Dissertations / Theses on the topic 'Woyzeck'

This master thesis of scenography is a study on the play Woyzeck written in 1836 by the German author Georg Büchner. My intention is to examine how the engaging story of a drama written in the 19th century, set into a military background, can be reinterpreted today in our society. The aim of my researches is the elaboration of a contemporary mise en scène of the play set into an ideological factory as the ideal scenario for the developing of the dramatic situations of Woyzeck. My final scenography proposal for the drama is a site-specific project in the Prada Foundation of Milan; an ex-factory of an Italian distillery society, now turned in one of the main art centres of the city. I am starting the thesis with a research about the historical background of the play through a short biography of the author. In this part, I am aiming to explain how the social context, the relationship with his family and a few of actual events happened at the time of Büchner, have inspired him to write, perhaps, his greatest work. I continue by writing an analysis of the dramaturgical structure of the text, of the main themes and situations within the play and the characters. I am highlighting the themes of the play that in the 21th century are extremely contemporary. In parallel, I analyse how the characters behave in different dramatic situations and precisely I try to reveal their real way of being instead of what appear only on the surfaces. Moreover, I write about a few of the greatest reinterpretations of the play that supported my studies and researches. Here, I mainly focus on the directing and dramaturgical aspects of each production that enriched my vision of the play helping me to develop my final version. The last part of my thesis is about my own reinterpretation of Woyzeck. I am explaining which are the aspects and the themes of the play that I find still very connected with our society. I write about my creative process and about how exactly my research led to the final proposal of the comparison between the military system, of two centuries ago, and the factory system of today. Afterward, I take in exam a few of the artworks that encouraged over my personal reinterpretation of directing and dramaturgical aspects. I write about how elements from these artworks inspired me concretely for the realization of my final work. Finally, I explain in details the directing and dramaturgical choices for the disposition of the storyboard as the final result of my personal research.

This paper describes and discusses the lighting, video, and scenery design of MK Woyzeck, presented at the Frederic Wood Theatre from October 1st to 10th 2009. The design will be presented primarily through a series of photographs taken by various photographers at several points during the design, cueing, and performance phases of the production. Emphasis will be placed on the use of digital projectors to provide full illumination of the actors, referred to as Digital Video Illumination (DVI), as well as the role of the projection/set/lighting designer as an active deviser within the rehearsal process. Chapter 1 will provide a brief overview of the production concept for the piece and it’s impact on design strategies. Chapter 2 illustrates the overall execution of the design through a collection of photographs with accompanying captions describing the intention behind each of the cues depicted. In a similar fashion, Chapter 3 describes some of the advantages and challenges inherent within the DVI system and the particular projection instruments employed in this production. Chapter 4 is devoted to the actual mechanics of DVI cue construction. These are illustrated through the description of five sample cues representative of the major ways in which DVI was applied to this production. Chapter 5 summarizes the outcomes of this experimental design process through a brief conclusion.

The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.

Orientador: Mário Fernando Bolognesi
Banca: Wagner Francisco Araújo Cintra
Banca: Plínio Santos Fontenelle
Resumo: O presente trabalho propõe reflexões sobre o fenômeno do grotesco, que se define a partir de alguns aspectos como: estranho, bizarro, disforme, ridículo, híbrido, monstruoso, extravagante, cômico, trágico e tragicômico, trazendo como foco para esta discussão sua capacidade de dialogar elementos aparentemente contraditórios. Estas oposições que identificam tal fenômeno manifestam-se a partir de seu aspecto tragicômico. Soma-se a esta reflexão, aspectos característicos da linguagem do palhaço, em que o grotesco tragicômico é apontado como um dos importantes elementos constituintes dessa figura cômica, conforme exemplificados na dupla de palhaços, Branco e o Augusto. Toda esta discussão nos leva ao principal objetivo deste trabalho que é estabelecer uma analogia entre o grotesco tragicômico no palhaço e as personagens Doutor, Capitão e Woyzeck da obra Woyzeck de Georg Büchner. Nesse sentido, a pesquisa mostra-se importante na medida em que, propõe a discussão sobre o fenômeno estético do grotesco tragicômico, de forte influência em inúmeras produções artísticas e dramatúrgicas, ampliando nossa compreensão sobre o homem moderno, fortemente caracterizado por suas contradições. Além disso, aliar essa reflexão ao palhaço, nos ajuda a compreender os aspectos cômicos dessa figura, expandindo nossa forma de conceber o riso naturalmente atrelado à figura do palhaço, na sua capacidade de buscar no trágico da vida inspiração para suscitar o cômico. É a partir dessa reflexão, que buscamos uma aproximação entre esses aspectos do palhaço com algumas personagens da obra Woyzeck mantendo vivos um autor e uma obra de grandes contribuições para a história da dramaturgia moderna e contemporânea
Abstract: This work proposes reflections on the grotesque phenomenon, which is defined from some aspects such as: strange, bizarre, shapless, ridiculous, hybrid, horrendous, extravagant, funny and tragicomic, bringing as focus to this discussion it's ability to dialogue seemingly contradictory elements. These oppositions that identify this phenomenon manifested from it's tragicomic aspect. Added to this reflection, characteristic features of the clown language, in which the tragicomic grotesque is pointed out as one of the important constituents of this comic figure, as exemplified in the pair of clowns, Branco and Augusto. All of this discussion leads us to the main goal of this work, which is to establish an analogy between the tragicomic grotesque on the clown and the characters Doctor, Captain and Woyzeck of the artwork 'Woyzeck' by Georg Büchner. In this way, the research shows itself important as far as proposes a debate of the aesthetic phenomenon of tragicomic grotesque, strong influence in many artistic and dramaturgical productions, expanding our understanding of modern man, strongly characterized by its contradictions. Also, combine this reflection to the clown, helps us to understand the comedic aspects of this character, expanding our way of conceiving the laughter naturally, linked to the clown character, in their ability to seek the tragic aspect of life, inspiration to raise the comic. It is from this reflection, we seek an approach between these aspects of the clown with some characters of Woyzeck work keeping alive an author and an artwork of great contributions to the history of modern and contemporary dramatic art
Mestre

En 1878 Karl Emil Franzos appose sur le manuscrit pas encore nommé Woyzeck une solution de souffre et d’ammoniaque. Le traitement doit permettre de dévoiler les parties illisibles du texte et de faire apparaître derrière les ratures des parties nécessaires à la compréhension de la dramaturgie. En 1837, les feuillets récupérés à la mort de l’auteur furent jugés vulgaires et ne parurent pas dans la première édition des œuvres complètes en 1850. Pour l’édition de 1878, Karl Emil Franzos entend mettre au jour cette pièce laissée inachevée. Pendant un moment le précipité semble opérer. L’encre remonte à la surface du papier. Les lettres prennent en épaisseur, des mots apparaissent. Les passages écrits trop vite avec une plume sèche et les restes d’un encrier se dévoilent. Pendant un moment du moins. Très rapidement l’encre remontée en excès à la surface du papier sèche. Des croûtes de pigments se forment à l’endroit des mots. En l’absence de fixateur, ces petits tas de poussières se dispersèrent au moment de l’expiration du lecteur. La première apparition du manuscrit consista en sa disparition partielle. Des pattes de mouches et des biffures il ne reste par endroit plus que le pli laissé par la pointe sur le papier. Le personnage de Johann Woyzeck, tel que relaté dans la pièce, advient dans les conditions du manuscrit. Georg Büchner opère une réduction du personnage à sa condition d’apparaître. Au fur et à mesure des lignes les abréviations et les ponctuations font émerger sa figure. Le texte le vêtit par addition de lambeaux et de débris. Comme l’homme invisible qui ne devient perceptible qu’une fois habillé, Johann Woyzeck se pare d’un costume et advient dans les mailles d’un langage rapiécé. Ainsi affublé d’un telle tunique le personnage prend les allures d’un arlequin. Il y a alors une tunique qui fait personnage et qui n’est faite que de morceaux empruntés. Il est débiteur de sa propre peau et sa malice lui permet de toujours déjouer les conditions de son baptême. Et il y a un être de papier qui s’aliène dans les dissociations qui lui sont imposées jusqu’à en perdre la possibilité de dire « Je ». Par surimpression il s’agit de faire apparaître ici le Woyzeck comme une arlequinade. Le montage valant tout autant pour l’histoire que pour la forme du manuscrit. Les quatre feuillets assemblés par la recherche philologique prennent valeur de canevas, à l’image de ceux utilisés par les compagnies de commedia dell’arte et qui servaient de situation de départ au travail d’improvisation. Pris dans ce maillage le drame devient une farce noire où un arlequin, sommé de s’enregistrer à l’état civil et de rendre compte de la provenance de ses morceaux, se fragmente. C’est tout son être que la question « Qui es tu ? » vient à démettre. La perte du « Je » engage alors la langue vers sa dissolution dans les blancs de la page. Cette figure et ce manuscrit deviennent dans cette recherche un paradigme. Les œuvres sculpturales, numériques et photographiques travaillent dans leurs modes de conception et dans leurs formes ce maillage. Elles s’annoncent sur une analogie entre langage et encodage. La mise en espace tend alors à mettre en scène des modes de figurations du monde qui se représentent plus eux-même qu’ils ne représentent les objets qu’ils se proposent de signifier. C’est cette tension que vient scénographier l’exposition Un Puzzle Blanc qui constitue la première partie de cette recherche. L’espace devient le lieu d’une mise en scène où l’exposition devient scène. La deuxième partie de cette thèse est une traduction de l’accrochage sous la forme d’un film. Il documente les œuvres et transcrit dans une durée et dans un montage les motifs et les principes de travail de cette recherche. À partir de ces éléments, le mémoire de thèse est une mise en texte de la lecture du drame faites par cette recherche. Il argumente en quoi le personnage de Johann Woyzeck est une survivance de la figure de l’arlequin
In 1878 Karl Emil Franzos affixed on the manuscript not yet named Woyzeck a solution of sulfur and ammonia. The treatment must reveal the illegible parts of the text and to make appear behind the erasures some parts necessary to the comprehension of the dramaturgy. In 1837, the sheets recovered at the death of the author were considered vulgar and did not appear in the first edition of the complete works in 1850. For the edition of 1878, Karl Emil Franzos intends to unearth this piece left unfinished. For a moment the precipitate seems to operate. The ink rises to the surface of the paper. Letters take in thick, words appear. The passages written too quickly with a feather and the remains of an inkwell are revealed. For a moment at least. Very quickly the ink raised in excess on the surface of the dry paper. Crusts of pigments are formed at the place of words. In the absence of fixative, these small piles of dust dispersed at the moment of the expiration of the reader. The first appearance of the manuscript consisted in its partial disappearance. Flies of flies and scratches there remains in place only the fold left by the tip on the paper.The character of Johann Woyzeck, as recounted in the play, occurs under the conditions of the manuscript. Georg Büchner makes a reduction of the character to his condition to appear. As the lines and abbreviations and punctuations emerge his face. The text clad him by adding flaps and debris. Like the invisible man who only becomes perceptible once dressed, Johann Woyzeck adorns himself with a costume and comes into the meshes of a patchwork language. Thus decked out in such a tunic, the character takes on the appearance of a harlequin.There is then a tunic that is a character and that is made only borrowed pieces. He is a debtor of his own skin and his mischief allows him to always thwart the conditions of his baptism. And there is a being of paper who alienates himself in the dissociations which are imposed on him until losing the possibility of saying "I". By overprinting it is to make appear here the Woyzeck like a harlequinade. The editing is as much for the story as for the form of the manuscript. The four leaflets assembled by philological research take the form of canvases, like those used by the commedia dell'arte companies and which served as a starting point for the improvisation work. Taken in this mesh the drama becomes a black joke where a harlequin, summoned to register in the civil status and to report the provenance of its pieces, is fragmented. It is all his being that the question "Who are you?" Comes to resign. The loss of the "I" then engages the language towards its dissolution in the whites of the page.This figure and this manuscript become in this research a paradigm. The sculptural, digital and photographic works work in their modes of design and in their forms this mesh. They announce themselves on an analogy between language and encoding. The setting in space then tends to stage modes of figurations of the world which represent themselves more than they represent the objects that they propose to signify. It is this tension that comes to stage the exhibition A White Puzzle which constitutes the first part of this research. The space becomes the place of a staging where the exhibition becomes a scene. The second part of this thesis is a translation of the clash in the form of a film. He documents the works and transcribes in a duration and a montage the motives and principles of work of this research. From these elements, the dissertation is a setting in text of the reading of the drama made by this research. He argues how Johann Woyzeck's character is a survival of the harlequin's figure

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O presente trabalho propõe reflexões sobre o fenômeno do grotesco, que se define a partir de alguns aspectos como: estranho, bizarro, disforme, ridículo, híbrido, monstruoso, extravagante, cômico, trágico e tragicômico, trazendo como foco para esta discussão sua capacidade de dialogar elementos aparentemente contraditórios. Estas oposições que identificam tal fenômeno manifestam-se a partir de seu aspecto tragicômico. Soma-se a esta reflexão, aspectos característicos da linguagem do palhaço, em que o grotesco tragicômico é apontado como um dos importantes elementos constituintes dessa figura cômica, conforme exemplificados na dupla de palhaços, Branco e o Augusto. Toda esta discussão nos leva ao principal objetivo deste trabalho que é estabelecer uma analogia entre o grotesco tragicômico no palhaço e as personagens Doutor, Capitão e Woyzeck da obra Woyzeck de Georg Büchner. Nesse sentido, a pesquisa mostra-se importante na medida em que, propõe a discussão sobre o fenômeno estético do grotesco tragicômico, de forte influência em inúmeras produções artísticas e dramatúrgicas, ampliando nossa compreensão sobre o homem moderno, fortemente caracterizado por suas contradições. Além disso, aliar essa reflexão ao palhaço, nos ajuda a compreender os aspectos cômicos dessa figura, expandindo nossa forma de conceber o riso naturalmente atrelado à figura do palhaço, na sua capacidade de buscar no trágico da vida inspiração para suscitar o cômico. É a partir dessa reflexão, que buscamos uma aproximação entre esses aspectos do palhaço com algumas personagens da obra Woyzeck mantendo vivos um autor e uma obra de grandes contribuições para a história da dramaturgia moderna e contemporânea.
This work proposes reflections on the grotesque phenomenon, which is defined from some aspects such as: strange, bizarre, shapless, ridiculous, hybrid, horrendous, extravagant , funny and tragicomic, bringing as focus to this discussion it’s ability to dialogue seemingly contradictory elements. These oppositions that identify this phenomenon manifested from it’s tragicomic aspect. Added to this reflection, characteristic features of the clown language, in which the tragicomic grotesque is pointed out as one of the important constituents of this comic figure, as exemplified in the pair of clowns, Branco and Augusto. All of this discussion leads us to the main goal of this work, which is to establish an analogy between the tragicomic grotesque on the clown and the characters Doctor, Captain and Woyzeck of the artwork ‘Woyzeck’ by Georg Büchner. In this way, the research shows itself important as far as proposes a debate of the aesthetic phenomenon of tragicomic grotesque, strong influence in many artistic and dramaturgical productions, expanding our understanding of modern man, strongly characterized by its contradictions. Also, combine this reflection to the clown, helps us to understand the comedic aspects of this character, expanding our way of conceiving the laughter naturally, linked to the clown character, in their ability to seek the tragic aspect of life, inspiration to raise the comic. It is from this reflection, we seek an approach between these aspects of the clown with some characters of Woyzeck work keeping alive an author and an artwork of great contributions to the history of modern and contemporary dramatic art.

Este trabalho analisa a recepção de Georg Büchner (1813-1837) por Bertolt Brecht (1898-1956) enfocando a sua fase criativa inicial. Especificamente analisa-se a abordagem da recepção do drama Woyzeck em Tambores na Noite e da narrativa Lenz, de Büchner, em Baal de Brecht. As duas obras de Büchner, como a maior parte de seus trabalhos, foram publicadas postumamente: Lenz, em 1837, e Woyzeck, em 1878. Esta última estreou em 1913. A obra do autor, quase desconhecida em sua época, encontrou ressonância no Realismo e no Naturalismo, mas o auge da recepção se deu na virada do século XIX para o XX, com a Modernidade e os expressionistas. A presente análise investiga a repercussão de Woyzeck e de Lenz como formas específicas da recepção de Büchner por Brecht. Os dois escritores são importantes por refletirem posições críticas quanto à política e quanto ao ideário de suas épocas, na Alemanha. Brecht usou ambas as obras de Büchner como inspiração para pôr em evidência a posição do indivíduo frente a uma época em decadência, que se caracteriza ademais pela política autoritária na Alemanha, bem como pela falta de liberdade individual. A análise baseia-se na pesquisa hermenêutica de Hans Gadamer e nas premissas acerca da estética da recepção de Hans Robert Jauss. Partindo da estética da recepção, os dramas Tambores na Noite e Baal são examinados quanto à sua intertextualidade com o drama Woyzeck e a narrativa Lenz de Büchner, com auxílio de reflexões elaboradas por Broich e Pfister, num método que permite analisar as relações históricas e textuais entre obras literárias. Neste trabalho, procuramos estabelecer uma relação intertextual direta entre Woyzeck e Tambores na Noite e também entre Lenz e Baal, algo negligenciado na pesquisa literária até o presente momento.
This work analyzes the reception of Georg Büchner (1813-1837) by Bertolt Brecht (1898-1956), focusing Brechts initial creative phase. In particular, the reception of the drama Woyzeck in Drums in the Night and of the novel Lenz, from Büchner, in Baal, from Brecht, is analyzed. Both works of Büchner, as is also the case for the majority of his remaining texts, were published posthumously: Lenz, in 1837, and Woyzeck, in 1878; the drama had its premiere only in November 1913. His works, close to unknown at his time, obtained some resonance in realism and in naturalism but the peak of the reception of his works occurred only in the beginning of the XXth century, with modernism and the expressionists. The present analysis investigates the impact of Woyzeck and Lenz and the specific form of Brechts reception of Büchner. Both these authors are important since they reflect critical positions within the political and ideological scenarios of their times, in Germany. Brecht used both works from Büchner as inspiration to put in evidence the position of the individual in a time of decadence, which, moreover was characterized by an authoritarian and repressive politics in Germany, as well as the lack of individual freedom. This analysis is based in the literary hermeneutics of Hans Gadamer, and the premises of the reader-response criticism of Hans Robert Jauss. The dramas Drums in the Night and Baal are examined taking into account the intertextuality with the drama Woyzeck and narrative Lenz of Büchner, with the help of reflections elaborated by Broich and Pfister, a method which allows to clarify the historic and textual relations of literary works. In this thesis we attempt to establish a direct intertextual relation between the dramas Woyzeck and Drums in the Night and also of Lenz and Baal, which had not been previously identified in literary research up to now.

L'etude se concentre autour de trois pieces du xixe siecle (buchner, woyzeck ; musset, lorenzaccio ; strindberg, mademoiselle julie), dont les heros figurent un sujet incertain. Les deux autres pieces (sophocle, oedipe-roi ; beckett, fin de partie) servent de pole de reference, afin de mesurer pleinement le passage de l'articulation a la desarticulation du moi. La crise de l'identite que met en scene la tragedie moderne se noue a ce point precis d'une histoire de la conscience ou coexistent deux modeles du moi : un modele homogene (image valorisee d'un moi identique a lui-meme) et un modele heterogene (decouverte d'une alterite en soi que l'on rejette). La coexistence de ces deux modeles determine le caractere dissocie qui est au cour de l'analyse. Celle-ci deconstruit le mythe du moi pur en opposant l'image d'un moi ideal fixe a l'experience d'une realite interieure et exterieure mouvante. Le clivage entre image et realite s'exprime dazns la representation metaphorique et scenique d'une tension entre le visage et le masqsue, tensioin dont le corps porte les stigmates. Il se manifeste aussi dans une dramaturgie oscillant entre continuite et discontinuite, ainsi que dans les relations du personnage avec son entourage, dans les images d'autrui qui prolongent aussi bien qu'elles expliquent ses propres images de luimeme. Mais ce clivage ne saurait plus se denouer, comme dans la tragedie antique, par la parole et la mort. Incapables de renoncer a l'image, sans renoncer
The present study focuses on three 19th century plays (buchner's woyzeck, musset's lorenzaccio, and strindberg's miss julia), whose heroes represent an uncertain subject. The two other plays (sophocles' oedipus the king and beckett's end game) serve as reference points, so as to get the full measure of the passage of the "i" from articulation to dislocation. The identity crisis feaztured in modern tragedy takes shape at the precise moment in the history of consciousness when two patterns of the self (the "i") coexist - a homogenous pattern (enhanced and fixed self-image) and a heterogenous pattern (when an otherness in oneself is discoverd and rejected). The coexistence of both these patterns determines the dislocated dimension in the modern tratic character. The modern dramatization of the self that is at the heart of the present analysis thrives on this coexistence. It deconstructs the myth of the pure self by setting up the image of a fixed, ideal self against the experience of a changing inner and outer reality. The gap between image and reality is expressed in the metaphoric and stage representation of a tension between visage and mask. The marks of this tension are imprinted on the body. It also shows itself in a dramatization that wawers between continuity and discontinuity as well as in the way the character relates to his surroundings, in theimages of others that prolong and explain his

Thesis (M.A.)--Florida State University, 2007.
Advisor: Winnifred Adolph, Florida State University, College of Arts and Sciences, Dept. of Modern Languages and Linguistics. Title and description from dissertation home page (viewed March 25, 2008). Document formatted into pages; contains vi, 66 pages. Includes bibliographical references.

TITLE: Literature und Music: Woyzeck and Wozzeck. Alban Berg's Musical Adaptation of the Drama by Georg Büchner. SUMMARY: This thesis deals with a musical adaptation of the opera Wozzeck by the composer Alban Berg in the context of its literary model. The theoretical part offers an overview of the most important information and data about the authors and the origin of their works, based on the relevant sources. In the practical part, the principal emphasis is put on the libretto, specifically on formal and language similarities and differences detected in the text and their impact on the content and message of the work. Another focus is on musical language and its essential features, especially on the treatment of the voice, instrumentation and motives in the opera. The attention is also paid to the occurrence of autobiographical elements and critical reviews of the work. KEYWORDS: opera, drama, Woyzeck, Wozzeck, Alban Berg, Karl Emil Franzos, libretto, scenes, elision, alteration, literary model

Si un texte ne peut être blessé comme l’est un corps, une lecture peut effectivement avoir cet effet blessant qui se porte sur le corps textuel, et sur celui de la personne qui lit. Le remède s’incarnera autant dans la langue que dans l’attention – comme prélude, et forme de soin – portée à l’humain. Le théâtre et ses scènes sont depuis longtemps le lieu où est accomplie la guérison, à l’aide du langage et des gestes : lieux où les regards médical et littéraire mettent en œuvre leurs méthodes interprétatives respectives. À partir du personnage Woyzeck dans la pièce éponyme (1836) de Georg Büchner, seront comparées ces perspectives de lecture en contexte de soin. Woyzeck, lui-même un patient, vu les troubles indicibles qui l’animent, devient malgré lui la scène d’expérimentations médicales et de jeux de pouvoir qui le rendent de plus en plus « illisible », à lui-même et à qui le lit. Le présent travail est consacré au rôle du lectorat dans le processus herméneutique et sur la valeur que sa résistance à une interprétation pathologisante – qui ne cherche pas de symptômes dans le texte – peut apporter au récit, et au remède. La forme même de la pièce fragmentaire rapproche la position de Woyzeck de celle du lectorat, condamnant ce dernier à errer d’une scène à l’autre, comme le personnage accablé de visions insensées. À chaque lecture le choix s’impose soit de faire avec l’incomplétude du texte, posture nécessaire à l’interprétation littéraire, ou d’en diagnostiquer les absences. Au premier chapitre, il est question du lien opéré par le corps malade comme médium premier qui relie les domaines médicaux et théâtraux : un survol historique de ce rapport vient le complexifier par l’exemple. Au deuxième chapitre, le corps malade et la scène sont considérés ensemble comme lieu de savoir, et le corps défini selon ce que ce lieu permet comme limites et possibilités. Enfin, le troisième chapitre expose l’exercice d’une lecture non-pathologique du cas Woyzeck – le personnage, le texte, les mises en scènes – afin de composer une interprétation qui prenne en compte les multiples langages inhérents au texte. L'hermétisme apparent de la pièce y est excavé en procédant depuis plusieurs perspectives. L’approche intermédiale qui sous-tend cette analyse, à travers la relation du théâtre avec le remède, permet d’éclairer la profondeur de l’influence de la pièce de Büchner sur l’histoire du théâtre, et de la lecture.
If a text cannot be injured as can the body, reading can effectively have an injurious effect that is carried by the text, and by the person who reads it. Its remedy is embodied as much in the language as in the attention – as a prelude, and form of care – carried to the human. Theatre and its stages have long been places of healing, through language and gesture: a place where medical and literary perspectives carry out their respective interpretative methods. From the character Woyzeck in Georg Büchner’s eponymous play (1836), a comparison of these reading perspectives is made in the context of care. Woyzeck, himself a patient, given his ineffable illnesses, becomes despite himself the stage of medical experiments and power games that rend him more and more unreadable, to himself and those who read him. The present study is dedicated to the role of the reader in the hermeneutic process and to the value that one’s resistance to a pathologizing interpretation – that does not look for symptoms in the text – can contribute to the story, and to the remedy. Even the fragmentary form of the play positions Woyzeck close that of the reader, condemning the latter to ramble from one scene to another, as the character who is afflicted with frantic visions. At each reading one must compose with the incompleteness of the text, a posture necessary for literary interpretation, or one must diagnose the gaps in the text. The first chapter concerns the link between the diseased body as the first medium that links the domains of medicine and theatre: a historic review of this link will complexify it through examples. In the second chapter, the diseased body and the stage are considered as a combined space of knowledge, and the body defined according to the limits and possibilities of this site. Finally, the third chapter presents a non-pathologic reading of the case of Woyzeck – the character, text, the staging – in order to compose an interpretation that considers the multiple languages inherent to the text. The apparent hermeticism of the play is excavated by proceeding from several perspectives. The intermedial approach underlying this analysis, through the relation between theatre and healing, illuminates the profound influence of the play of Büchner on the history of theatre, and of reading.

Le laboratoire Woyzeck propose une approche de l'oeuvre de Büchner en trois temps, ordonnée autour de la métaphore anatomique. L'écriture de Woyzeck prend la forme d'une autopsie, indissociable des travaux scientifiques de Büchner réalisés à la même période. Le premier chapitre évoque ce geste d'écriture incisif et sa réception. Un état des recherches permet de considérer les analyses philologiques et herméneutiques de l'oeuvre qui font aujourd'hui autorité. Sont ici rappelés les lieux communs de la critique et les interprétations marquantes de la pièce. Si leur validité est ensuite interrogée, leur valeur symptomatique est aussi prise en compte sur un autre plan. Le deuxième chapitre prend la forme d'un essai portant sur les personnages et les corps, objets de l'autopsie. Il explore autrement des hypothèses formulées dans le premier chapitre autour du langage et du fragment. Le lieu de cette autopsie, la scène, est abordé dans le troisième chapitre à travers les mises à l'épreuve scéniques. Les trois spectacles choisis adoptent des partis pris dramaturgiques distincts. Celui de Thomas Ostermeier se présente comme un atelier social; « le cirque des travailleurs » d'Àrpàd Schilling est une machine à jouer qui semble relever le pari du théâtre de la cruauté artaudien; Robert Wilson travaille de pair avec Tom Waits pour créer un spectacle musical qui fait figure de conte populaire universel et autoréférentiel. Parmi les enjeux de ces mises à l'épreuve figurent notamment le rapport au réel et au présent, ainsi que le regard porté sur les corps que le texte de Georg Büchner invite à questionner. Dans un esprit d'ouverture et de confluence, en adéquation avec les travaux de Büchner, cette réflexion puise autant dans des notions d'analyse théâtrale que dans l'esthétique et l'histoire de la médecine. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Woyzeck, Regard, Fragment, Mise en scène.

The topic of this thesis is Georg Büchner's fragmentary drama Woyzeck. At the beginning, the work presents the playwright's biography set in the historical context and his work. It continues with the circumstances of Woyzeck's origin, the plot summary, description of the language of the play and problems with edition and decoding the manuscripts. The next part talks about the different concepts of Woyzeck in Czech theatres and what the reactions of the audience and the critics were. The work also briefly deals with Alban Berg's opera Wozzeck, the libretto and the reaction of the Czech audience. The focus of this thesis are the translations into Czech, especially a detailed analysis and comparison of Rudolf Vápeník's and Ludvík Kundera's translations. The analysis is based on Katharina Reiß' translation analysis model. Only Kundera's translation was found to be a functional one, Vápeník's translation is - according to the author of the thesis - obsolete.