the changes to our understanding of reality implied by contemporary scientific discoveries. Looking at three plays as exemplary case studies—John Mighton’s Possible Worlds (1990), Tom Stoppard’s Arcadia (1993), and Tony Kushner’s Homebody/Kabul (2001)—this thesis demonstrates that speculative fiction theories can be adapted into fictional worlds analysis, allowing us to analyze these plays as fiction-making texts that offer nonclassical aesthetic experiences. In doing so, this thesis contributes to speculative fiction studies, fictional worlds studies, and the dynamic interdisciplinary dialogue between aesthetic and scientific discourses.
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Schramm, Helmar. "Karneval des Denkens : Theatralität im Spiegel philosophischer Texte des 16. und 17. Jahrhunderts /." Berlin : Akademie Verlag, 1996. http://catalogue.bnf.fr/ark:/12148/cb37539660h.
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Schneider, Ulrich Johannes. "Theater in den Innenräumen des Denkens." Universitätsbibliothek Leipzig, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-149076.
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Gegen die Unumgänglichkeit des philosophiehistorischen Wissens sich
zu stellen, haben verschiedene Denker unternommen, andere wollen die Umgangsformen der Philosophiegeschichte reformieren und neue Modelle des (historischen) Umgangs einführen. Gilles Deleuze nun scheint beides zu versuchen, indem er dem philosophiehistorischen Wissen als Philosoph jede Evidenz bestreitet und es zugleich als Philosophiehistoriker in einer neuen Umgangsweise aufhebt. Seine Philosophie ist offenbar verträglich mit einer Rede über andere Philosophien, ja scheint sie sogar zu fördern, wenn man so die Tatsache interpretieren will, daß Ddeuze eine ganze Reihe von Büchern zu einzelnen Denkern veröffentlicht hat. Wie diese Beziehung von Philosophie und Philosophiegeschichte bei ihm aussieht, ist bisher nicht untersucht. Zum paradoxen Unterfangen von Gilles Deleuze, Philosophiegeschichte zu treiben und sie zugleich zu unterlaufen, die folgenden Überlegungen, deren vorläufiger Charakter daran zu erkennen ist, daß sie sich an verstreuten expliziten Äußerungen orientieren.
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Rups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual." Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/771.
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The outward form of the text in which the spiritual search is housed is 'performance-ritual', that is, performed 'ritual'. This genre has its 'performance' roots in the dance pioneers and its 'ritual' roots in the Christian church. The contents of this performed text is influenced by an emerging ecofeminist consciousness. In this way, the thesis has a grassroots inspiration as well as crossing academic areas of performance studies, ritual studies, and feminist spirituality. The project begins by an examination of 20th Century feminist and ecofeminist writing on spirituality, which evokes the subjective, embodied and historically contextualised, with particular focus on body and nature. Additional concepts of place, holding and letting go are introduced. Particular performance-rituals are introduced under the overall heading 'the spiralling journey of exorcism and ecstacy'. They include earlier work, as well as work performed specifically for this thesis, Centre of the Storm. The study re-situates 'ritual' as a subjective, embodied and contextualised performed event. It challenges ritual discourse to incorporate 'spirit', and feminist spirituality to incorporate the material world, through 'place', 'family', and the ritual actions of 'holding' and 'letting go'.
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Garcin-Marrou, Flore. "Gilles Deleuze, Félix Guattari : entre théâtre et philosophie. Pour un théâtre de l’à venir." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040231.
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Gilles Deleuze et Félix Guattari ne sont pas connus pour avoir manifesté un réel intérêt pour le théâtre. En adoptant une première approche historique et biographique, ce jugement s’avère être une injustice profonde envers ces deux esprits, car l’un ne cesse d’évoquer le théâtre afin d’en faire une critique constructive et l’autre se révèle être l’auteur d’une production théâtrale inédite à ce jour, dont nous dévoilons les enjeux dramaturgiques. Dans une seconde partie, il s’agit de cartographier une pensée du théâtre hétérogène, défendue par les deux philosophes : le théâtre est utilisé dans la création de nouveaux concepts et d’une nouvelle énonciation philosophique. Le « théâtre de la pensée », la « dramatisation », le « théâtre de signes », le « schizo-théâtre », le « théâtre mineur », le « théâtre pris dans des devenirs-autres » constituent les signes avant-coureurs d’un « théâtre de l’à venir » qui constitue le fil rouge de notre recherche. Comme une réponse à la crise du drame, Gilles Deleuze oriente le théâtre vers d’autres lignes de fuite qui portent le théâtre vers les limites de l’abstraction pure, pendant que Félix Guattari conçoit un théâtre postdramatique. Cette thèse inclut des index répertoriant le vocabulaire théâtral et les personnalités de théâtre à partir de l’œuvre complète des deux philosophes, ainsi que des interviews de quelques uns de leurs proches amis artistes<br>Gilles Deleuze and Félix Guattari are not famous for having a deep, enduring interest in theatre. This thesis first develops historical and biographical elements to reveal that the notion of their indifference to theatre is cruelly inexact: the former repeatedly mentions drama and constructively criticises it, while the latter turns out to be the author of dramas which are yet unpublished, and whose theatrical characteristics are revealed here. In a more conceptual part, I then offer the mapping of a heterogeneous web of notions that both philosophers abide by: theatre is used in the creation of new concepts; it is at the service of a new wording of philosophy. The Theatre of Thought, the Method of Dramatisation, the Theatre of Cruelty, the Schizo Theatre, the Minor Theatre and the Theatre through the process of Becoming-Other are the signposts of A Coming Theatre that our research sets out to explore. Gilles Deleuze’s philosophy offers a reaction to the crisis of theatre. While Deleuze takes theatre on new lines of flight and pushes it on the verge of pure abstraction, Félix Guattari forges a Postdramatic Theatre. My thesis includes indexes of all the theatrical vocabulary and characters to be found in the works of both philosophers, as well as interviews by some of their close artist friends
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Kirschner, Bennett A. "Do We Make a Sound? An American Morality Play." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2615.
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Gouttefangeas, Maud. "Au théâtre des pensées. Essais de Péguy, Valéry, Artaud et Michaux." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040045.
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Il existe un théâtre des pensées, un espace de création et de jeu où se révèle l’activité pensante. Dans leurs essais, Péguy, Valéry, Artaud et Michaux ont pratiqué un tel théâtre. Par-delà leurs différences, leurs pensées sont remarquables en ce qu’elles cherchent à se représenter à elles-mêmes à travers un modèle théâtral, lequel se configure au point d’intersection de trois théâtres. Le premier renvoie au théâtre réel du premier XXe siècle, qui voit se développer des expérimentations de mise en scène. Les lieux de spectacles et les milieux artistiques dans lesquels évoluent les quatre auteurs abordés participent à la diffusion de ces formes modernes de théâtralité, qui constituent de nouvelles possibilités de représentation dont s’imprègne leur imaginaire. Dans cet imaginaire se déploie un deuxième théâtre, théâtre intérieur auquel diverses voies – mystiques, poétiques (Baudelaire et Mallarmé) et philosophiques (Freud et Bergson) – donnent accès. Un troisième théâtre s’ouvre dans les textes, en se réalisant dans les formes et les valeurs de l’essai. La généalogie du genre, qui passe par Montaigne et Nietzsche, révèle comment, au cœur de l’écriture essayistique, interagissent théâtralisation des pensées et théâtralisation du texte. Une poïétique théâtrale se fonde que les quatre auteurs mettent en œuvre. Les pensées théâtralisées, faisant appel à des figures et des dispositifs qui rappellent ceux qui s’inventent sur les scènes modernes, sont mises en espace, en mouvement et en voix. Les textes veulent donner à voir ce théâtre des pensées où gestes, costumes, décors, éclairages, chœurs, etc., forment des compositions signifiantes<br>There is such a thing as a theatre of the mind, a space for creation and play, in which the process of thinking is revealed. Péguy, Valéry, Artaud and Michaud have all experienced this in their essays. Beyond the differences that distinguish their works, their thinking processes are remarkable as they seek to reveal themselves through a model that finds its origin at the intersection of three forms of theatre. The first is the actual theatre of the early 20th Century, in which many experiments occur in the art of mise en scène. The stages and artistic settings in which these four authors evolve are vessels for the transmission of new and modern forms of theatricality ; they present the authors with new possibilities as far as performance is concerned, possibilities from which their minds take inspiration. On this inner stage of the mind, a second form of theatre unfolds to which various paths – mystical, poetic (Baudelaire and Mallarmé) and philosophical (Freud and Bergson) – give access. A third type of theatre can then be found in the four authors’ works, through the various shapes and values of essayistic writing. The genre’s genealogy, from Montaigne to Nietzsche, reveals, at its very core, an interaction between dramatizations of the mind and the text. In other words, a theatrical poietic emerges, which the four authors employ. The dramatized thoughts, calling on devices and mechanisms reminiscent of those being invented on modern stages, are put into place and pushed into movement, given a voice. The texts seek to show this theatre of the mind in which actions, costumes, décor, lighting, chorus, etc., intertwine, forming meaningful compositions
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Paul, Salomé. "Avatars contemporains du tragique grec : le Mythe dans la dramaturgie de Sartre, Anouilh, Camus, Paulin, Kennelly et Heaney." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL029.
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Cette étude a pour objectif de démontrer le changement paradigmatique qui s’est opéré dans l’approche du phénomène tragique et du genre de la tragédie à l’époque contemporaine. La tragédie, telle qu’elle est pratiquée par les Grecs durant le Ve siècle avant J.-C., se construit autour du concept de dikè, c’est-à-dire de justice. Toutefois, au XXe siècle, la pensée tragique se porte sur la question de la liberté humaine. Cette transformation quant à l’appréhension philosophique et dramatique du phéno-mène résulte des événements socio-politiques qui secouent le monde occidental, et plus particulière-ment européen, durant cette période. Notre étude repose ainsi sur la comparaison de plusieurs tragédie grecques — Les Perses, L’Orestie, et Prométhée enchaîné d’Eschyle ; Antigone et Philoctète de So-phocle ; Médée et Les Troyennes d’Euripide — avec des transpositions contemporaines, qui ont été créées en France et en Irlande en réponse à des événements socio-politiques menaçant la liberté des individus, ou du moins d’une partie d’entre eux. De ce fait, notre corpus se compose de trois pièces mises en scène durant ou après l’Occupation : Les Mouches de Sartre (1943), Antigone d’Anouilh (1944), et Caligula (1945) de Camus ; d’une pièce écrite lors de la période de la décolonisation dans les années 1960 : Les Troyennes de Sartre (1965) ; de trois pièces créées pendant la période des Troubles (1968-1998) : The Riot Act (1984) et Seize the Fire (1989) de Paulin, et The Cure at Troy de Heaney (1990) ; et de trois pièces composées durant le débat portant sur les droits des femmes dans les années 1980 en République d’Irlande : Antigone (1986), Medea (1989), et The Trojan Women (1993) de Kennelly<br>This research intends to underline the paradigmatic change that has occurred reguarding the approach to the tragic phenomenon and the genre of tragedy in the contemporary period. Tragedy, such as dramatized by the Greeks in the 5th century B.-C., was built on the concept of dikè, meaning justice. However, in the twentieth century, the idea of tragic is apprehended through the perspective of human freedom. This transformation of the philosophical and dramatic approaches to the tragic phenomemon arises from the social and political events occuring in the Western world, and more specifically in Eu-rope, during that period. Thus, our research relies on the comparison of several Greek tragedies — Aeschylus’s The Persians, The Oresteia, and Prometheus Bound; Sophocles’s Antigone and Philocte-tes; Euripides’s Medea and The Trojan Women — with some contemporary transpositions that have been produced in France and in Ireland to adress events threatening individual freedom of, at least, a part of the population living in France or in Ireland. Therefore, our research considers three plays creat-ed during or shortly after the Nazi Occupation of France: Sartre’s The Flies (1943), Anouilh’s Antigone (1944), Camus’s Caligula (1945); one play performed during the decolonial period of 1960: Sartre’s The Trojan Women (1965); three plays produced during the period of the Troubles (1968-1998): Paulin’s The Riot Act (1984) and Seize the Fire (1989), and Heaney’s The Cure at Troy (1990) ; and three plays performed to deal with the issue of women’s rights in the Republic of Ireland: Kennelly’s Antigone (1986), Medea (1989), and The Trojan Women (1993)
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Frias, Cassiane Tomilhero. "Um Artaud surrelealista e internado em Rodez = pontos de tensão entre teatro e poder." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283966.
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Orientador: Verônica Fabrini Machado de Almeida<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-16T05:47:04Z (GMT). No. of bitstreams: 1
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Previous issue date: 2010<br>Resumo: Esta pesquisa propõe uma investigação sobre os aspectos políticos presentes nas obras de Antonin Artaud e as implicações do trabalho deste autor na relação entre teatro e poder. Levando em consideração a extensa obra de Artaud e sua grande contribuição para o teatro e para a cultura, visando fazer um recorte para este trabalho, escolhemos dar maior ênfase em escritos produzidos em dois períodos da vida do autor: a participação no movimento surrealista e o período de internação em asilos da França, principalmente em Rodez. Com intuito de trazer um caráter híbrido à pesquisa teatral, procuramos analisar o estudo das obras de Artaud à luz de conceitos advindos da filosofia, principalmente às questões que se referem às relações de poder abordadas por Michel Foucault. No último capítulo, propomos uma aproximação entre as propostas artaudianas e sua contribuição para o teatro hoje através de autores como Antônio Negri e Hans-Thie Lehman, visando discutir qual é o espaço do teatro atual nas relações de poder contemporâneas<br>Abstract: This research proposes an investigation about the political aspects in the works of Antonin Artaud and its implications to the relation between theater and power. Due the extension of his entire work and the impact through theater and culture, we decided to focus in his writings done in two periods of his life: the participation in the surrealist movement and the period of hospitalization in French asylums, mainly Rodez. In order to bring a hybrid character to theater research, we analised the study of Artaud's works through filosofical concepts, especially issues related to power relations pointed by Michel Foulcault. In the last chapter, we approach Artaud's proposals and contributions for today theater through authors such as Antonio Negri and Hans-Thie Lehman, trying to discuss which space is left to theater in contemporary power relations<br>Mestrado<br>Artes<br>Mestre em Artes
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Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.
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Schneider, Ulrich Johannes. "Theater in den Innenräumen des Denkens: Gilles Deleuze als Philosophiehistoriker." Fink, 1996. https://ul.qucosa.de/id/qucosa%3A12767.
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Gegen die Unumgänglichkeit des philosophiehistorischen Wissens sich
zu stellen, haben verschiedene Denker unternommen, andere wollen die Umgangsformen der Philosophiegeschichte reformieren und neue Modelle des (historischen) Umgangs einführen. Gilles Deleuze nun scheint beides zu versuchen, indem er dem philosophiehistorischen Wissen als Philosoph jede Evidenz bestreitet und es zugleich als Philosophiehistoriker in einer neuen Umgangsweise aufhebt. Seine Philosophie ist offenbar verträglich mit einer Rede über andere Philosophien, ja scheint sie sogar zu fördern, wenn man so die Tatsache interpretieren will, daß Ddeuze eine ganze Reihe von Büchern zu einzelnen Denkern veröffentlicht hat. Wie diese Beziehung von Philosophie und Philosophiegeschichte bei ihm aussieht, ist bisher nicht untersucht. Zum paradoxen Unterfangen von Gilles Deleuze, Philosophiegeschichte zu treiben und sie zugleich zu unterlaufen, die folgenden Überlegungen, deren vorläufiger Charakter daran zu erkennen ist, daß sie sich an verstreuten expliziten Äußerungen orientieren.
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Damkjaer, Camilla. "The Aesthetics of Movement : Variations on Gilles Deleuze and Merce Cunningham." Doctoral thesis, Stockholms universitet, Institutionen för musik- och teatervetenskap, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-645.
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This thesis is an interdisciplinary study of the aesthetics of movement in Gilles Deleuze’s writings and in Merce Cunningham’s choreographies. But it is also a study of the movement that arises when the two meet in a series of variations, where also their respective working partners Félix Guattari and John Cage enter. It is a textual happening where the random juxtaposition between seemingly unrelated areas, philosophy and dance, gives rise to arbitrary connections. It is a textual machine, composed of seven parts. First, the methodological architecture of the juxtaposition is introduced and it is shown how this relates to the materials (the philosophy of Deleuze and the aesthetics of Cunningham), the relation between the materials, and the respective contexts of the materials. The presence of movement in Deleuze’s thinking is then presented and the figure of immobile movement is defined. This figure is a leitmotif of the analyses. It is argued that this figure of immobile movement is not only a stylistic element but has implications on a philosophical level, implications that materialise in Deleuze’s texts. Then follow four parts that build a heterogeneous whole. The analysis of movement is continued through four juxtapositions of particular texts and particular choreographies. Through these juxtapositions, different aspects of movement appear and are discussed: the relation between movement and sensation, movement in interaction with other arts, movement as a means of taking the body to its limit, movement as transformation. Through these analyses, the aesthetics of Cunningham is put into new contexts. The analyses also put into relief Deleuze’s use of figures of movement, and these suddenly acquire another kind of importance. In the seventh and concluding part, all this is brought into play.
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Davies, Callan John. "Strange devices on the Jacobean stage : image, spectacle, and the materialisation of morality." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/19236.
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Concentrating on six plays in the 1610s, this thesis explores the ways theatrical visual effects described as “strange” channel the period’s moral anxieties about rhetoric, technology, and scepticism. It contributes to debates in repertory studies, textual and material culture, intellectual history, theatre history, and to recent revisionist considerations of spectacle. I argue that “strange” spectacle has its roots in the materialisation of morality: the presentation of moral ideas not as abstract concepts but in physical things. The first part of my PhD is a detailed study of early modern moral philosophy, scepticism, and material and textual culture. The second part of my thesis concentrates on Shakespeare’s Cymbeline (1609-10) and The Tempest (1611), John Webster’s The White Devil (1612), and Thomas Heywood’s first three Age plays (1611-13). These spectacular plays are all written and performed within the years 1610-13, a period in which the changes, challenges, and developments in both stage technology and moral philosophy are at their peak. I set these plays in the context of the wider historical moment, showing that the idiosyncrasy of their “strange” stagecraft reflects the period’s interest in materialisation and its attendant moral anxieties. This thesis implicitly challenges some of the conclusions of repertory studies, which sometimes threatens to hierarchise early modern theatre companies by seeing repertories as indications of audience taste and making too strong a divide between, say, “elite” indoor and “citizen” outdoor playhouses. It is also aligned with recent revisionist considerations of spectacle, and I elide divisions in criticism between interest in original performance conditions, close textual analysis, or historical-contextual readings. I present “strangeness” as a model for appreciating the distinct aesthetic of these plays, by reading them as part of their cultural milieu and the material conditions of their original performance.
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Johnston, Daniel Waycott. "Active metaphysics acting as manual philosophy or phenomenological interpretations of acting theory /." Connect to full text, 2007. http://hdl.handle.net/2123/3984.
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Thesis (Ph. D.)--University of Sydney, 2008.<br>Title from title screen (viewed January 21, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Faculty of Arts, Dept. of Performing Studies. Degree awarded 2008; thesis submitted 2007. Includes bibliography. Also available in print format.
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Thiéblemont, Caroline. "L’Esthétique du cynisme dans le théâtre contemporain." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA148/document.
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L’hypothèse d’une esthétique du cynisme dans le théâtre contemporain s’appuie sur un constat empirique : au sein d’un théâtre qui s’autoproclame bien souvent politique, sans néanmoins se revendiquer d’une quelconque idéologie, la scène contemporaine européenne voit se développer, depuis la fin des années quatre-vingt, bon nombre de textes et de spectacles qui, par l’intermédiaire des personnages qu’ils mettent en scène ou des situations qu’ils présentent, expriment un point de vue cynique sur le monde. Dans un mouvement global caractérisé par le regain d’intérêt des auteurs envers des thématiques tirées du réel, ce cynisme affleurant dans les œuvres semble traduire un désintérêt des individus pour le politique, une indifférence du sujet pour le devenir du collectif. En prenant en considération la double acception du terme « cynisme », qui fait à la fois référence au mouvement de philosophie grecque dont la postérité a retenu Diogène de Sinope pour représentant et au comportement d’un individu sans scrupules, prêt à tout pour parvenir à ses fins, y compris à s’affranchir de la morale et des conventions, ce travail croise approches dramaturgique, historique, philosophique et sociologique pour explorer les différentes ramifications du cynisme dans le théâtre contemporain, ainsi que ses caractéristiques principales. Tantôt preuves d’un esprit – inconsciemment, parfois – conservateur, tantôt signes d’une vivacité subversive intacte, les éléments constituant l’esthétique du cynisme forment une galaxie éparse, imprimant insidieusement sa marque dans le théâtre européen contemporain<br>The hypothesis of an aesthetics of cynicism in contemporary theatre is based on an empirical observation: while theatre often proclaims itself as political, without claiming any ideology, a lot of contemporary European texts and performances since the end of the eighties express a cynical point of view on the world through the characters that they stage or the situations that they present. Appearing in the midst of a more general movement characterized by the renewed interest of authors towards themes drawn from reality, the cynicism that surfaces in the artworks seems to reflect people’s waning interest in political matters, and the subject’s indifference towards the future of the community.Taking into consideration the dual meaning of the term "cynicism", which refers both to the Greek philosophy movement, of which Diogenes of Sinope has been retained as representative, and to the behaviour of an unscrupulous person who would do anything to achieve their purposes, including breaking free from morality and conventions, this thesis intersects dramaturgical, historical, philosophical, and sociological approaches to explore the different ramifications of cynicism in contemporary theatre, as well as its main features. Sometimes the manifestation of a – possibly unconsciously – conservative spirit, sometimes the signs of an untouched subversive vivacity, the elements constituting the aesthetics of cynicism form a sparse galaxy, insidiously imprinting its mark onto contemporary European theatre
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Girardin, Catherine. "La philosophie de l'histoire par le théâtre dans l'oeuvre de Johann Gottfried Herder (1764-1774)." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100043.
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Cette thèse étudie comment Johann Gottfried Herder mène une réflexion sur la conceptualisation, l’écriture et les fonctions de l’histoire dans un même mouvement en philosophie de l’histoire et en théâtre. L’interdisciplinarité caractéristique de l’œuvre de l’auteur et l’intégration de l’esthétique et des arts dans sa pensée de l’histoire dans le cadre de l’historisme allemand (Historismus) sont des facteurs qui contribuent à faire de ses propres œuvres dramatiques un espace de réflexion sur l’expérience individuelle et collective du passé, ainsi que sur la position objective et subjective de l’auteur, tant l’historien que le dramaturge. Cette thèse s’applique à regarder non pas seulement dans quelle mesure le théâtre de Herder peut être caractérisé d’ « historique », c’est-à-dire, comment il raconte l’histoire et à quel point il lui est fidèle, mais plus particulièrement comment les deux types ou ethos d’écriture, historique et dramatique, s’influencent chez l’auteur de 1764 à 1774, dans quatre pièces – incluant plans et fragments – dont deux ont été publiées. Le geste de représentation, commun aux récits dramatique et historique, discuté d’un côté en philosophie de l’histoire et en esthétique ; et de l’autre, mis en pratique dans la dramaturgie, est une pierre de touche de l’hypothèse principale de cette thèse, selon laquelle Herder, en écrivant du théâtre, écrit par le fait même une philosophie de l’histoire<br>This dissertation studies how Johann Gottfried Herder reflects on the conceptualization, writing and functions of history in the same movement in philosophy of history and theatre. The interdisciplinarity characteristic of his work and the integration of aesthetics and arts in his understanding of history within the framework of German historicism (Historismus) are factors that contribute to making his own dramatic works a space to reflect on the individual and collective experiences of the past, as well as on the objective and subjective position of the writer, both the historian and the playwright. This dissertation strives to look not only at how Herder’s theatre can be characterized as “historical”, that is, how it tells history and how faithful it is to it, but more particularly at how the two types or ethos of writing, historical and dramatic, influence each other in the author’s work between 1764 and 1774, and in four plays – including outlines and fragments – out of which two have been published. The act of representation, common to both dramatic and historical narratives, discussed on one side in philosophy of history and aesthetics, and on the other, put to practice in playwriting, is a touchstone of the main hypothesis of this dissertation, according to which Herder, by writing theatre, writes a philosophy of history