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Conselho Nacional de Desenvolvimento Científico e Tecnológico Favoring the intrinsic relationship between History and Aesthetics, specifically an approach that seeks to understand the historicity within the critical theory and creative practice, this research was based on investigate the intellectual production of Anatol Rosenfeld. This production mainly includes texts of literary theory and critics, as well as theory and theatrical práxis. Thus, literature and mostly theater were fundamental languages to investigate the materiality that the aesthetic and the historical dimensions, as well as its interfaces, acquire in Anatol Rosenfeld s writings. In order to understand the uniqueness of its construction, it was necessary to "map" not only their theoretic, but specially their historic referential. Among others, important biases for the development of this work were: intellectual activities and political perspectives, past and present, art and politics, theory and critic. His writings, considered here as documents, were crucial to situate the historicity of his constructions. PRIVILEGIANDO AS INTRÍNSECAS relações entre a História e a Estética, especificamente uma abordagem que procura compreender a historicidade no âmbito da teoria crítica e da prática criativa, esta pesquisa pautou-se em investigar a produção intelectual de Anatol Rosenfeld. Produção essa que contempla principalmente textos de teoria e crítica literárias, bem como teoria e práxis teatrais. Desse modo, a Literatura e principalmente o Teatro foram linguagens fundamentais para investigar a materialidade que a dimensão estética e a dimensão histórica, assim como as suas interfaces, adquirem nos escritos de Anatol Rosenfeld. Com o intuito de compreender a singularidade de suas construções, foi necessário mapear não somente os seus referenciais teóricos, mas especialmente os históricos. Dentre outros, foram vieses importantes para o desenvolvimento deste trabalho: atuação intelectual e perspectiva política, passado e presente, arte e política, teoria e crítica. Os seus escritos, considerados aqui como documentos, foram primordiais para situar a historicidade de suas construções. Doutor em História

Este artículo presenta un acercamiento a cómo, en el teatro de revista mexicano, se representaba la vida cotidiana de la ciudad carnavalizando aspectos y tópicos sociales, políticos y culturales. Se toma como ejemplo para el análisis El país de la metralla (1913) de José F. Elizondo. Dicha revista fue escrita y representada justo dentro del tiempo del golpe de Estado de Victoriano Huerta en contra del presidente Madero. Este es un episodio doloroso y sangriento, pero que es visto y representado en la obra teatral con una mirada diferente. Cet article présente une approche des représentations de la vie quotidienne de la ville et de la carnavalisation des sujets et aspects sociaux, politiques et culturels dans le théâtre de revue mexicain. L’exemple choisi dans cette analyse est El país de la metralla (Le pays de la mitraille), œuvre de José F. Elizondo publiée en 1913: une revue de théâtre écrite et représentée au moment même du coup d’État de Victoriano Huerta contre le président Madero. Un épisode sanglant et douloureux qui est, cependant, vu et représenté dans la pièce sous un regard différent. This article deals with representations of daily life in the city and carnivalization of social, political and cultural subjects and aspects in Mexican theatrical review. The example dealt with in this analysis is El país de la metralla (The Land of Shrapnel, 1913) by José F. Elizondo, a theatrical review written and represented at the time of the coup d’état by Victoriano Huerta against the President Madero. It is a painful and bloody episode, but seen and depicted in this play from an entirely different perspective.

Leigh Hunt was a frequent playgoer and esteemed critic of the London stage. Although he deplored the “degradation of the modern theatre” (The Examiner, 1811), he portrayed theatrical amusement as a means of bringing together different classes (Pratt, 2001). In this essay, I explore Hunt’s critical comments on his experiences as a spectator and journalist, especially for performances belonging to illegitimate genres. As a site of “political, moral and indeed generic transgression” (Moody, 2000), illegitimate theatre appealed to Hunt for its political radicalism and cultural subversion. He believed that minor houses and illegitimate genres such as pantomime, burletta or extravaganza, were endowed with a political connotation that influenced all social classes. Starting with an analysis of these genres and the dramaturgy of illegitimate theatre, I investigate Hunt’s compelling response to the discourse of dramatic illegitimacy.

Essa dissertação de mestrado apresenta uma reflexão acerca da produção da crítica teatral de Sábato Magaldi e da escrita da história do teatro brasileiro. A compreensão do sujeito e dos lugares de onde partem suas reflexões configuram-se como ponto de partida para que enfim seja possível pensar seu lugar na construção de uma narrativa histórica de nosso teatro. A partir da análise de textos de crítica teatral, expõe-se a consolidação desse discurso crítico na construção de uma narrativa sobre o grupo Teatro de Arena de São Paulo. Finalmente, o olhar para as obras panorâmicas, que buscam apresentar a trajetória de nosso teatro, respondem às inquietações iniciais da pesquisa no intuito de compreender o modo pelo qual o discurso da crítica teatral, por vezes, é reelaborado ganhando ares de narrativa histórica e ocupando lugar de referência para pesquisas na área. This master's thesis presents a contemplation about the production of the theatrical review of Sábato Magaldi and the writing of the history of Brazilian theater. The understanding of the subject and the places from which his thoughts emerge are the starting point for a finally thinking about his place in the construction of a historical narrative of our theater. From the analysis of texts of theatrical criticism, the consolidation of this critical discourse at the construction of a narrative about the group Teatro de Arena de São Paulo is exposed. Finally, the look at the panoramic works that try to show the trajectory of our theater, respond to the initial concerns of this work in order to understand the way the discourse of theatrical criticism is, sometimes reworked getting an air of historical narrative and occupying status of reference for research in the area. Dissertação (Mestrado)

This paper supports the fact that Manuel Machado’s knowledge of the filmic adaptation of Lubitsch as well as the theatrical version of The man that I killed by Maurice Rostand (which was also reviewed by him) might be one of the most important stimuli to write The man who died in the war. On the other hand, a «Chronicle from Paris», which was written by Manuel Machado in the French trench during the First World War and published in 1919, appears as an intertext in the first play of The man who died in the war. These facts, which were unknown until present, point out that the paternity of The man who died in the war does not exclusively belongs to Antonio Machado, but also to Manuel, who probably impulses the work from the beginning playing a crucial role in its elaboration.Este artículo muestra que el hecho de que Manuel Machado conociera la adaptación cinematográfica de Lubitsch y la versión teatral de El hombre que yo maté de Maurice Rostand (la cual reseñó), pudo ser uno de los principales estímulos para la redacción de El hombre que murió en la guerra, dadas sus numerosas coincidencias argumentales. Por otra parte, una «Crónica de París» de Manuel Machado, escrita desde el frente francés de la Gran Guerra y publicada en 1919, aparece como intertexto en el primer acto de El hombre que murió en la guerra. Estos datos, desconocidos hasta el presente, indican que la paternidad de El hombre que murió en la guerra (de la que también se estudia su génesis, su estreno y sus intentos previos de ser llevada a escena) no pertenece exclusivamente a Antonio Machado, y también que Manuel Machado no jugó un papel subordinado o pasivo en su elaboración, sino que seguramente fue su principal impulsor.

Статья посвящена формированию культурно-исторической концепции психологии Л. С. Выготского в ранний период его творчества, когда в провинциальных газетах города Гомеля появляются его рецензии на театральные постановки. В них неразрывно соединено научное и искусствоведческое начала. Анализируя балетные и драматические спектакли. Выготский использует в научно-популярной форме те идеи и понятия, которые в будущем составят основу его культурно-исторической концепции психологии. Ученый удачно сопрягает научный и публицистический дискурсы. Его рецензии фактически рассчитаны на двух адресатов: на обычного читателя и на читателя, знающего основы науки психологии. В театральных рецензиях проявилась одна из формообразующих идей Выготского - теория знака и знаковости. Ученый заложил основы того, что позже получит название "вторичных знаковых систем". Итогом размышлений над проблемами искусства в их связи с психологией станет фундаментальный труд "Психология искусства", впервые опубликованный через три десятилетия после смерти ученого. The article deals with the formation of the historical-cultural conception of L. S. Vygotskiy at the early stage of his creative activity, when the provincial newspapers of Gomel' began to publish his critical reviews of theatrical productions. These reviews inseparably combine the scientific and the critical principles. Analyzing ballets and dramas, L. S. Vygotskiy uses popularly formulated ideas and notions, which would later form the foundation of his historical-cultural conception of psychology. The scholar combines scientific and publicistic kinds of discourse rather nicely. His reviews are actually meant for two addressees: a regular reader and the reader acquainted with the fundamentals of psychology. Theatrical reviews reflect one of the basic ideas of L. S. Vygotskiy - the theory of sign and signemic nature. The scholar laid the foundation of what later would be called - secondary sign systemsǁ. The results of his reflection on the problems of art and their connection with the science of psychology would be published in his fundamental work - The Psychology of Artǁ, first published three decades after the author's death.

This paper supports the fact that Manuel Machado’s knowledge of the filmic adaptation of Lubitsch as well as the theatrical version of The man that I killed by Maurice Rostand (which was also reviewed by him) might be one of the most important stimuli to write The man who died in the war. On the other hand, a «Chronicle from Paris», which was written by Manuel Machado in the French trench during the First World War and published in 1919, appears as an intertext in the first play of The man who died in the war. These facts, which were unknown until present, point out that the paternity of The man who died in the war does not exclusively belongs to Antonio Machado, but also to Manuel, who probably impulses the work from the beginning playing a crucial role in its elaboration. Este artículo muestra que el hecho de que Manuel Machado conociera la adaptación cinematográfica de Lubitsch y la versión teatral de El hombre que yo maté de Maurice Rostand (la cual reseñó), pudo ser uno de los principales estímulos para la redacción de El hombre que murió en la guerra, dadas sus numerosas coincidencias argumentales. Por otra parte, una «Crónica de París» de Manuel Machado, escrita desde el frente francés de la Gran Guerra y publicada en 1919, aparece como intertexto en el primer acto de El hombre que murió en la guerra. Estos datos, desconocidos hasta el presente, indican que la paternidad de El hombre que murió en la guerra (de la que también se estudia su génesis, su estreno y sus intentos previos de ser llevada a escena) no pertenece exclusivamente a Antonio Machado, y también que Manuel Machado no jugó un papel subordinado o pasivo en su elaboración, sino que seguramente fue su principal impulsor.