Dissertationen zum Thema „History of drama shows“
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Sager, Jenny Emma. „"The strategy with cunning shows" : the aesthetics of spectacle in the plays of Robert Greene“. Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:af29d412-c285-46e4-953c-43eac3e86f13.
Der volle Inhalt der QuelleTener, John V. „Exhibiting the Victorians: Melodrama and Modernity in Post Civil War American Show Prints“. The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149259715322474.
Der volle Inhalt der QuellePluquet, Céline. „Le cinéma muet, un art musico-visuel : pratiques, théories et esthétiques de la musique de cinéma à Paris entre 1907 et 1929“. Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080053.
Der volle Inhalt der QuelleThis thesis intends to articulate the historical, theoretical, cultural and aesthetic aspects of film music during the silent era through the case of Parisian theaters. It questions the role of music and how it defined cinema at that specific time. This study shows the establishment of practices, theories, filmic and musical forms conditioned by film music. A first definition of film music between 1906 and 1907 describes the cinematic show as being a cinematic pantomime from the moment it appears as an artistic representation, as both a musical and visual experience. Shortly after the Great War, film music is gradually marked by the recognition of the orchestra as a model of musical accompaniment practice in Parisian theaters. Finally, film music becomes fully embedded when theorists establish the idea of the musical accompaniment of a cinematic art throughout the 1920s.This investigation thus leads us to rethink the role of the cinematic show in the definition of cinema. In short, film music represents the cornerstone which brings together a perception of cinema as being both an art and a performance
Curel, Agnès. „Une voix en métamorphose. De l'art du boniment au bonimenteur en scène : enquête sur une mémoire sonore du théâtre“. Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA142.
Der volle Inhalt der QuelleThis thesis was written as an investigation. It first focuses on the presence on contemporary stages (20th and 21st centuries) of characters commonly known as bonimenteurs and the recurrent reference to the art of boniment. What does this imaginary world convey? How was this fictional figure constructed and how is it rooted in a tangible history? And how have certain specific oral codes used in boniment contributed to its historical durability? Our research was developed around a dual historical investigation. It examines what constituted the art of boniment throughout the 19th century, while also considering the introduction of boniment into fiction, due in part to a partial shift into an art form also observed in the 19th century. The study of the transition between a theatrical function precisely defined in a historical timeline and an active dramatic function on stage and modern screens highlights the specificities of the bonimenteur. Thanks to his or her position between room and stage, sound and image, the bonimenteur seems to create a specific dramatic gesture.This work also leads us to consider the bonimenteur as a figure questioning theatre’s relationship with orality and its history, which may embody another representation of theater based on the power of orality as performance
Chopoidalo, Cindy. „The drama of history, examinations in Shakespearean historiography“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59713.pdf.
Der volle Inhalt der QuellePiatt, Wendy Louisa. „Politics and religion in Renaissance closet drama“. Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287042.
Der volle Inhalt der QuelleTaylor, Miles Edward. „Nation, history, and theater : representing the English past on the Tudor and Stuart stage /“. view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9986765.
Der volle Inhalt der QuelleTypescript. Includes vita and abstract. Includes bibliographical references (leaves 255-265). Also available for download via the World Wide Web; free to University of Oregon users.
Brown, Ian. „History as theatrical metaphor : history, myth and national identities in modern Scottish drama“. Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30714/.
Der volle Inhalt der QuelleWalsh, Maeve. „Re:vision : the interpretation of history in contemporary Irish drama“. Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286613.
Der volle Inhalt der QuelleMillet, Sandra Kay. „Theatre History in the Secondary Drama Classroom and Beyond“. BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3507.
Der volle Inhalt der QuelleStreete, Adrian George Thomas. „Calvinism, subjectivity and early modern drama“. Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/12800.
Der volle Inhalt der QuellePruitt, John. „British drama museums : history, heritage, and nation in collections of dramatic literature, 1647-1814 /“. View abstract, 2005. http://wwwlib.umi.com/dissertations/fullcit/3203336.
Der volle Inhalt der QuelleWinston, Susan. „Great Exhibitions : representing the world at the Great Exhibition, the Crystal Palace at Sydenham and early British films shows“. Thesis, University of East Anglia, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309960.
Der volle Inhalt der QuelleSherlow, Lois Juanita. „Towards interculturalism: A critical history of contemporary drama in Canada“. Thesis, University of Ottawa (Canada), 1996. http://hdl.handle.net/10393/10363.
Der volle Inhalt der QuelleO'Donnell, David O'Donnell, und n/a. „Re-staging history : historiographic drama from New Zealand and Australia“. University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.
Der volle Inhalt der QuelleMcBain, James. „Early Tudor drama and legal culture, c. 1485-1558“. Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670056.
Der volle Inhalt der QuelleLi, Jing. „Self in community: twentieth-century American drama by women“. HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.
Der volle Inhalt der QuelleGreen, Sean Douglas. „History at Play in the Portrayal of Politicians in Canadian Drama“. Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34602.
Der volle Inhalt der QuelleCavanagh, Dermot Paul. „Covert enmity : history and the dramatic imagination in the Tudor drama“. Thesis, University of Sunderland, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333928.
Der volle Inhalt der QuelleVodden, Amy. „A cultural history of male homosexuality in twentieth-century American drama“. Thesis, University of Exeter, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438739.
Der volle Inhalt der QuelleRamukosi, Patrick Mbulaheni. „Modern tragedy : a critical analysis of the elements of tragedy with special reference to N.A. Milubi's plays“. Thesis, University of Limpopo, 1999. http://hdl.handle.net/10386/2336.
Der volle Inhalt der QuelleWarner, Kathleen Marie. „Historical theory, popular culture and television drama /“. [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19144.pdf.
Der volle Inhalt der QuelleManossa, Geraldine, und University of Lethbridge Faculty of Arts and Science. „The roots of Cree drama“. Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2002, 2002. http://hdl.handle.net/10133/227.
Der volle Inhalt der Quellev, 107 leaves ; 28 cm.
Speed, Helena Christina. „The influence of the Inns of Court on English Renaissance drama 1584-1594“. Thesis, University of Reading, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262855.
Der volle Inhalt der QuelleHowe, Elizabeth. „The impact of the introduction of actresses on English drama, 1660-1700“. Thesis, Royal Holloway, University of London, 1988. http://repository.royalholloway.ac.uk/items/381ad106-a7de-4394-ae50-3c320741ed15/1/.
Der volle Inhalt der QuelleNagase, Mariko. „Literary editing of seventeenth-century English drama“. Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3628/.
Der volle Inhalt der QuelleHeuer, Imke. „'The German's tale' : German history, English drama and the politics of adaptation“. Thesis, University of York, 2008. http://etheses.whiterose.ac.uk/14111/.
Der volle Inhalt der QuelleAronson, Shari Gay 1966. „La carpa: A descriptive model for teaching history through drama in education“. Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/278492.
Der volle Inhalt der QuelleDavis, Laurel F. „Voyage to Terra Australis“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/1648.
Der volle Inhalt der QuellePark, Choon-Keun. „Identity, society, and history in modern Korean plays three aspects of three modern Korean plays; Moonlight play, Material man, and Terrorists /“. Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1145642426.
Der volle Inhalt der QuelleReilly, Kara. „Automata : a spectacular history of the mimetic faculty /“. Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/10235.
Der volle Inhalt der QuelleTurner, Irene. „Farce on the borderline with special reference to plays by OscarWilde, Joe Orton and Tom Stoppard“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949204.
Der volle Inhalt der Quelle齊曉楓 und Hsiao-feng Chi. „Patterns of husband selection in traditional Chinese fiction and drama“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238312.
Der volle Inhalt der QuelleMacbeth, Georgia School of Theatre Film & Dance UNSW. „A Plurality of Identities: Ulster Protestantism in Contemporary Northern Irish Drama“. Awarded by:University of New South Wales. School of Theatre, Film and Dance, 1999. http://handle.unsw.edu.au/1959.4/33257.
Der volle Inhalt der QuelleOh, Seiwoong. „The Scholarly Trickster in Jacobean Drama: Characterology and Culture“. Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278216/.
Der volle Inhalt der QuelleBotha, Estelle. „Where dance and drama meet again : aspects of the expressive body in the 20th century“. Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1704.
Der volle Inhalt der QuelleAcknowledging theatrical styles such as physical theatre, Tanztheater and poor theatre as forms of ‘total theatre’, and recognizing that there has been a prolonged process of development to reach such a point, the first chapter investigates the historical divide between dramatic dance and drama as starting point. Subsequently, in considering the body as expressive medium, the impact of content and form on the training of the performers’ body for the theatrical context is also evaluated.
Faasen, Cornelia. „Theatre as alternative historical narrative : a study of three plays : "Ubu and the Truth Commission", "Copenhagen" and "Ghetto"“. Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/3006.
Der volle Inhalt der QuelleIn this thesis I examine the way in which fictionalised and dramatised narratives in theatre have the potential to create significant alternative narratives that can potentially be regarded as a crucial part of history writing. This is done through a critical analysis of three historically orientated dramatic texts, Ubu and the Truth Commission by Jane Taylor (1998), Copenhagen by Michael Frayn (1998) and Ghetto by Joshua Sobol (1984). I investigate how these playwrights narrativised history by fictionalising and dramatising events and people of historical importance, and how each of these plays individually contributes to the debate on narrative in historiographical discourse. Drawing on Hayden White’s theory on the poetic and narrative nature of history writing, as represented by his definitive work, Metahistory, I explore different theories and works on the philosophy of history to determine the precise nature of narrative itself as well as the historical work. Chapter Two is therefore an exploration of White’s philosophy on the ‘historical imagination’ as he describes his theory on the narrative and poetic nature of the historical document. In addition, this chapter provides an introduction to narrative in a theatrical text. This is done in order to examine how we can apply White’s theory to investigate narrative in theatre that focuses on historical events for the purpose of possibly including the dramatic narrative in the broader discourse on narrative in history writing. In this I highlight the theatrical narrative as a specific practice of language beginning with an interlude on representation in theatre. This is applied as the basis for examining the three texts in subsequent chapters. There are both general and more specific advantages in pursuing these arguments. Firstly, it may generate an understanding of some of the broad claims and problems bearing on the impact that literary theory is said to have on a subject which is not normally considered to fall within its domain, namely history writing. The work of Hayden White has been singled out to represent these claims, as he challenges the traditional distinction between history and literature. As a result, we are made aware of those arguments which set out to show that there are aspects of historical writing which are often ignored or which we generally overlook. An example of such an aspect that serve as the focus of this study is the narrative in historical explanation, representing the “ineluctably poetic nature of the historical work” (White 1983:xi). As such theatre can be an important tool in the process of constructing memory and alternative narratives, arguing that these narrativised histories could provide a “countermemory to the dominant narrative of the official histories” (Hutchison 1999:3). The theatrical texts singled out demonstrate that these alternative narratives in the theatrical texts function as a discourse of multi-levelled stories that engage with the complexities of the society and the complexities present in the context of the plays, making a contribution to the practice of historiography itself.
Jaros, Michael Perin. „"To Have Lived is Not Enough for Them" performing Irish history in the twentieth century /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307371.
Der volle Inhalt der QuelleTitle from first page of PDF file (viewed February 6, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 207-215).
Kennedy, Shane Michael. „Expressionist Art and Drama Before, During, and After the Weimar Republic“. PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.
Der volle Inhalt der QuelleMcFrederick, Matt. „Staging Beckett : a production history of Samuel Beckett's drama in London (1955-2010)“. Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/78067/.
Der volle Inhalt der QuelleHanson, Richard Russell. „Principal witness, Herbert Whittaker and Canadian drama, 1949-1975“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ41549.pdf.
Der volle Inhalt der QuelleWong, Chi-keung Frederick, und 黃志強. „Postmodernism, drama, language: Waiting for Godot and Inadmissible evidence revisited“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31951053.
Der volle Inhalt der QuelleD'Ermo-Tenaglia, Doria. „Calandro, un personaggio nella storia della critica, 1788-1980 : saggio di bibliografia critica“. Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65467.
Der volle Inhalt der QuelleMateer, Megan. „Living history as performance an analysis of the manner in which historical narrative is developed through performance /“. Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1136660752.
Der volle Inhalt der QuelleSniderman, Alisa. „The Modern Stage of Capitalism: The Drama of Markets and Money (1870-1930)“. Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467505.
Der volle Inhalt der QuelleComparative Literature
曾慶慈 und Hing-chi Tsang. „A critical study of supernatural elements in Yuan drama“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B31210028.
Der volle Inhalt der QuelleO'Regan, Inge Brigitta. „"Zuwachs unsrer existenz" : the quest for Being in J.M.R. Lenz“. Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31078.
Der volle Inhalt der QuelleArts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate
Li, Siu Leung, und 李小良. „Toward a theory of dramatic adaptation: with special reference to Shakespearean and Ming Qing adaptations“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1986. http://hub.hku.hk/bib/B31207352.
Der volle Inhalt der QuelleJacquet, Ewa. „MÖTEN - Elevers och lärares upplevelser av en skapande kunskapsprocess“. Thesis, Högskolan i Gävle, Institutionen för humaniora och samhällsvetenskap, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-29784.
Der volle Inhalt der QuelleMavromatidou, Eleni. „The Role Of The (Postcolonial) Intellectual/Critic: Textualization Of History As Trauma: The African American And Modern Greek Paradigm“. Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1213616340.
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