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București Rezumat Teză De Doctorat C UNIVERSITATEA NAȚIONALĂ DE ARTĂ TEATRALĂ ȘI CINEMATOGRAFICĂ „I.L.CARAGIALE” BUCUREȘTI REZUMAT TEZĂ DE DOCTORAT BASMUL ȘI POVESTEA ÎN TEATRUL DE ANIMAȚIE CONDUCĂTOR ȘTIINȚIFIC: Prof.univ.dr. Cristian Pepino DOCTORAND: Drăgan-Stanciu Georgeta Anul 2020 Cuprins: 1. Introducere ..................................................................................................................... 8 1.1. Definirea basmului și a poveștii ………………………………..........…......... 9 1.2. Teorii ale originii poveștilor…………………………………..….…...….…... 9 1.2.1. Basmul, existent din timpuri imemoriale …………..…….………...... 11 1.3. Clasificarea basmelor …………………………………………….…......….… 13 1.4. Metode de analiză a basmului ………………………………………..…..…... 14 1.4.1. Funcții ale personajelor …………….……………….…….….……….. 14 1.4.2. Semantica structurală ……..………………………………...……...….. 14 1.5. Caracteristicile basmelor …………………………………….......................... 15 1.5.1. Structura basmelor............. ………………….……………................… 16 1.5.2. Desfășurarea acțiunii. Personajul și criza …………............................... 17 1.6. Izvoarele basmului ............................................................................................ 19 1.6.1. Rituri …………………………………………………………..….......… 19 1.6.2. Elemente sacre și profane …………………………………….……..…… 20 1.6.3. Mituri, mitosferă………………………………..…………..…....…….… 21 1.6.4. Evoluția, transformarea și degradarea miturilor …………….…….…...... 23 1.6.5. Povestea populară ………………………………………………..……… 23 1.7. O analiză din perspectivă istorică …………………………………..…….…….….. 24 1.7.1. Franța- Perioada Perrault (sec. XVII-XVIII)…………………….….…..... 24 1 1.7.1.1. Sfârșitul secolului al XVII-lea - sfârșitul secolului XVIII. Relația dintre teatru și povești în Franța……………………..….……...….25 1.7.2. Grimm și Andersen- influențe burgheze (în secolul al XIX-lea) .……….. 26 1.7.3. Secolele XIX-XX : basmul cult în literatura anglo-saxonă …………..…..28 1.7.4. Poveștile în Germania- sec. al XIX-lea- începutul sec. XX …………...... 29 1.7.5. Basmul italian, între burghezie, baroc și romantism ………………..…… 30 1.8. Reprezentarea basmelor în spectacolul de animație …………………………….….. 34 1.8.1. Obiecte. Obiecte magice …………………………….………………..….…34 1.8.2. Păpușile și marionetele, de la obiecte de divertisment, la personaje în teatrul de animație…………………………………………………………............... 38 1.8.3. Păpușa, ca dublu sau alter-ego ……………………………….………..….... 45 1.9. Basmele si poveștile- surse de inspirație pentru teatrele de păpuși din Romania ....... 46 1.9.1. Jocul păpușilor …………………………………………...........….............. 46 1.9.2. Artisti păpușari la începutul secolului XX.................................................... 47 1.9.3. Apariția teatrului de păpuși profesionist (de Stat) ………........…..........… 48 1.9.4. Primele piese scrise pentru teatrul de păpuși................................................ 48 1.9.5. Primele spectacole montate la Teatrul Țăndărică ……….......................…. 50 2. Ideea de artă pentru copii și basmul ........................................................................... 54 2.1. Basmul si contribuția la maturizarea psihologică a copilului ……………….…57 2.2. Modalități de abordare a basmelor într-o manieră acceptabilă pentru copii ….. 58 2.2.1. Identificarea copiilor cu personajele care trec printr-o criză .................... 59 2.2.2. Comicul. Sursele de comic ………………………………………...…..… 60 2 2.2.2.1. Antagonismul …………………………………………..….…….… 61 2.2.2.2. Distribuirea (voit) neadecvată a actorilor ……………….…..….…. 61 2.2.2.3. Anacronismul ……………………………………………........…... 62 2.2.2.4. Parodia …………………………………………………….…….... 62 2.2.2.5. Teatrul în teatru ………………………………………….…...….... 63 2.2.2.6. Comicul derivat din materialitatea obiectelor ….………….....….... 63 2.2.3. Contextul vizual ……………………………………….…………….…..... 64 2.2.4. Atmosfera sonoră …………………………………….….……..……....….. 65 3. Valorificarea basmelor în teatrul de animație ………………………………..……...... 68 3.1. Poveștile, regăsite și în prezent în repertoriile teatrelor din Europa …….…..…… 68 3.2. Ponderea spectacolelor realizate după basme și povești, în teatrele din România .……………………………………………………….…………….….… 74 3.2.1. în teatrele de stat ………………………………………….…….……………. 75 3.2.2. în teatrele particulare ......................................................................................... 76 3.3. Spectacole, adaptari după basme si povești, în teatrele de animație - sec. XX …………………………………………………………………….…......77 3.3.1. Făt-Frumos, erou solar în “Tinerețe fără bătrânețe și viață fără de moarte” și „Făt- Frumos din lacrimă”................................................................ 77 3.3.2. Frumoasa și Bestia - din ciclul „om-animal”……………................................ 87 3.3.3. Croitorașul cel viteaz -tipul-Hercule-Păcală ……......…….........................…. 95 3.3.4. Sânziana și Pepelea – de la snoavă la feeria națională ………..….................. 99 3 3.3.5. Harap Alb -Ciclul isprăvilor eroice............................................................. 107 3.3.6. Povești orientale puse în scenă în România ………………….................… 113 3.4. De la clasic, la modern. Noi modalități de abordare a basmului …………….…. 117 3.4.1. Cenușăreasa …………………………………………………….….…....…117 3.4.2. Pinocchio……………………………………………………………….…...129 4. Basmul și povestea în societate ………………………………………….….…...….… 149 4.1. Interculturalitatea- o caracteristică a basmului …………….….………....…...... 149 4.2. Fondul istoric al poveștilor ……………………………………….…...….….… 150 4.3. O mărturie socială …………………………………………………….…….….. 154 4.4. Influențe ale vieții social-politice în basmul cult ………………………..……... 156 4.5. Necesitatea existenței basmului și a poveștilor în societata contemporană ….… 158 4.5.1. De la mituri străvechi, la forme noi ……………………………….…...…. 160 4.6. Basmul și povestea, influența în artele frumoase ………….….……………....… 162 4.6.1. Basmul și povestea în literatură …………………………..…………...…. 162 4.6.2. Basmele, poveștile și familiarizarea copilului cu lectura ……………....… 174 4.6.3. Basmul și povestea în teatru ………………………………….…..….....… 175 4.6.3.1. în teatrul de păpuși și marionete, până în anul 2008 ……………........ 175 4.6.3.2. în teatrul de animație, după anul 2008 și până în prezent ………..…. 178 4.6.3.3 Basmul și povestea în teatrele care nu au ca specific arta animației ..... 179 4.6.3.4. Spectacolele adaptate după basme și povești, oglindă a societății ........ 179 4.6.4. Basmul și povestea în artele plastice …………………………..…...…...… 187 4.6.5. Basmul și povestea în muzică …………………......………………..…….. 190 4 4.6.5.1. Opera cu păpuși …………………………...…………………...… 196 4.6.6. Basmul și povestea în dans (balet) ……………………………….....…... 199 4.6.7. Basmul și povestea în radio și televiziune …………….………….......… 200 4.6.8. Basmul și povestea în filmul artistic și de animație ………….…..…..…. 203 4.6.9. Basmul și povestea, de la discul de vinil, la suporturile digitale ……...... 209 4.6.10. Basmele, poveștile și jocurile video ………………………………....… 210 5. Teorii contemporane despre basm. Rolul basmului în lumea de azi ……………...… 213 5.1. Basmele și interesul științific…………………………………..…….…..…. 213 5.2.Basmul, instrument important în procesul de socializare ……….…….……. 216 5.2.1. Rolul femeilor în răspândirea poveștilor ………………………..…..…… 217 6. Importanța basmului în educarea copilului ……………………….…….…………...219 6.1. Copilul și sensibilitatea la artă ……………..……………………….……..… 219 6.2. De la arta pentru copii la art-terapie ……………………………………….… 221 6.3. Rolul educativ al teatrului de păpuși ………………………………………… 225 6.4. Modalități de adaptare la noile exigențe ale societății ……………..…....…. 231 6.4.1. Tabuuri ……………………………………………..……..………….… 231 6.4.2. “O mie și una de nopți” și erotismul ……………………………..…… 234 6.5. Poveștile populare și psihanaliza …………………………….………..…….. 236 6.6. Noi metode de utilizare a basmelor și a poveștilor: Metodele Kodaly, Karl Orff, Dalcroze ……………………………………………..…..…....… 238 7. Tehnologii în teatrul de animație …………………………………….…………….… 242 7. 1. Black-light-ul …………………………….………………………....….….... 242 5 7. 2. Lumina de laser ……………………………………………….….…....….... 244 7. 3. Fibra optică …………………………………………………………......….. 244 7. 4. Proiecția în spectacolele de animație ………………………………....….... 245 7. 5. Hoverboard-uri, drone, water ball balons, aplicații mobile ………...…....... 248 7. 6. Animația prin telecomandă ……………………………………..…............. 250 7.7. Tendințe ……………………………………………………….…….….…...251 7.7.1. Utilizarea calculatorului ca metamediu. Forme noi de teatru ….…... 251 7.7.2. Utilizarea tehnicilor digitale ca instrument de prelucrare …………. 251 7.7.3. Imersiunea ………………………………………………..….......…. 251 7.7.4. Interactivitatea ……………………………………………….….…...252 8. Concluzii ....................................................................................................................... 253 9. Bibliografie ……………………………………………………………..…….....…… 256 10. Anexa ………………………………………………………….………….….…. 270 6 CUVINTE CHEIE: Analiză, animație, arhetip, automate, basm, black-light, cenzură, compozitor, decor, divertisment, dramaturg, educativ, erou, imersiune, interculturalitate, interactivitate joc, legendă, marionetă, magie, mit, mitologie, muzică, noile media, opresiune, origini, paravan, pamflet, parodie, păpușă, pictură, personaj, poveste, promovare, proiecţie, psihanaliză, rol terapeutic, rituri magice, parodia, rol, sacru, satiră, semantica structurală, simbol, sistem de mânuire, scenograf, sculptor, spectacol, societate, structură, tabu, talisman, teatru de animație, teatru de păpuși, tehnologii, tradiţie, umor. 7 ARGUMENT Studiul urmărește modul în care basmele și poveștile se regăsesc
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