Dissertationen: „American Folk and Theatre“

1

Dacey, Katherine. „"Gershwin Gone Native!": The Influence of Primitivism and Folk Music on "Porgy and Bess"“. W&M ScholarWorks, 2001. https://scholarworks.wm.edu/etd/1539626290.

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2

Kanaridis, Mina, University of Western Sydney, of Arts Education and Social Sciences College und School of Contemporary Arts. „Investigating a singing voice in diverse genres and styles : a discussion of context and process“. THESIS_CAESS_CAR_Kanaridis_M.xml, 2002. http://handle.uws.edu.au:8081/1959.7/241.

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The author investigates the voice in diverse genres and styles, documenting and interpreting vocal performance through a contextual analysis of specifically chosen repertoire. This repertoire is drawn from collaboration with two musical groups, the Renaissance Players and Coda and from the author's artistic direction and presentation of four diverse recitals: American Songs, Italian Baroque, American Folk and Theatre and Nostalgia. Each recital is treated as a separate case study, in which the process of selecting, rehearsing and performing the repertoire is closely examined. Recordings and selected examples of scores are included to illustrate the findings. The discussion concludes with a synthesis of context and process within the framework of a global perspective celebrating diversity.
Master of Arts (Hons)

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3

Hill, Caroline. „Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate“. The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555276218786986.

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4

Kanaridis, Mina. „Investigating a singing voice in diverse genres and styles : a discussion of context and process“. Thesis, View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/241.

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The author investigates the voice in diverse genres and styles, documenting and interpreting vocal performance through a contextual analysis of specifically chosen repertoire. This repertoire is drawn from collaboration with two musical groups, the Renaissance Players and Coda and from the author's artistic direction and presentation of four diverse recitals: American Songs, Italian Baroque, American Folk and Theatre and Nostalgia. Each recital is treated as a separate case study, in which the process of selecting, rehearsing and performing the repertoire is closely examined. Recordings and selected examples of scores are included to illustrate the findings. The discussion concludes with a synthesis of context and process within the framework of a global perspective celebrating diversity.

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5

Schoone-Jongen, Terence G. „Tulip time, U. S. A. staging memory, identity and ethnicity in Dutch-American community festivals /“. Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1172255860.

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6

Poe, Preston. „American folk“. [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000590.

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7

Tolley, Rebecca. „Review of American Folk“. Digital Commons @ East Tennessee State University, 2001. https://dc.etsu.edu/etsu-works/5706.

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8

Carpenter, Lisa. „Folk into Art: John Fahey, Modernism and the American Folk Revival“. W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1516639659.

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John Fahey’s music holds a distinct place in the mid-century folk revival--distinct because he is difficult to fit in with traditional narratives of the revival. John Fahey created a unique musical style through incorporation of traditional American music with classical music forms. His musical “quotations” and renditions of American blues, folk, ragtime, Protestant hymns, and parlor songs did not merely revive traditional music, but gave it new form and newfound respect in order to further artistic exploration. Fahey was a musical modernist, infusing tradition with the new. Fahey’s work can be situated in the context of modernist/folk connections that began earlier in the century.

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9

Dobler, Robert. „New American Ways of Death: Anxiety, Mourning, and Commemoration in American Culture“. Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18430.

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The experiences of grief and mourning in response to loss are fundamentally transformative to the self-identity of the mourner, necessitating an array of ritualized behaviors at the communal and individual levels. These rituals of mourning both create a space in which this transformation may take place and provide the structure that can direct that transformation. My focus is on historical and emerging forms of vernacular commemoration, by which I refer to material forms that are created by, acted upon, or in other ways utilized by a person experiencing grief in the service of regaining a sense of stability in the aftermath of loss. The re-integration of the bereaved, through mourning, back into society in new relation with the departed is often assisted by these vernacular memorial forms. My analysis focuses on three specific forms of commemoration: spirit photographs, ghost bikes, and memorial tattoos. These are vernacular forms of expression in the sense that they have emerged from and cater to individual needs and desires that are not satisfied by the more official and uniform materials and processes of mourning, such as the funeral service and subsequent visits to a gravesite or contemplation of an ash-filled urn. The power of these memorial forms rests in the adaptive and restorative abilities of memory to retain the lost relationship and to pull it forward and reconstitute it in a changed state as enduring and continuing into the future. When faced with the sudden death of a loved one, the traditional rituals that surround modern death may seem too rigid and homogenized to satisfy the wide array of emotions demanding attention in the bereaved. This is where the vernacular rituals and new forms of commemoration discussed in this dissertation spring up and make themselves known. Highly individual, yet often publicly and politically motivated, these new American ways of interpreting death and performing mourning represent the changing needs of contemporary mourners. As death has become increasingly hidden away and discussion of it rendered taboo, the need for personal and direct interaction with the processes of grief and mourning have become more and more important.
2016-09-29

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10

Lopez, Edwin Gerardo Aybar. „American Folk Traditions in Piano Concert Music“. Diss., North Dakota State University, 2013. https://hdl.handle.net/10365/27102.

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This paper describes concert music for the piano that is heavily influenced by or entirely based on folk music traditions from the Americas. First, the term folk music and problems arising from its use are explained. The three main groups of people from which most of the folk music of the Americas originated are also briefly described. The main music covered will be by the composers Samuel Barber (United States), Juan Morel Campos (Puerto Rico), Heitor Villa-Lobos (Brazil), and Louis Moreau Gottschalk (United States). Each composer is represented by one or two pieces. Each piece is analyzed in terms of form and the folk tradition that influenced it. The histories and characteristics of blues, boogie-woogie, cowboy ballads, plena, and banjo music are all considered and related to the pieces discussed.

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11

Nyce, Zachary David Robert. „Heartening Folk: Frederic Rzewski's North American Ballads as an Extension of Folk Culture“. Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1558449012996443.

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12

Kline, Daniel P. „Bringing Pocci’s “Hansel and Gretel” to America: A Study and Translation of a Puppet Show“. Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1211208363.

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13

May, Theresa J. „Earth matters : ecology and American theatre /“. Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/10223.

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14

Ogier, Jarod M. „“Foundations of Folk: The Federal Music Project, The Joint Committee on Folk Arts, and the Archive of American Folk-Song”“. The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354588034.

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15

Lorenz, Stephen Fox. „Cosmopolitan Folk| The Cultural Politics of the North American Folk Music Revival in Washington, D.C“. Thesis, The George Washington University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3615789.

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This dissertation looks at the popular American folksong revival in the Washington, D.C., metropolitan region during the Cold War and Civil Rights era. Examination of folk revival scholarship, local media reports and cultural geography, and the collected interviews and oral histories of Washington area participants, reveals the folk and blues revival was a mass mediated phenomenon with contentious factions. The D.C. revival shows how restorative cultural projects and issues of authenticity are central to modernity, and how the function of folksong transformed from the populist, labor oriented Old Left to the personalized politics of the New Left. This study also significantly disrupts often romantic scholarship and political narratives about the folk revival and redirects the intellectual attention on New York, Chicago, and San Francisco towards the nation's capital as an overlooked site of cultural production. Washington's "folk world" of music clubs, coffeehouses, record collectors, disc jockeys, performers, folklorists, and folk music aficionados drove folk music studies towards context and cultural democracy, but the local insistence on apolitical, traditional, and rural forms of folksong as the most genuine reinscribed racial and class hierarchies even as they enhanced Washington's status. Washington, D.C., shifted the loose folk revival "movement" into permanent cultural institutions and organizations, and the city gained a cosmopolitan reputation for authentic folk music that intermingled with its regional culture and identity as the nation's capital and site of public protest.

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16

Chamberlin, Phillip Mark. „Folk Wiki : the shared traditions of folk music and the Wiki way“. [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001822.

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17

Brooks, Queen E. „The ties that bind : art of an African American artist“. The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1144433506.

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18

Bailey, Ebony Lynne. „Re(Making) the Folk: The Folk in Early African American Folklore Studies and Postbellum, Pre-Harlem Literature“. The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594919307993345.

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19

Obermueller, Joseph A. „Applied Theatre: History, Practice, and Place in American Higher Education“. VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3151.

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The goal of this paper is to examine the practice of Applied Theatre in order to better define the genre and make a case for its legitimization and inclusion in higher theatre education. By looking at the theatre practitioners of the 20th century who paved the way for its existence as well as modern practitioners, a definition will be distilled down to five core characteristics of the practice with several case studies illustrating those characteristics. Once a clear distinction has been made between Applied Theatre and other similar genres, the case will be made for why the field should be considered mainstream. Additionally, it will be revealed how underserved the genre is in higher education and why its inclusion is important in college theatre programs.

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20

Bruckmueller, Michael J. „An American Actor's Dialect“. VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1419.

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Over the course of the past ten years, both studying and teaching Voice & Speech for the Actor, I have become frustrated with the status quo of so called 'standard speech'. The two dialects that I have studied in depth are Edith Skinner's 'American Classical Stage Standard' and Kenneth Crannell's 'Career Speech'. I have found something lacking in both the Skinner dialect and Crannell's 'Career Speech'. Yet, I believe that each has a strength from which the other could benefit. The specificity of the Skinner dialect makes 'American Classical Stage Standard' not only easy to learn but also an excellent tool in ear training. The problem with this dialect is that before its artificial creation, it did not exist in the American English language. Additionally, 'American Classical Stage Standard' is not appropriate for theatrical works in a contemporary setting. Conversely, the 'standards' that have been formed in reaction to Skinner's method, such as Crannell's 'Career Speech', are rooted in American English Speech. But since Crannell's 'Career Speech' relies heavily on observation, the resulting paradigm avoids specificity because in the real world not everyone speaks in the same way. The dialect that I am setting forth in this project is my attempt to combine the Skinner dialect and Crannell's 'Career Speech' to create a dialect that is contemporary but non-geographic specific in sound. My American Actor's dialect will be simple and efficient to learn and teach and will provide the student with a base dialect for further study in voice and speech for the stage and for contemporary American theatrical works set post 1980 if there is no dialect called for in the script or if the director chooses not to include dialect work in that specific production.

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21

Waidley, Karin Ann. „Violence interrupted : American youth and theatre in crisis /“. Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/10227.

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22

McNerney, Sheila Rebecca. „Institutionalizing the American theatre : the Ford Foundation and the resident professional theatre, 1957-1965 /“. Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/10216.

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23

Montez, Noe Wesley. „Staging post-memories commemorative Argentine theatre 1989-2003 /“. [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3380115.

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Thesis (Ph.D.)--Indiana University, Dept. of Theatre and Drama., 2009.
Title from PDF t.p. (viewed on Jul 14, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4529. Adviser: Rakesh H. Solomon.

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24

Curenton, Myron Wade. „Plowshares Theatre Company the first twenty years“. Diss., Connect to online resource - MSU authorized users, 2008.

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Thesis (M.A.)--Michigan State University. Dept. of Theatre, 2008.
"The objective of this study is to discuss the history and origin of the Plowshares Theatre Company based upon an interview with the current artistic director, Gary Anderson, and his assistant, Dr. Addell [Austin] Anderson"-- vFrom the abstract. Title from PDF t.p. (viewed on Aug. 4, 2009) Also issued in print.

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25

Carpenter, Damian A. „Lead Belly, Woody Guthrie, Bob Dylan and American Folk Outlaw Performance“. Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/1472484428.

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With its appeal predicated upon what civilized society rejects, there has always been something hidden in plain sight when it comes to the outlaw figure as cultural myth. Damian A. Carpenter traverses the unsettled outlaw territory that is simultaneously a part of and apart from settled American society by examining outlaw myth, performance, and perception over time. Since the late nineteenth century, the outlaw voice has been most prominent in folk performance, the result being a cultural persona invested in an outlaw tradition that conflates the historic, folkloric, and social in a cultural act. Focusing on the works and guises of Lead Belly, Woody Guthrie, and Bob Dylan, Carpenter goes beyond the outlaw figure’s heroic associations and expands on its historical (Jesse James, Billy the Kid), folk (John Henry, Stagolee), and social (tramps, hoboes) forms. He argues that all three performers represent a culturally disruptive force, whether it be the bad outlaw Lead Belly represented to an urban bourgeoisie audience, the good outlaw Guthrie shaped to reflect the social concerns of marginalized people, or the honest outlaw Dylan offered audiences who responded to him as a promoter of clear-sighted self-evaluation. As Carpenter shows, the outlaw and the law as located in society are interdependent in terms of definition. His study provides an in-depth look at the outlaw figure’s self-reflexive commentary and critique of both the performer and society that reflects the times in which they played their outlaw roles.
https://dc.etsu.edu/etsu_books/1158/thumbnail.jpg

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26

Chang, Eury Colin. „Railroad plays : performing reconciliation in Asian North American theatre“. Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44240.

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Railroad plays: performing reconciliation in Asian North American theatre is a study into a specific sub-genre of theatre coming out of the Asian Canadian and Asian American demographic. I use the term "railroad plays" to describe a body of work that gives voice to immigrant experiences working on the railroad. In a nutshell, railroad plays allow us to revisit and better understand historical prejudices of the late 19th and early 20th century. Additionally "performing reconciliation" is a term I use to suggest how contemporary theatre can help minority groups to engage in social activism, by imagining new ways of looking at history while reconsidering intercultural relationships. I argue that playwrights employ a variety of dramatic techniques - storyline, language and symbols, characterization, genre, and references to historical events - in order to encourage readers and audiences to reconsider intercultural relationships in North America. In this thesis, I analyze the dramatic text of two railroad plays: Forbidden Phoenix by Marty Chan, and lady in the red dress by David Yee. Both playwrights make references to historical moments and use the building of the Canadian Pacific Railway as a way to discuss broader issues such as human rights, inequality, and immigration. Additionally, I analyze a third railroad play by American playwright, David Henry Hwang. I provide a literary analysis to the play text coupled with a performance review of a 1998 Vancouver production, paying close attention to physicality, intercultural elements and audience reception. The purpose of my thesis is to draw meaningful connections between theatre practice and social justice, by asking: How do railroad plays contribute to a more nuanced knowledge and understanding of theatre history and intercultural relationships in Canada?

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27

Rogers, Amanda. „Geographies of identity and performance in Asian American theatre“. Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498905.

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This thesis examines performative geographies of racial and ethnic identity and how these operate through the specific artistic practices, aesthetics and spaces of Asian American theatre. This is achieved through an ethnographic methodology that examines the rehearsals and staged performances of two Asian American productions in Los Angeles: Imelda: A New Musical (East West Players) and Solve for X (Lodestone Theatre Ensemble). The thesis brings together two bodies of work on performance that have remained separate within geography, namely: performance as a socialised practice of identity and performance as a creative artistic practice. It therefore examines Asian American theatre as a socio-political institution where marginalised identities can be re-centred, explored and contested. In so doing it pays attention to the diasporic and multicultural geographies of Asian American identity as well as the spatialized dynamics of the embodied techniques through which those identities were re-performed. Specifically, this thesis examines Imelda: A New Musical to highlight how theatrical performance allowed actors to construct essentialist diasporic Filipino identities that worked across different geographical scales (chapter three). This thesis also examines the cultural-political locations of this production by using intercultural literatures on translation and authenticity (chapter four). The production Solve for X is examined for how it re-created Asian American identity in ways that moved beyond mainstream stereotypical expectations. This thesis focuses on such a re-working of racialized performativity through the relationship between script and performance (chapter five). It also brings together geographical work on affect and emotion with theatrical literatures that attempt to socialise Stanislavskian forms of acting (chapter six). The thesis thus contributes to interdisciplinary engagements on space, identity and performance, moving them towards a 'theatrical geography' (conclusion).

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28

Brown, Jocelyn A. „Assessing color blind casting in American theatre and society“. Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3303858.

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29

Weitzenkamp, Mark Philip. „The influence of Barret H. Clark on American theatre /“. Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/10224.

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30

Rosa, Marco Antonio Camarotti. „The nature, roots and relevance of the folk theatre of the north-east of Brazil“. Thesis, University of Warwick, 1995. http://wrap.warwick.ac.uk/73364/.

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Folk plays have been performed in many different cultures all over the world, notwithstanding the level of material development and the distinctive features of the societies in which they are found. In the North-East of Brazil, they have probably been played since the beginning of the country's history in the sixteenth century. This thesis examines the origins, the most relevant characteristics and the contemporary meaning of four of these folk theatre forms which are still performed in the North-East of Brazil, namely, the Bumba-meu-Boi, the Cheganca, the Pastoril and the Mamulengo, stressing the aspects that they have in common with the English Mummers' Plays and other folk theatre forms from Europe and from the East. Folk theatre forms have generally been seen as remnants of ancient religious rituals. However, this relationship is only hypothetical and can no longer be proved. Thus, although recognising that they possibly originate from magico-religious sources in the distant past, and that they still keep some magic characteristics, here they are chiefly seen as an expression of the collective unconscious of mankind and of social and political relationships.

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31

Yarnelle, David. „Conceiving American Chekhov: Nikos Psacharopoulos and the Williamstown Theatre Festival“. Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/291967.

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This thesis examines the work of director Nikos Psacharopoulos on the plays of Anton Chekhov while Executive Director at The Williamstown Theatre Festival in Massachusetts. Components of Psacharopoulos' productions are contextualized within an American tradition of producing Chekhov and elements identified in previous research by Laurence Senelick. Using the constituents of Senelick's analysis, Psacharopoulos' work is examined in two general areas: his teaching, directing, and rehearsal techniques with the Chekhov texts, and the qualities in production of the plays at The Williamstown Theatre Festival between 1962 and 1986. This study offers, for the first time, a scholarly examination of Psacharopoulos' work and considers the director's position as an American producer of Chekhov's plays. As one of the most prolific directors of Chekhov in North America, Nikos Psacharopoulos emerges from this study as an essential component in any future consideration of Chekhov production in the United States.

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32

Mowery, Samantha. „Stephen Foster and American song a guide for singers /“. Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234810817.

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33

Weimer, Emery Christian. „An Examination of American Sideshow Banners as Folk Art, ca. 1920-1960“. Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3302/.

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This thesis redresses the lack of scholarly attention paid to painted circus banners produced in the United States during the first half of the twentieth century by exploring the extent to which American folk art painting scholarship, methodologies, and objects can be used to articulate the meaning and significance of banner painting. This study expands the disciplinary treatment of banner painting by introducing domesticated art as a means of representing non-academic art produced in the U.S. The thesis also presents a model for exploring banner painting after identifying traditional American folk art painting methodologies, which fail to investigate banner painting style, format, and artistic training associated with banner work.

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34

Kerley, Sarah C. „If I Had a Hammer: American Folk Music and the Radical Left“. Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2614.

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Folk music is one of the most popular forms of music today; artists such as Mumford and Sons and the Carolina Chocolate Drops are giving new life to an age-old music. It was not until the 1950s that new popular interest in folk music began. Earlier, folk music was used by leftist organizations as a means to reach the masses. It assumed because of this history that many folk artists are sympathetic to the Left. By looking at the years from 1905-1975 with the end of the Vietnam War, this study hopes to present the notion that even though these artists produced music that promoted leftist ideals, they were not always supportive of the Communist Party and other leftist organizations. Specific artists will be examined, paying close attention to artists who not only produced revolutionary music, but who were also employed by leftist organizations to perform at rallies and meetings.

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35

Reside, Douglas Larue. „THE ELECTRONIC EDITION AND TEXTUAL CRITICISM OF AMERICAN MUSICAL THEATRE“. UKnowledge, 2006. http://uknowledge.uky.edu/gradschool_diss/350.

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For many, contemporary theatre is represented by the musical. The form remains, however, virtually unstudied by literary scholars. In part, this may be a result of the difficulty of accessing the texts. Reading a musical from a traditional codex is no easy matter. The integration of text and music in a musical make it inappropriate to separate the two. One can try to follow along with a cast recording. In most cases, though, this is awkward. Many cast albums record a significantly modified version of the score and lyrics and few include the entire work. Further, musical theatre texts often exist in many different versions. This work begins with a summary of the problems one encounters when editing a multi-authored text (musicals often have a lyricist, librettist, and composer) which may be revised for practical (rather than aesthetic) reasons. The merits of restoring the material changed during the production process are debated. In this discussion some attempt is made to identify who should be considered the dominating collaborator (or auteur) of a musical. Ultimately, this dissertation argues that the notion of trying to restore an "authorial Ur-Text" makes little sense given the multitude of collaborators involved in the process of making musicals. Instead, an electronic variorum edition is presented as an alternative means of studying and teaching musical theatre texts. The study concludes with a narrative of the authors own work on an electronic edition of the 1998 Broadway musical Parade and ends with a critical introduction to this text.

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36

Foradori, Anne Bill. „Marc Blitzstein's Regina : a pivotal work in American musical theatre“. Connect to resource, 1994. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1171311460.

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37

Devlin, Luke. „The trickle down effect : the 1911/1912 Abbey Theatre tour of America and its impact on early African American theatre“. Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25684.

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This thesis will examine the direct and indirect impact the Irish National theatre had upon American theatre in general and the African American theatre in particular. It discusses the relationship between the Irish theatrical movement during the Irish Literary Renaissance and the drama that was produced during the Harlem Renaissance. To do this Rorty’s concepts of the ‘strong poet’ and ‘ironist’ will be utilized. The bleeding and cross contamination of culture, it is contended, was due to the American tour that the Irish Players undertook in 1911/12. The tour, although staged in white theatre houses and attended by a mainly white audience, had a sizeable impact on the American theatrical landscape. This thesis will chart the course of this change, from the tour through to the beginnings of the Harlem Renaissance. From the Abbey Theatre to the Little Theatre movement and from there to the African American theatre a continuous thread of de-reification, of cultural awakenings is established. In essence, the source of the African American theatre, both the Artistic stylings and hopes of Alain Locke and the propaganda aspirations of W.E.B. DuBois will be referred back to the Irish tour.

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38

Grogan, Mary Christopher. „VICARIOUS VILLAINY: A CRITICAL LITERARY ANALYSIS OF SYMPATHETIC VILLAINY IN AMERICAN MUSICAL THEATRE“. UKnowledge, 2014. http://uknowledge.uky.edu/theatre_etds/1.

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A disproportionate amount of research into musical theatre focuses on the positive and accessible nature of the books and librettos. Very little, if any, research into musical theatre explores its darker side, specifically the considerable amount of villainy (i.e., traditionally immoral and/or criminal behavior) practiced by some of its protagonists. Moreover, it is important to note that several of the most popular musicals contain villainous characters, and that many of these characters are highly popular and even sympathetic (i.e., understandable, pitiable, and deserving of compassion) to audiences. Therefore, this thesis explores sympathetic villainous personalities in popular American musicals, focusing on the defining characteristics of the sympathetic villainy presented within specific musical works. Specifically, this thesis examines a variety of American musical theatre pieces, chronologically, from Show Boat (1927) to Wicked: The Untold Story of the Witches of Oz (2003) which have strong sympathetic villainous characters. This thesis primarily addresses musical theatre villainy primarily from a critical literary analysis standpoint.

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Awi, Jane Pumai. „Creating new folk opera forms of applied theatre for HIV and AIDS education in Papua New Guinea“. Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/81643/1/Jane%20Awi%20Thesis.pdf.

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This research investigated the potential of folk opera as a tool for HIV and AIDS education in Papua New Guinea. It began with an investigation on the indigenous performativities and theatricalities of Papua New Guineans, conducting an audit of eight selected performance traditions in Papua New Guinea. These traditions were analysed, and five cultural forms and twenty performance elements were drawn out for further exploration. These elements were fused and combined with theatre techniques from western theatre traditions, through a script development process involving Australians, Papua New Guineans and international collaborators. The resulting folk opera, entitled Kumul, demonstrates what Murphy (2010) has termed story force, picture force, and feeling force, in the service of a story designed to educate Papua New Guinean audiences about HIV and the need to adopt safer sexual practices. Kumul is the story of a young man faced with decisions on whether or not to engage in risky sexual behaviours. Kumul's narrative is carefully framed within selected Papua New Guinean beliefs drawn from the audit to deliver HIV and AIDS messages using symbolic and metaphoric communication techniques without offending people. The folk opera Kumul was trialled in two communities in Papua New Guinea: a village community and an urban settlement area. Kumul is recognisable to Papua New Guinean audiences because it reflects their lifestyle and a worldview, which connects them to their beliefs and spirituality, and the larger cosmological order. Feedback from audience members indicated that the performance facilitated HIV and AIDS communication, increased people's awareness of HIV and AIDS, and encouraged behaviour change. Tellingly, in one performance venue, forty people queued for Voluntary Testing and Counseling immediately after the performance. Twenty of these people were tested on that night and the other twenty were tested the following day. Many of the volunteers were young men – a demographic historically difficult to engage in HIV testing. This encouraging result indicates that the Kumul folk opera form of applied theatre could be useful for facilitating communication and education regarding sexual health and safer sexual behaviours in Papua New Guinea. Feedback from participants, audience members and other research stakeholders suggests that the form might also be adapted to address other social and development issues, particularly in the areas of health and social justice.

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Fink, Lawrence E. „The American Playwright Theatre: creating a partnership between commercial and educational theatre as an alternative to Broadway in the 1960s and 1970s“. The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1387446799.

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Winchester, Mark David. „Cartoon theatricals from 1896 to 1927 : Gus Hill's cartoon shows for the American Road Theatre“. Connect to resource, 1995. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1263910411.

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Cox, David George. „White American elites and the 'folk-lore' of black Southerners, c. 1875-1900“. Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609739.

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Moran, Patrick. „A 16 BAR CUT:THE HISTORY OF AMERICAN MUSICAL THEATREAN ORIGINAL SCRIPT AND MONOGRAPH DOCUMENT“. Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2294.

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A final thesis for my Master of Fine Arts degree should encompass every aspect of the past few years spent in the class room. Therefore, as a perfect capstone to my degree, I have decided to conceive, write, and perform a new musical with my classmate Rockford Sansom entitled The History of Musical Theatre: A 16 Bar Cut. The History of Musical Theatre: A 16 Bar Cut will be a two-man musical that will capsulate all of musical theatre history in a single evening. Starting with the Greeks and finishing in the present, the show will comedically inform the audience, while paying homage to, the astonishing art form called musical theatre, using several outrageous conventions such as a game show, spoof, mimicry, and most importantly, drag. The show will also pose the question to everyone: with all the great literature already created, where is musical theatre headed, and who is going to bring us there? Writing A 16 Bar Cut will test the training I have received and my mastery of musical theatre as an art form. The show will demonstrate my understanding and passion for several components used by authors and actors alike to create a musical. Being that the show is a capsulation of all musical theatre, A 16 Bar Cut will show my true mastery of the history and literature of musical theatre. I will be forced to hone my skills of the collaborative process at a new level, as never having to truly execute them with such intensity before. The challenges that lay ahead will be seen not only in the performance aspect, but also in the creation of A 16 Bar Cut. Since musical theatre has an immense range in genre and style, the ability to technically master these styles and genres will prove to challenge me as a performer, as well as a writer. In the performance, there will be three main challenges: vocal qualities, dance techniques, and my acting craft. The vocal styles used in A 16 Bar Cut will test my capabilities as a singer to meet the demands needed to convey the original material used as it was initially intended. As a dancer, the specific movements and "signatures" of the many choreographers will challenge me to understand and be able to re-create these "specifics" for an audience. The character building will test me as an actor, starting with one through-lined character--a heightened half-brained juvenile form of myself--along with building approximately fifty auxiliary characters throughout the show. As a writer, there are two major challenges that I foresee. The first challenge is the arc of the show--needing to keep a steady through-line that will let the audience understand what is happening and follow the history. The second obstacle is making sure the audience understands the show. I may be finishing an M.F.A. in Musical Theatre, but not everyone will be. In fact, some audience members may not know anything about musical theatre. This challenge arises trying to make the show funny to everyone, not just musical theatre dorks. The Research and Analysis portion of my monograph document will follow the course of action laid out in the M.F.A. Thesis Guidelines. The (A) Research section will include the biographical information pertaining to the composers and lyricists involved in the selected materials. Librettists of specific book shows that we choose to utilize as it pertains to our show will also be included in this section. I will also include a brief subsection of each composer, lyricist, and librettist's significance to musical theatre history. The (B) Structural Analysis section will discuss the structure and dramatic organization of how we choose to create A 16 Bar Cut. The (C) Analysis of the Role section will reveal how we employ the stock characters/ comedic duo of the straight man and funny man (i.e., Laurel & Hardy and Abbot & Costello). All other components outlined in the M.F.A. Thesis Guidelines will be included in my document.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre

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Fisler, Benjamin Daniel. „The phenomenology of racialism blackface puppetry in American theatre, 1872-1939 /“. College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2464.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.
Thesis research directed by: Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Metzger, Sean Aaron. „The Chinese fetish : fashioning Asian/American bodies in theatre and film /“. For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2005. http://uclibs.org/PID/11984.

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Lee, Carrie Kathryn. „Something Beautiful: Craft and Survival in North American Alternative Theatre Companies“. Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1155844310.

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Sokalski, Joseph Anton. „The theatre of Steele MacKaye, pictorial illusion on the American stage“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ41578.pdf.

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Krasner, David. „Resistance, parody, and double consciousness in African American theatre, 1895-1910 /“. Thesis, Connect to Dissertations & Theses @ Tufts University, 1996.

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Thesis (Ph.D.)--Tufts University, 1996.
Adviser: William Sun. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 315-341). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

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McCloud, Shonn. „African-American Men and a Journey Through Musical Theatre and Opera“. Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1622.

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The purpose of this study is to outline the origins of African-American men in musical theatre, uncover their contributions to the art form, and explore how their legacy is continued today. I was inspired to do this research because through my undergraduate curriculum I have only narrowly studied African-American men in musical theatre and opera history. Upon realizing the lack of attention to this subject matter, not only in my curriculum but in historical resources, I was inspired to address the need for this research. The courses I have taken included Theatre History 1 and 2 and Musical Theatre History 1 and 2; recognition of African-Americans in the theatrical arts has been discussed at a minimal level. The majority of African-American studies in these classes focus on minstrelsy and its contribution to American musical theatre. Minstrelsy was an American form of entertainment consisting of variety acts, dancing, and music during the early 1900s. The shows were a mockery of African-Americans with white (Sometimes Black) men dressing themselves in clown-like costumes and black face paint to depict a caricature of blacks. Throughout my coursework I have found there is still a presence of Minstrelsy in the framework of American musical theatre today. Understanding how minstrelsy influenced musical theatre led me to research Bert Williams, a pioneer African-American performer both in minstrelsy and American theatre. Bert Williams broke racial barriers, allowing African-Americans to perform alongside whites and gain proper show billing. This not only influenced theatre, but the social temperature of the time as well, as the stereotype of African-Americans in society slowly began to be broken down, and whites having the opportunity to see African-Americans as normal people aided in the seeding and progression of the civil rights movement. To further study the works and life of Bert Williams, I learned and performed his iconic song, "Nobody." The song is a commentary of how Williams is overlooked because he is an African-American man. It talks about how he is expected to be funny and make a mockery of himself at the expense of himself. In researching the historical context and gaining an understanding of the content within the song, I was able to better understand other roles I have played in various musicals. This gave me a different perspective to the subject matter of racism within a show. Furthermore, it allowed me to view the evolution of African-American roles in musical theatre, and how they originated in vaudevillian shows. A subject of which I had never explored within my classes. Williams had a very successful and influential career and became the basis for my research. However, as I began my exploration, I realized there were a vast variety of men of color who either contributed as much, if not more, to the progression of African-American men in musical theatre and opera. Bert Williams, Todd Duncan, and Paul Robeson all forged careers in musical theatre and/or opera. These men aided in presenting African-American men in realistic settings and not as stereotyped caricatures. African-American men in musical theatre and opera are typically overlooked for their contribution to the art forms. However, Bert Williams, Todd Duncan, and Paul Robeson were trailblazers for African-American men in musical theatre and opera; utilizing their status and fame to make political change and fight for equal rights, both on and off stage. Their legacy is seen in the art form through the structure of musical theatre, the content of the musical comedy that led to the musical drama, and through the integration of the African-American performer in both musical theatre and opera. In continuation of their legacy, we see more roles in shows for African-American men and a growing interest in shows with African-Americans. The recent opening and revivals of shows like Porgy and Bess, Motown: The Musical, and Kinky Boots all feature leading African-American men on stage. My duty as a young African-American practitioner of both musical theatre and opera is to continue their legacy through both my studies and performance. I am honored to be a part of their legacy, furthering their contributions, and bringing light to their stories through my research and analysis.
B.F.A.
Bachelors
Theatre
Arts and Humanities

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Whitfield, Sarah. „Kurt Weill : the 'composer as dramatist' in American musical theatre production“. Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/657.

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The aim of this thesis is to critically examine Weill‘s negotiation of American cultural industries and his collaborative practice in making musicals there. It addresses the influence of the earlier, now discredited, concept of ‗Two Weills‘, which has engendered an emphasis on identity within the current literature. It proposes that Weill scholarship has been further constrained by problematic perceptions of Weill‘s position as both a European modernist composer and an exile in America. Each of these contexts suggests romanticised notions of appropriate behaviour, for a composer, and of autonomy and separation from popular culture. This thesis examines how Weill troubles those notions by engaging with the musical, a so-called ‗middlebrow‘ form, with a disputed cultural value. It traces the reconsideration of the musical as a location for sociocultural analysis, highlighting David Savran‘s requirement that approaches to the musical recognise the form‘s material conditions of production. The thesis establishes its methodology built on Ric Knowles‘s cultural materialist approach to contemporary performance. This enables Weill‘s activities to be seen in their proper context: Weill‘s negotiation of entry into American art worlds, and the subsequent exchange of economic assets and Weill‘s active management of his cultural capital through the media are followed for the first time, clearly revealing the composer‘s working practices. The thesis suggests that Weill is a practitioner who consciously engages with American cultural industries. It addresses questions of authorship, demonstrating how Weill‘s contribution can be understood within complex sets of agencies. It establishes how Weill can be seen through his own model of the ‗composer as dramatist‘ and through Adorno‘s depiction of the composer as a Musikregisseur.

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Dissertationen zum Thema „American Folk and Theatre“

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