Dissertationen: „Sociology of theater“

1

Medlin, Allison Kay Molnar Joseph J. „Bargain theater a dramaturgical analysis of a flea market /“. Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SUMMER/Sociology/Thesis/Medlin_Allison_2.pdf.

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2

Cloeren, Nicole Birgit. „Acts of reciprocity: Analyzing social exchange in a university theater for social change project“. W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1550154040.

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3

Roberts, Christine Elizabeth. „"I've needed a friend my whole life". Voices offormer gang members: An ethnodrama“. Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278801.

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This thesis set about to achieve three goals. First it discusses street gang research, assessment of the gang problem, and in particular the forces that push and pull American youths into the street gang lifestyle and the gang member experience. Second, it explores how alternative forms of data presentation, such as ethnodrama, blur the boundary lines between art and scientific research and demonstrates that the embodiment of human experience through artistic means enhances our understanding of the gang problem and creates context. Third, it includes an ethnodrama text constructed from qualitative interviews of three former gang members, in support of narrative inquiry research methods, and illustrating how three young men were drawn into the gang lifestyle, what they experienced by being in a gang, and the factors that helped them to leave the gang and lead them to make positive changes in their lives.

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4

Kholer, Barbara Allen. „The psychological, sociological, and cultural aspects of professional wrestling as soap opera“. [Johnson City, Tenn. : East Tennessee State University], 2004. https://dc.etsu.edu/etd/857.

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Thesis (M.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-0112104-105600. Includes bibliographical references. Also available via Internet at the UMI web site.

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5

Barrett, Maria. „'Our place' : class, the theatre audience and the Royal Court Liverpool“. Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/80890/.

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This thesis investigates theatregoing and class, using as a locus the Royal Court Theatre, Liverpool. The Royal Court is unusually successful in attracting and retaining first time theatregoers and others from some of the most deprived postcodes in the UK. The study’s original contribution to knowledge is threefold: its focus on the relationship between theatre and audience that encompasses the whole theatregoing event; its focus on theatre audiences and social class; and its use of Bourdieu’s conceptual triad not only as an underpinning theory and a framework, but also as a method. The findings have important implications for cultural policy, which has been over reliant on ticket pricing as a mechanism which has failed to widen cultural attendance. The thesis uses a single case to examine the phenomenon of theatregoing. The primary method of investigation is a series of field visits of a theatre season and subsequent thick description of observations. This is supported by ethnographic methods in order to understand phenomena from the perspective of audience members; these are focus groups, interviews, and an analysis of user generated content (TripAdvisor). The thesis finds that the history of the Royal Court Theatre has not only shaped its position in the field, but is key to its perception by audiences today, the building having a particular place in the imaginary of a working class culture. Inside the auditorium, innovative seating arrangements contribute to a playful social space that can be ‘owned’ by audiences. The Theatre’s repertoire is distinctive, in that it employs tropes, such as comedy and participation, that are bound up with the concept of ‘Scouse’, itself a classed construct. These elements combine to form a physical and social space that is congruent to a working class habitus. The implications of the findings are in two fields, sociology and cultural policy. From a sociological perspective, the thesis concludes that Bourdieu’s conceptual triad is not only useful as a concept but also as a method by which to understand theatregoing and other phenomena in the twenty-first century. The application of Bourdieu’s conceptual triad to the empirical phenomenon of twenty-first century British theatregoing results in a more nuanced understanding of a working class aesthetic and working class values. For cultural policy, the thesis finds that using pricing as a mechanism to widen cultural attendance is to miss the point of the real issues facing working class people in the theatre which are around symbolic violence. If we really wish to widen theatre attendance, we need to offer working class people a theatre model that speaks to their values.

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6

Moyo, Awelani L. „Re-tracing invisible maps : landscape in and as performance in contemporary South Africa“. Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/58846/.

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This thesis suggests an approach to landscapes both in and as performance, in order to explore how identity and belonging are sited and performed in contemporary South Africa. I deploy an inter-disciplinary concept of landscape, drawing from the work of Tim Ingold (2000), who defines landscape as 'a plenum' and argues that we engage with landscapes through a performative process of 'way-finding.' With this in mind, I position myself as a participant-observer in this thesis, and through a process of way-finding aim to 're-trace invisible maps' of identity in a selection of examples ranging from the theatrical to the everyday. Throughout my discussion I analyse how specific performances reflect/resist certain histories and social constructions of belonging. The thesis is divided into three thematic sections which explore how various cultural practices, or forms of 'mapping', attempt to make the world 'knowable', at the same time indicating what escapes or exceeds the limits of their own codes of representation. The first section entitled Fortress City investigates identity formation as a spatially situated process in Cape Town, using the example of the public arts festival Infecting the City and focusing on the period 2009-2011 when it was curated by Brett Bailey. In the second section Frontier Nations, I discuss the temporality of landscape by juxtaposing how collective/national memory and subjective/personal memory both emerge in and through performance. I compare two speeches made by Presidents Mandela and Zuma in Grahamstown in 1996 and 2011 respectively, and contrast the political rhetoric on nationhood with Brett Bailey’s use of mythic time in an experiential site-specific performance Terminal (2009). In the last section Corporeal Networks, I argue that the body acts as primary generator of meaning, identification and belonging. I discuss Juanita Finestone-Praeg’s Inner Piece (2009) a physical theatre work which tackles issues of violence and representation.

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7

Pilcher, Katy Elizabeth Mary. „Erotic dancing in night-time leisure venues : a sociological study of erotic dance performers and customers“. Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/56236/.

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This thesis explores the gender and sexual politics of erotic dance, through an ethnographic investigation of two leisure venues which provide erotic dance entertainment for women audiences in the UK. Using the research techniques of participant observation, qualitative interviews, visual methods, email interviews and internet research, this thesis examines the work roles of women and men dancers, and the interactions of women customers with dancers. In taking both a lesbian leisure venue and a male strip show for analysis, this thesis goes further than previous academic studies which often equate erotic dance with a male clientele base and women performers. The key findings of the thesis are related to three central themes. These are, firstly, the defining of both of the venues as a ‘women-only’ space by customers, and the ways in which this simultaneously both challenges and reproduces heteronormativity. Secondly, findings in both venues point to evidence of an erotic female ‘gaze’ being exercised by women customers. Yet I highlight how this is at times couched in problematic post-feminist conceptions of sexual agency, and further, how some customers articulated a critique of ‘gazing’ as objectifying erotic dancers. I argue that male dancers do not take on a ‘sex object’ role, and suggest that women dancers are able to exercise a gaze directed at women customers in some instances. The third key finding, evident in dancers’ accounts of their working experiences, suggests that their work practices are in many ways similar to concepts of work that are used to discuss service sector labour. I argue that the particular spaces in which dancers work is crucial to their capacity to exercise autonomy in their work role. Overall, the thesis develops a more complex analysis of participants’ engagement with erotic dance venues, highlighting the tensions around exercising agency in commercial sexual encounters.

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King, Rachel E. „Processes of 'positive multiculturalism' in practice : an extended case study with Warwick Arts Centre (WAC)“. Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/58049/.

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This thesis consists of three distinct but interconnecting case studies that took place between 2007 and 2010 in collaboration with Warwick Arts Centre (WAC), Britain’s second largest multi-arts venue. The study developed practice-led methods to investigate the dynamic interactions between notions and perceptions of ‘multiculturalism’ and ‘internationalism’ in relation to WAC’s theatre and performance programming and education activities. The first case study is a qualitative audience reception study designed to make sense of WAC’s programme in relation to multicultural and international issues. The second case study focuses on an educational outreach project that placed two local schools in collaboration with a commissioned teacher-artist and a University of Warwick academic. These encounters inspired the final case study, which made use of WAC’s newly built Creative Space as a site for a devising project with young people from nearby Coventry, culminating in a performance for an invited audience. The thesis explores the varied complexities that frame ‘multiculturalism’ by focusing on its origins as a political concept in post-1945 Britain and its subsequent association with contemporary contentious social, political and cultural national and international issues. An analysis of the negative effects of ‘multiculturalism’ is balanced by considerations of the project’s emergent concepts: ‘hospitality’ and ‘conviviality’, which articulate the possibilities of living in diversity in more ‘positive’ terms. These paradigms reverberate throughout each case study, informing their methodologies, influencing their conceptual frameworks and placing ‘multiculturalism’ in more dynamic and relevant dimensions of pedagogical and creative practices. Each case study considers collaboration between strangers and investigates the potential of WAC as a hospitable and convivial environment. These new perspectives demonstrate the optimistic possibilities of creative and humane action for producing a ‘positive multiculturalism’.

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Trovo, Maria Caroline [UNESP]. „Um estudo das [possíveis] contradições da cultura no capitalismo do pós-guerra: uma abordagem do teatro da vertigem“. Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/99021.

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Made available in DSpace on 2014-06-11T19:29:47Z (GMT). No. of bitstreams: 0 Previous issue date: 2006Bitstream added on 2014-06-13T18:59:34Z : No. of bitstreams: 1 trovo_mc_me_arafcl.pdf: 319749 bytes, checksum: 09397e356b1e93ff156cc27c4aae34e0 (MD5)
Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
O presente trabalho busca estabelecer as diretrizes de uma política estética eficaz na pós-modernidade, entendida aqui como o estágio mais avançado do capitalismo (e não como um conceito meramente estético). Para tanto, parte-se do esmiuçamento de um fundamental capítulo da história da modernidade estética - qual seja, o 'debate sobre o expressionismo'- bem como da relação entre Walter Benjamin, importante teórico da modernidade, e Bertolt Brecht, dramaturgo alemão vanguardista. Com isso, extrai-se ensinamentos e categorias interpretativas fundamentais à prática da crítica cultural, que são pensadas em relação ao grupo Teatro da Vertigem - manifestação cultural com origem na década de 90, na cidade de São Paulo (Brasil). Tal grupo apresenta como principal característica um tratamento diferenciado à categoria espaço, permitindo assim sua contraposição com a estética do mapeamento, tal como entendida pelo teórico Fredric Jameson em seu Pós-Modernismo: a lógica cultural do capitalismo tardio. Por outro lado, verifica-se também a presença, no grupo, de características que o aproximam da lógica da indústria cultural, fenômeno caracterizador da cultura na atualidade. Portanto, por meio da análise do grupo Teatro da Vertigem, que desponta como a manifestação cultural atual que mais se aproxima de uma estética emancipatória, adentra-se no universo das contradições culturais da contemporaneidade.
The present work aims to establish the directives of an efficient political aesthetic in the post-modernism, here defined as the most advanced stage of the capitalism (and not merely an aesthetic concept). Therefore, it departs from a detailed and fundamental chapter of the history of the aesthetic modernity - that is, the 'debate of the expressionism' - as well as the relation between Walter Benjamin, an important theoretician of modernity, and Bertold Brecht, a vanguard German dramatist. With this, lessons and interpretative categories fundamental to the practice of culture criticism are extracted, based on the relation to the Vertigo Theater - a cultural manifestation originated in the nineties, at São Paulo city (Brazil). This group presents as main characteristic a distinctive treatment to the category of space, permiting your contraposition with the aesthetic of special-cognitive mapping, as point the theoretician Fredric Jameson in his Post-Modernism: the cultural logic of tardy capitalism. Nevertheless, it is also verified in the group the presence of characteristics that approaches it to the logic of cultural industry, a characterizing phenomenon of the culture in the actuality. Hence, through the analysis of the Vertigo Theater group, which emerges as an actuality manifest culture closer to an emancipating aesthetic, it is possible to enter into the universe of culture contradictions of the contemporaneity.

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10

Miller, Florance A. Jess. „We are here to be heard| The power of the personal“. Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3627431.

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This study examines the use of performance ethnography as an advocacy tool for students with non-apparent disabilities at Mills College, a four-year institution in Oakland, California. The focus was on the sometimes challenging relationships between these students and their instructors. The methods in this study included analysis of a script that was created and performed by four women students with non-apparent disabilities and a series of interviews held pre-performance and then conducted at one and six months post-performance. The four student writer/performers were interviewed, as well as four faculty members who agreed to participate in the project. After analyzing the data I concluded that performance ethnography or ethnotheatre was a meaningful advocacy tool that deepened understanding and raised awareness and had the potential to improve student/faculty relationships. I recommend that such projects are encouraged in student social justice organizations and receive support from college administrations. For example, after a student performance such as We Are Here to be Heard, scheduling follow-up student/faculty workshops would enhance the learning experience for all concerned. Practitioners in disability services and student life who want to work with marginalized students would be well served to read some of the references cited in this study, and such practical guides for doing this kind of work such as Saldana's Ethnotheatre (2005). Based on my experience, staff considering this type of advocacy work with students with disabilities, apparent or non-apparent, also need to be mindful that embodied work may release strong emotions and topics such as stigma and identity threat may trigger painful memories. It is important that there is sufficient support to contain feelings that may arise, that boundaries are very clear and finally, the creative space needs to be a place of safety and security for all.

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Cerniglia, Kenneth James. „Becoming American : a critical history of ethnicity in popular theatre, 1849-1924 /“. Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/10236.

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12

Taylor, Aaron. „The Pathology of Alienation: A Psycho-Sociological Approach to the Theater of Paloma Pedrero“. Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?ucin1109022646.

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Thesis (Ph. D.)--University of Cincinnati, 2005.
Advisor: Taylor. Title from electronic thesis title page (viewed \May 20, 2008). Keywords: Paloma Pedrero; Theater; Gestalt therapy; Robert Merton; Sociology; Alienation; Marginalization; Pathology; Theatrics; Aristotle; Brecht; Antonio Buero Vallejo; Neorealism; Twentieth-century Spain; Realism; Deviancy; Deviance; Socialization; Deviant; Retr. Includes abstract. Includes bibliographical references.

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13

Lachaud, Céline. „Wajdi Mouawad : un théâtre politique ?“ Thesis, Besançon, 2015. http://www.theses.fr/2015BESA1007/document.

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Wajdi Mouawad artiste québécois d'origine Libanaise n'accepte pas l'étiquette de « théâtre politique ». Cependant son travail est le reflet d'un théâtre engagé tant par les thèmes qu'il aborde que par son refus de compromis dans le domaine de la création artistique. Mouawad est un artiste qui aime prendre la parole quitte à se faire des ennemis dans la presse, dans l'opinion publique, dans le monde du spectacle, mais aussi parmi les politiciens. Malgré son refus d'appartenir au courant de théâtre politique nous verrons au sein de cette thèse en quoi son art se rapproche de ce cette mouvance artistique dont il est important de (re)définir les contours. De plus, nous verrons de quels messages son théâtre est porteur. Nous tenterons aussi de comprendre les raisons de sa méfiance face à ce courant qui « rebute » plus d'un auteur contemporain
Wajdi Mouawad is a Lebanese - born Canadian playwright turned actor who refuses the label of political playwright. And yet, his work reflects political theatre by the themes he chooses and by his refusal to make compromises in his art. Mouawad is someone who likes to speak up even if it means making enemies in the press, in the public opinion, in the world of theatre, and also in the world of politics. Despite the fact that he refuses to be labelled à political playwright, in this thesis, my aim is to study to what degree his art resembles political theatre, a genre that needs to be redefined. In addition, I will examine the message his plays relay and the reasons of his distrust towards this genre that doesn't seem to appeal to many a contemporary writer

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Conway, Mary Suzanne. „Achieving Catharsis: The Impact of Theatre on Lesbian, Gay, Bisexual, and Transgendered Youth“. University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1302459493.

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15

Hayes, S. „Building community : a sociology of theatre audiences“. Thesis, University of Salford, 2006. http://usir.salford.ac.uk/2034/.

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This thesis is an ethnographic study of theatre audiences and the ways in which they experience community. It is positioned within current debates on the mediatization and globalization of society, and the ongoing discussion as to whether social change has an adverse effect on community experience. Methodologically it emphasizes the investigation of audience contexts and collaborative practices among actors and theatregoers and between researcher and respondents. Audiences’ own terminology is considered vital to understanding what community means to them. The thesis examines community experience across the whole trajectory of the theatregoing event, from theatregoers’ backgrounds, through interactions at theatre performances, to discussion outside the auditorium and in their everyday lives. It argues that while theatre audiences conform to the perception that they tend to be middle aged and predominantly female, there are modifications to Bourdieu’s findings that cultural consumption is closely related to social class gradations. In particular, mainstream theatregoers extend across the spectrum of the middle class and their tastes in theatre are eclectic. Similarly, the research finds that there are other ways than through habitus that theatregoers acquire cultural tastes and practices. A close consideration of interactions at theatre performances, and the physical contexts in which they take place, identifies features of interaction and auditoria that encourage or discourage community, and relates them to interaction in everyday life. An investigation of why theatregoers prefer live to mediatized performance, and an examination of changes in audience perception and how much they are shared with others, contribute to an assessment of the transformative power of theatre and of how far face-to-face community is perennial in society.

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Jan, Corentin. „Le théâtre et son espace public. Conflits et controverses institutionnels et artistiques sur les scènes allemandes dans les années 2010“. Electronic Thesis or Diss., Paris 3, 2024. http://www.theses.fr/2024PA030062.

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Les années 2010 ont vu la généralisation d’un discours sur la crise et la perte de légitimité du Stadttheater allemand, d’un modèle de théâtre public où les établissements concentrent en leur sein les activités de production et diffusion grâce à la présence d’une troupe permanente d’interprètes et d’une programmation sous la forme d’un répertoire. Dans les journaux, les revues spécialisées ou sur des sites internet, les tentatives de diagnostic et les propositions de solution se multiplient, tandis que de nombreuses crises locales font l’objet d’un traitement médiatique quasi systématique. Ce travail entend interroger ce qui rend un tel discours de crise possible. Il formule l’hypothèse que ce paysage scénique à l’histoire longue doit beaucoup à l’élaboration d’une certaine forme d’espace public théâtral, c’est-à-dire à l’idée que le théâtre repose sur une adresse indéterminée et que son destin concerne potentiellement tout un chacun. Cette publicité de la vie théâtrale se loge autant dans les spectacles eux-mêmes que dans les arènes médiatiques de la critique ou dans la façon dont les établissements s’adressent à leur public. À partir du cas de la « crise du Stadttheater » et d’une méthodologie inspirée de la sociologie pragmatique, ce travail s’emploie à observer les conflictualités qui agitent cet espace public artistique. Après être revenu sur l’histoire des théâtres de troupe allemands, je m’appuie sur une analyse de tribunes sur l’avenir des Stadttheater parues de 2009 à 2021 sur le site nachtkritik, avant de mener une étude croisée de deux crises récentes, celle de la Volksbühne de Berlin entre 2015 et 2018 et celle des Kammerspiele de Munich de 2017 à 2020
The 2010s have been a time of widespread discourse on the crisis and loss of legitimacy of German Stadttheater, a model in which theatres concentrate production and performance activities in-house, thanks to the presence of a permanent troupe of performers and repertory-based programming. In newspapers, specialized magazines and on Internet sites, attempts at diagnosis and proposals for solutions are proliferating, while numerous local crises receive almost systematic media coverage. The present study examines what makes this kind of crisis discourse possible. It formulates the hypothesis that this long-standing theatre landscape owes much to the development of a certain form of theatrical public sphere, i.e. to the idea that theater is grounded in an indeterminate address and that its fate potentially regards everyone. This publicity of theatrical life is as much to be found in the performances themselves as in the mediatic arenas of criticism, or in the way establishments address their audiences. Using the “Stadttheater crisis” as a case study, and a methodological framework inspired by pragmatic sociology, this thesis examines conflicting aspects of this public artistic space. After reviewing the history of German troupe theaters, I examine tribunes on the future of the Stadttheater published from 2009 to 2021 on the website nachtkritik, before conducting a cross-study of two recent crises, namely the conflicts at the Berlin's Volksbühne between 2015 and 2018 and at the Münchner Kammerspiele between 2017 and 2020
In den 2010er Jahren wurde über die Krise und den Legitimitätsverlust des deutschen Stadttheaters und seiner Ensemble- und Repertoirebetriebe in der Öffentlichkeit heftig diskutiert. In Zeitungen, Fachzeitschriften oder auf Websites trifft man auf eine Vielzahl von Diagnoseversuchen und Lösungsvorschlägen, während es in den Medien von zahlreichen lokalen Krisen berichtet wird. In dieser Arbeit wird untersucht, was einen solchen Krisendiskurs möglich macht. Ich stelle die Hypothese auf, dass diese alte Theaterlandschaft viel der Herausbildung einer bestimmten Form von Theateröffentlichkeit zu verdanken hat, d.h. der Idee, dass das Theater auf einer relativ unbestimmten Adresse beruht und dass sein Zustand und seine Zukunft öffentliches Interesse haben. Diese Öffentlichkeit des Theaters ist sowohl in den Aufführungen selbst als auch in den medialen Arenen der Kritik oder in der Art und Weise, wie sich die Häuser an ihr Publikum richtet, angesiedelt. Anhand des Fallbeispiels der „Krise des Stadttheaters“ und einer von der pragmatischen Soziologie inspirierten Methodik bemüht sich diese Arbeit, die Konflikthaftigkeit dieser künstlerischen Öffentlichkeit zu beschreiben. Nach einem Rückblick auf die Geschichte der deutschen Ensembletheater stütze ich mich auf eine Analyse von Tribünen zur Zukunft der Stadttheater, die von 2009 bis 2021 auf der Website nachtkritik erschienen sind, bevor ich eine Querschnittsstudie über zwei lokale Krisen durchführe, die Krise der Berliner Volksbühne zwischen 2015 und 2018 und die Krise der Münchner Kammerspiele zwischen 2017 und 2020

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Stafford, Andy. „Roland Barthes, 1947-1960 : journalism, sociology and the popular theatre“. Thesis, University of Nottingham, 1995. http://eprints.nottingham.ac.uk/10978/.

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This thesis situates the writings of Roland Barthes in the immediate postwar period. Whilst Barthes's thought has generally been appreciated for its theoretical innovations, this study identifies the historical and cultural influences behind his theories. His first permanent job in 1960, at the age of forty-five, ended a decade of career and financial uncertainties, during which he had been, above all, a journalist. His most famous book, Mythologies, consists of articles which were originally part of a monthly column appearing in the left-wing journal Les Lettres nouvelles between 1954 and 1956; this column helped to inflect the journal's attitude towards events such as decolonization. At the same time, he was active in the popular theatre movement, writing for Theatre populaire and defending Brechtian theatre. Barthes was also a pioneer of analytical tools in the social sciences. An avid reader of Michelet's attempts to 'resurrect' those who had been excluded by traditional historical narratives, Barthes valued the new history-writing of the Annales. He suggested a historical materialist analysis which, underlining the voluntarist nature of history, tried to resolve two historiographical dilemmas. Firstly, how could historical representation incorporate both continuity and change? Secondly, could a scientific, objective description of reality be reconciled with its partisan, subjective explanation? Undermining his earlier voluntarist view of history, the first dilemma was resolved by semiology: change and continuity were reconciled by showing forms functioning in a system. In the second the committed sociologist and critic could use the 'dialectique d'amour' to denounce and explain the alienation caused by bourgeois myths. However, whilst developing his semiological analysis, Barthes also concluded that a representation of both subjective and objective reality led to the exclusion of the committed critic. Finally, this thesis will suggest how Barthes's experiences and theoretical developments can be linked to his political views in this immediate postwar period.

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Fondu, Quentin. „La Scène et l'Amphithéâtre : sociologie et histoire de la discipline des études théâtrales en France et dans les deux Allemagnes (1945-2000)“. Thesis, Paris, EHESS, 2021. http://www.theses.fr/2021EHES0004.

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Cette thèse porte sur l’histoire de la discipline des études théâtrales (Theaterwissenschaft en allemand) en France et dans les deux Allemagnes, de 1945 jusqu’au début des années 2000. Elle interroge les conditions historiques et sociales qui permettent de comprendre son apparition et son développement. Mon hypothèse principale est que la constitution de cette discipline s’organise à la jonction du champ universitaire et du champ théâtral, et au croisement de logiques locales, nationales et internationales. À l’inverse des disciplines plus anciennes, les études théâtrales revendiquent en effet une plus grande ouverture vis-à-vis de logiques extérieures au monde académique, à la fois en termes de formations et de débouchés. Participant peut-être à la mise en crise contemporaine de l’« ordre disciplinaire », l’histoire de cette discipline doit ainsi être replacée dans les métamorphoses plus larges du théâtre et de l’université au cours de cette période – en particulier leurs internationalisations et leurs politisations respectives. Notre démarche repose sur la sociologie historique, qui a pour ambition de cumuler les méthodes de l’histoire et celles de la sociologie, afin de prendre en compte simultanément événements, histoire institutionnelle et analyse structurale. Sans pour autant abandonner les principes de la comparaison entre la France et les deux Allemagnes, la méthodologie doit également beaucoup à l’histoire croisée, qui nous permet de multiplier les échelles d’analyse sans présupposer a priori le cadre national de la discipline
This thesis is about the history of the discipline of theatre studies in France and in the two Germanies, from 1945 to the early 2000s. It examines the historical and social conditions in order to understand its emergence and development. My main hypothesis is that the creation of this discipline happened at the intersection of the academic and theatrical fields, and at the crossroads of local, national and international logics. Unlike older disciplines, theatre studies avows a larger openness vis-a-vis logics external to the academic world, both in terms of training and job prospects. Participating perhaps in the contemporary challenges to “disciplinary order”, the history of this discipline must also be resituated within the broader metamorphosis of theatre and the university over the course of this period. Our approach relies on historical sociology, whose aim is to bring together methods from history and sociology in order to simultaneously think about events, institutional history, and structural analysis. Without abandoning the basis for comparison between France and the two Germanies, our methodology also draws heavily from histoire croisée, which allows us to broaden the scope of our analysis without accepting at face value the national framework of the discipline
Diese Dissertation behandelt die Geschichte der Disziplin der Theaterwissenschaft in Frankreich und im geteilten Deutschland, von 1945 bis zum Beginn der 2000er Jahre. Sie untersucht die historischen und sozialen Bedingungen, die es ermöglichen, ihre Entstehung und Entwicklung zu verstehen. Die zentrale Hypothese ist, dass die Konstituierung dieser Disziplin durch die Verbindung des akademischen und theatralischen Bereichs und dem Zusammenwirken lokaler, nationaler und internationaler Logiken ermöglicht wurde. Im Gegensatz zu älteren Disziplinen beansprucht die Theaterwissenschaft in der Tat eine größere Offenheit gegenüber Logiken außerhalb der akademischen Welt, sowohl in Bezug auf Ausbildung als auch auf Karrierewege. Die Geschichte dieser Disziplin, die wohl an der gegenwärtigen Krise der "Disziplinarordnung" teil hat, muss daher in die breiteren Metamorphosen des Theaters und der Universität in dieser Periode - insbesondere in ihre jeweiligen Internationalisierungen und Politisierungen - eingeordnet werden. Der Ansatz dieser Dissertation basiert auf der historischen Soziologie, die darauf abzielt, die Methoden der Geschichte und der Soziologie zu kombinieren, um Ereignisse, die Institutionengeschichte und die Strukturanalyse gleichermaßen zu berücksichtigen. Ohne die Prinzipien des Vergleichs zwischen Frankreich und den beiden deutschen Staaten aufzugeben, verdankt die Methodologie auch viel der histoire croisée, die es erlaubt, die Skalen der Analyse zu multiplizieren, ohne a priori den nationalen Rahmen der Theaterwissenschaft vorwegzunehmen

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Dansilio, Maria Florencia. „La théâtralité retrouvée. Étude socio-esthétique du théâtre indépendant à Buenos Aires (1983-2003)“. Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA098/document.

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Cette thèse se propose de rendre compte du changement dans les manières de faire et de penser le théâtre indépendant en Argentine entre 1983 et 2003. Le contexte socio-politique étant fortement marqué dans les années post-dictature, l’activité théâtrale se reconfigure, et ce changement suppose une modification de l’ordre des pratiques. Il implique, pour la communauté théâtrale, à la fois des bouleversements d’ordre symbolique des catégories de perception et d’appréciation.À travers une approche située au croisement de l’analyse sociologique du phénomène et de l’analyse de ses spécificités esthétiques, nous suivrons trois objectifs. Premièrement, il s’agira de procéder à une analyse sociohistorique du concept polysémique d’indépendance théâtrale, afin de déterminer ses différents usages et significations. Deuxièmement, nous analyserons la reconfiguration de l’espace théâtral indépendant à travers ses différents acteurs (artistes, médiateurs, critiques), les oeuvres qui ont fait date et les espaces de création, de circulation et de légitimation. In fine, nous identifierons les formes de production d’une nouvelle théâtralité (c’est-à-dire les modalités spécifiques du jeu des comédiens dans la fabrique de la fiction théâtrale et dans leur rapport au réel) ainsi que la possible émergence d’une politicité au cœur de la production de la nouvelle scène indépendante et contemporaine en Argentine
The aim of this thesis is to account for the changes occurred in the ways independent theatre is performed and thought about in Argentina, between 1983 and 2003. The social-political context is strongly marked by the post dictatorship years therefore the activity linked to theatre is reconfigured and this change implies a revision of this very practice. For the performing community, it implies a reworking of the symbolic order in relation to both perception and appreciation of theatre.In this approach at the crossroad of sociological analysis of the artistic phenomena and the comprehension of its esthetical specificity, we will pursue three goals. First, we will embark in a socio-historical analysis of the polysomic concept of theatrical independence, in order to define its meanings and practices. Secondly, we will analyse the reconfiguration of independent theatre through its various players (artists, facilitators critics), as well as the major theatre works that have been a landmark and the analysis of spaces for creativity, movement and legitimation of such works. Finally, we will identify the forms of production for a new theatrical approach (the way comedians act, create a new type of fiction and how they connect to reality) as well as the possible emergence of a political pledge at the very heart of the new independent and contemporary scene of Argentina’s theatre

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Oduro, Charles F. „Ama Ata Aidoo's Anowa: The Irony of a Scapegoat“. Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1322073266.

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Prince, Lindy-Lee. „Above gender : doing drag, performing authentically, and defying the norms of gender through performance in Cape Town“. Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80074.

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Thesis (MA)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: The thesis that is to be presented discusses the performance of drag and gender in Cape Town – namely Bubbles Bar. I argue that the performance of gender on stage through the performance of drag challenges the norms and ideas of gender in South Africa. Through the act of non-normative staged gendered performance, the participants of this study also challenge stereotypes and stigma around this in relation to the social norms and regulations that are asserted on the individual presentation and performance of gender and sexuality. I argue that the performance of gender in relation to the stage asserts the situational character of gender performance through the staged performance of drag. I assert that the staged performance of gender is made authentic by the audience who views and understands the performance as a performance of drag, and a performance of gender. The performance of drag is considered an act of transgression. Transgression in South African society is policed through acts of oppression, social and sometimes physical violence. This act of transgression is performed through drag which is viewed as an act of nonnormative gender performance. The perception of transgression places those who perform gender in a non-normative fashion upon the margins. However, that the performers are acting above gender places the performance on a higher plain. The theatrical methods, and inclusion of the audience in the performance that are used as a form of entertainment allows the participants in this research project to humanize the gendered performance of non-normativity by education through the art of their performance.
AFRIKAANSE OPSOMMING: Die tesis wat aangebied word bespreek die vertoning van “drag” en geslag in Kaapstad - naamlik in Bubbles Bar. Ek voer aan dat die opvoering van geslag deur “drag” op die verhoog normes en idees van geslag in Suid-Afrika uitdaag. Deur hierdie nie-normatiewe geslagsopvoering daag die deelnemers van hierdie studie ook stereotipes en stigma rondom geslag uit, met spesifieke betrekking tot die sosiale normes en regulasies wat op die individuele aanbieding en vertoning van geslag en seksualiteit geplaas word. Ek argumenteer dat die uitbeelding van geslag in verhouding tot die verhoog die situasionele karakter van geslag deur die opgevoerde vertoning van “drag” handhaaf. Ek voer aan dat die verhoogvertoning van geslag eg gemaak word deur die gehoor wat die vertoning aanskou en verstaan as 'n vertoning van “drag”, en ook 'n vertoning van geslag. Die opvoering van “drag” word beskou as 'n daad van oortreding. Oortreding in die Suid- Afrikaanse samelewing word gepolisieër deur dade van onderdrukking, sosiale en soms fisiese geweld. Hierdie daad van oortreding wat opgevoer word deur middel van “drag” word beskou word as 'n daad van nie-normatiewe geslagsgedrag. Die persepsie van oortreding plaas diegene wat geslag opvoer op 'n nie-normatiewe wyse, op die kantlyn. Deurdat die deelnemers/kunstenaars optree buite die normatiewe idee van geslag, plaas dit die vertoning op 'n hoër vlak. Die teatriese metodes, en die insluiting van die gehoor in die opvoering wat gebruik word as 'n vorm van vermaak, laat die deelnemers aan hierdie navorsingsprojek toe om die geslagtelike vertoning van nie-normatiwiteit te vermenslik met opvoeding deur middel van die kuns van hul vertoning.

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Asiedu, Awo Mana. „West African theatre audiences : a study of Ghanaian and Nigerian audiences of literary theatre in English“. Thesis, University of Birmingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288805.

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This thesis examines the question of who the main audiences of West African literary theatre in English are and what they expect from literary theatre performances. Through a survey of audiences at performances in Ghana and Nigeria, it shows that the main audiences of literary theatre in English in this region of Africa are mainly students and the educated elite. The language of these plays and the main venues of performance are largely seen as responsible for this limited but important audience. The study concludes that since playwrights and their audiences see theatre as a medium for social change and edification respectively, this category of audiences are strategic targets. The study, however, sees the role of other theatre practices, such as Theatre for Development and Concert Party Theatre, which are in local languages and target the larger, less educated sections of society as more relevant but complementary to literary theatre in English. This thesis also highlights the lively interaction of West African audiences with theatre performances. Theatre practitioners encourage the active participation of their audiences by casting them in concrete roles or by directly addressing them, thus insisting on their participation.

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Papaioannou, Spyros. „Performing critique : towards a non-representational theatre in Britain“. Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/8170/.

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The thesis traces the conditions of possibility for what we came to understand as ‘non-representational’ approaches to performing critique. In assessing different theatrical practitioners in Britain (in the form of case studies) that have challenged a politically prescriptive theatre, the thesis elaborates upon ideologically ‘incomplete’ ways of performing, in order to rethink the staging of critical practice beyond its subjection to mimesis, abstract significations and transcendental politics. Ways of rethinking theatre as a space in which politics is not transcendentally transmitted, but rather emerges within the performance-event, as well as questions of spectators’ emancipation from systems of power that have rendered them passive and immobile watchers of a spectacle are examined and challenged. In doing so, the research resonates with many ongoing discussions about the function and performance of critique, placing questions of spectatorship, de-objectification and representation at the heart of its analysis. Considering political theatre as a plateau on which critique can be actualised as a ‘becoming’ in the ‘here and now’ of the event, the thesis explores the question of non-representational performance along three broad theoretical axes. First, it unfolds and critically exposes the limits of interactivity within performance practices, by considering dialogical processes of performing not as ends-in- themselves, but as starting points of challenging the problem of representation in political theatre. Secondly, the thesis examines ‘incomplete’ and fragmentary performances, suggesting that non-representational approaches to theatre are, in effect, a critique of teleological outcomes and determinate meanings; therefore, theatrical incompleteness is theorised as a tool of critical practices that become non-representational. Thirdly, in destabilising the problematic opposition between conditioning the spectator as object or subject, the thesis argues that the power relations in performance need to be destratified and transformed into productive variations, as a way to endorse a politics of presence in political theatre.

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Cowin, Gibbs Michelle Renee. „Detroit Brand Blackness: Race, Gender, Class, and Performances of Black Identities in Post Recession Detroit“. Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1573836782749038.

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Guerimand, Melanie. „Les programmations du Grand-Théâtre de Lyon (1815–1848) : une identité en construction ?“ Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20026.

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Depuis le début du Premier Empire, la création artistique française est régentée, à quelques exceptions près, par les théâtres de Paris. À l’instar de bon nombre de scènes provinciales, le Grand Théâtre de Lyon est contraint, à défaut de pouvoir proposer des œuvres locales, de composer ses programmations lyriques en fonction des productions de la capitale et de construire son affiche en prenant pour modèles celles de l’Opéra et de l’Opéra Comique. À l’aide des différents témoignages retrouvés dans les textes de presse de l’époque, cette étude s’interroge sur l’identité des programmations du Grand Théâtre de Lyon entre 1815 et 1848. Qu’il s’agisse de la représentation de ce répertoire ou de sa réception, les performances des artistes et les jugements des spectateurs lyonnais sont influencés par les succès de la capitale : les programmations de la Restauration laissent la part belle à l’opéra comique ainsi qu’aux compositeurs de l’Ancien Régime et de l’Empire ; celles de la Monarchie de Juillet se renouvellent avec le grand opéra et s’enrichissent d’ouvrages donnés en version originale et de traductions d’opéras étrangers. Mais, bien que la composition et la réussite des saisons soient largement tributaires de la référence parisienne, il existe une identité des programmations lyonnaises, qui est à chercher dans l’originalité du cadre spécifique que constituent l’économie du Grand Théâtre et les prescriptions de la presse locale
Since the beginning of the First French Empire, all the French artistic creation but a few is controlled by the Parisian theatres. As numerous provincial establishments, the Grand Theatre of Lyon, instead of proposing some local creations, is forced to compose its lyrical programs from the productions of the capital city and to take the Parisian Opéra and Opéra Comique as models.Through the different testimonies found in the newspapers of the period, this study questions the identity of the Grand Theatre’s programs from 1815 to 1848. Considering the representation of the repertory or its reception, the artists’ performances and the Lyon spectators’ judgments are influenced by the Parisian successes: the programs during the Restoration are dominated by the opéra comique but also by the Old Regime and Empire’s composers; those during the July Monarchy renew themselves with the grand opéra and are enriched by works played in original version and by translations of foreign operas. But, even though the composition and the success of the seasons are dependent on the Parisian references, there is a Lyon programs’ identity, which is to be searched for in the originality of the specific frame that form the Grand Theatre’s economy and the recommendations of the local newspapers

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Moser, Heather S. „Silencing the Revelry: An Examination of the Moral Panic in 186 BCE and the Political Implications Accompanying the Persecution of the Bacchic Cult in the Roman Republic“. Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398073604.

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Austin, Marne Leigh. „Nomadic Subjectivity and Muslim Women: A Critical Ethnography of Identities, Cultures, and Discourses“. Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371657565.

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Eren, Buglalilar. „Theatre And Struggle: A Sociological Analysis Of The Political Theatre In Turkey Between 1960-1971“. Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614246/index.pdf.

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This thesis investigates the relationship between the social movement and theatre art in Turkey between 1960 and 1971 and investigates how the development of a dependent capitalism influenced the development of the classes and the political theatre. It tries to reveal the convergences between the political ideology of the classes, their organizations and the aesthetic ideology of the field of cultural production. While doing so it investigates the ties between the ideological and practical aspects of the class struggle, the artists&rsquo
aesthetic views and their relations of production.

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Worms, Manon. „Face à la victime : émergence d’une figure et travail du regard sur les scènes contemporaines“. Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2059.

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La thèse étudie le rapport de la scène théâtrale à une figure devenue centrale dans les sociétés européennes contemporaines : la victime. Appartenant aux fondations de la culture occidentale, des rituels sacrificiels à la figure christique, la victime devient au cours de l’histoire moderne une catégorie juridique, et émerge en tant que subjectivité politique à part entière à la fin du XXe siècle. Elle se trouve alors au fondement d’une nouvelle reconnaissance sociale, qui ouvre des droits à la réparation de la violence subie. La décennie 1990-2000 est prise dans ce « paradigme victimaire ». Il se trouve là une mutation fondamentale de la sensibilité contemporaine quant au regard sur la souffrance, redéfinissant les codifications morales des régimes démocratiques et les perspectives des luttes contestataires et émancipatrices. Cette recherche en Études théâtrales propose d’observer ce mouvement à partir de la scène contemporaine, et de renouveler l'approche de l’histoire récente des spectacles au prisme de cette figure. A partir d’un large corpus de spectacles, textes dramatiques, et initiatives d’artistes de la scène qui marquent le paysage théâtral européen entre 1990 et 2000, la thèse dresse un état des lieux du statut de la victime sur ces scènes, pour déterminer la singularité du théâtre dans l’élaboration de ce nouveau paradigme. Elle explore également en quoi l’hyper-présence scénique de la victime travaille les corps, affecte la façon de regarder et mettre en scène les mécanismes de la violence politique, entraine la pratique du théâtre vers un nouveau rapport au réel et aux régimes du performatif. Ce phénomène génère de nouveaux partages émotionnels, sensibles, et politiques des spectacles. Pour caractériser cette mutation en l'articulant à l'histoire contemporaine, l’analyse des œuvres et la réflexion critique est complétée par des références à des travaux issus des études visuelles et des sciences humaines et sociales
This thesis in Performative Arts explores the theatrical representations of the victim, which has become a central figure in European contemporary societies. Rooted in the foundations of occidental culture, from images of sacrificial rites to the figure of the Christ, the victim has evolved into a judicial category throughout modern history and later on emerged as a specific political subjectivity, in the end of the XXth century. Victims then began to acquire a form of legitimacy, through the social recognition of the violence they endured, as well as the possibility of repairing the harm done. The core of this paradigm is settled in the 1990’s, with a striking shift in public sensitivity and interest regarding experiences of oppression/suffering, thereby redefining democratic regimes and opening new fields of political resistance.This research studies this movement from the point of view of contemporary performative arts. It aims at renewing the recent history of dramatic arts, through the prism of the victim, seen as a figure. Based on a corpus of plays, playwriting, and artistic events that played a significant role between 1993 et 2000 in the European scene, the thesis assesses the figure of the victim in order to define the specific role of Theater in the construction of this new paradigm. The presence of victims on stage affects bodily representation, as well as the ways to stage political violence. It also leads contemporary theater to a new sense of realness, and to an organic link with performative systems. In order to analyze this shift in relation with contemporary history, the analysis of the corpus and of the theoretical framework is put in perspective by various references to other visual studies and social science

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Watson, Donald. „British socialist theatre 1930-1979 : class, politics and dramatic form“. Thesis, University of Hull, 1985. http://hydra.hull.ac.uk/resources/hull:7035.

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The field covered contains the major phases of British socialist theatre between 1930 and 1979. It focuses on the issues raised by the concept of socialist theatre, such as those of class, politics and dramatic form, in order to discuss the relationships between agendas of political tasks, the development of suitable forms for their dramatic expression, and the nature of the audiences which have been attracted. The discussion draws on a range of contemporary sources which include unpublished scripts and other material, together with oral evidence from some practitioners. The historical episodes covered begin with the career of the Workers' Theatre Movement and its successors the Unity Theatres and the Left Book Club Theatre Guild in the 1930s. It then examines how this was continued during the Second World War; and how it was affected by the political and other circumstances of the immediate post-war years. Finally it deals with the revival of socialist theatre in Britain during the 19705. The thesis is intended to contribute to the understanding of the relations between theatre, politics and the labour movement by means of an historical perspective on concrete examples. It examines the extent to which the different examples achieved the objectives they set themselves, and in so doing discusses the circumstances which have made successful socialist theatre possible in Britain during this period.

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Borges, Vera Sandra dos Santos de Sousa. „Uma construção sociológica dos mapas da criação teatral“. Master's thesis, Instituições portuguesas -- ISCTE-Instituto Superior de Ciências do Trabalho e da Empresa -- -Departamento de Sociologia, 1999. http://dited.bn.pt:80/29100.

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Bergman, Blix Stina. „Rehearsing Emotions : The Process of Creating a Role for the Stage“. Doctoral thesis, Stockholms universitet, Sociologiska institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-41021.

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This thesis takes as its starting point the dramaturgical metaphor of the world as a stage, which is used in sociological role theories. These theories often presume what stage acting is about in order to use it as a simile for every day acting. My intention is to investigate how stage actors actually work with their roles, in particular how they work with emotions, and how it affects their private emotions. The thesis draws on participant observation and interviews with actors during the rehearsal phase of two productions at a large theatre in Sweden. The results show that the inhabiting of a role for the stage is more difficult and painstaking than has been assumed in role theories so far. Shame and insecurity are common, particularly in the start up phase of the rehearsals. Interestingly, these emotions do not disappear with growing experience, but instead become recognized and accepted as part of the work process. The primary focus is the interplay between the actors' experience and expression of emotions, often described in terms of surface and deep acting, concepts which are elaborated and put into a process perspective. Analysis of the rehearsal process revealed that actors gradually decouple the privately derived emotional experiences that they use to find their way into their characters from the emotions that they express on the stage. Thus private experiences are converted to professional emotional experiences and expressions, triggered by situational cues. When the experience has been expressed the physical manifestation can be repeated with a weaker base in a simultaneous experience, since the body remembers the expression. It is important though, that the emotional expression is not completely decoupled from a concomitant experience; then the expression looses its vitality. The ability to professionalize emotions makes the transitions in and out of emotions less strenuous but can infiltrate and cause problems in the actors' intimate relations.

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Valipour, Valeska. „La pratique théâtrale dans l’Allemagne de la seconde moitié du dix-huitième siècle (1760 – 1805)“. Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030019/document.

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L’Allemagne du dix-huitième siècle est composée de plus de 300 petits pays se différenciant en ce qui concerne la politique, la religion et la langue. S’y ajoutent des territoires qui ne sont pas allemands, mais sous influence de la culture germanophone.Cette étude analyse alors un territoire qui s’étend de l’Alsace jusqu’en Russie et des pays scandinaves jusqu’en Suisse. Embourbés dans des guerres territoriales, les souverains ne montrent que peu d’intérêt pour le théâtre, et si oui, uniquement pour l’opéra italien et le théâtre français. Au début du siècle, le théâtre professionnel allemand est surtout influencé par le théâtre anglais et un peu par la comédie italienne.Le statut social des acteurs est très mauvais. C’est surtout la bourgeoisie qui se méfie d’eux. A partir des années 1730, sous influence du théâtre français, le théâtre allemand s’émancipe. Dans la seconde moitié du siècle, il devient le moteur del’embourgeoisement de la société. Les actrices se sont beaucoup investies dans cette évolution, non malgré, mais en raison de leur statut social particulièrement mauvais. Longtemps, seules les gender studies se sont intéressées à cette période de l’histoire théâtrale. Une de leurs théories de base définit l’homme et la femme comme deux groupes sociologiques distincts. Cette théorie a été reprise, sans en questionner lavalidité pour l’histoire théâtrale. C’est le point de départ de cette étude, qui compare les vies de plus de 400 actrices et acteurs de l’époque. De nombreux aspects de la vie privée et professionnelle y sont abordés : famille, carrière, finances, situation juridiqueet fréquentations. Ce mémoire démontre que le milieu théâtral de l’époque peut effectivement être divisé en deux groupes : les comédiens ayant grandi au théâtre et ceux y étant arrivés plus tard. En effet, la distinction générale de l’homme et de la femme ne peut être appliquée au théâtre allemand qu’à partir de la fin du dix-huitième siècle
In the 18th century, Germany was composed of more than 300 small states which differed politically, religiously and linguistically. In addition to these, there were non-German territories which were, however, greatly influenced by German culture. As a result, the notion of “Germany” included a territory from Alsace to Russia and from theScandinavian countries to Switzerland. Their rulers were generally preoccupied with battles over dominance. If they devoted any time to theatre it was most likely Italian opera or French theatre. In the beginning of the century, German professional theatre was mainly influenced by English theatre and Italian theatre. The social position of actors was very poor. The bourgeoisie looked on them with particular suspicion.Starting in the 1730s, under French theatre influence, the German theatre started becoming more independent. In the second half of the century, theatre was the driving force behind the embourgeoisement of society. Driven by the desire to improve their low social status, actresses played a leading role in this revolution. For a long time, only gender studies were interested in this part of theatre history. A prominent gender studies theory suggested that men and women were of two different sociological groups. This theory has been accepted without justifying its concurrence with theatre history. That’s the starting point of this work which compares the lives of more than 400 Germana ctresses and actors of the time. Many facets of private and professional life are analysed: family life, career opportunities, finances, legal status and social life. The dissertation shows that the theatrical milieu was already divided into two groups far into the second half of the century: actors who had grown up in theatre and those who came to it later. In fact, the categorical sociological distinction between men and women in German theatre is only justifiable beginning at the end of the 18th century

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Verdet, Bruno. „La crise symbolique du theatre : elements d'une critique sociale, politique et economique de la crise symbolique du theatre en france, a la fin des annees quatre-vingt“. Reims, 1992. http://www.theses.fr/1992REIMD001.

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En depit des efforts accomplis par les pouvoirs publics en faveur du theatre et de sa democratisation, le theatre est, en france, depuis plus de vingt ans, l'objet d'une desaffection et d'une elitisation croissantes. Pour de nombreux observateurs, le declin social du theatre s'accompagne d'une crise symbolique, veritable crise d'identite de l'art theatral dont l'absence quasi-totale de textes dramatiques contemporains dans la creation theatrale de ces trente dernieres annees est le signe le plus marquant. Au-dela des raisons externes a cette crise (avenement des nouveaux medias), l'auteur s'interroge d'une part sur le lien entre le declin social du theatre et l'evolution contemporaine de l'art theatral, et d'autre part sur le role determinant que les pouvoirs publics, par le biais de l'ideologie et de l'economie politique ont, malgre leurs intentions initiales, joue dans la crise symbolique du theatre
In spite of the efforts accomplished by the authorities in favour of theatre and its democratisation, theatre is becoming, in france, for more than twenty years, always more impopular. For many observants, at this social decline of theatre, we must join a symbolic crisis, real identity crisis of the dramatic art. The most significant sign of it is the present lack of dramatic authors. The author of this thesis examines first the external reasons of this crisis (specially the new medias), then the connection between the theatre'social decline and the development of the contemporary dramatic art and finally the role played by the authorities, via ideology, economy and politics in the theatre'symbolic crisis, in spite of their initial purposes

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Yekanians, Soseh. „Creatively Pursuing Persona: Finding identity through directing“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1765.

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This practice-led PhD research is an in-depth exploration into the field of theatre directing. The thesis is presented in three components: an exegesis and a two-part original creative work. Conducted over three phases, the study investigated how a culturally displaced individual (a product of the Armenian diaspora) may find a sense of identity through theatre directing and address the internal struggles of belonging, acceptance and self that are often experienced by those who have confronted cultural unhoming. Embarking on a career in theatre directing, while exciting, can often be a daunting and experimental vocation. Renowned Australian director Gale Edwards (as cited in P. Ward, 1988) suggested that being a director can often be a very difficult job. It is lonely, isolating, you are attacked by critics, and you are responsible if anything goes wrong and forgotten when everything goes right. In contradiction to Edward’s thoughts, evidence shows that within the past decade there has been a growing interest in the vocation of theatre directing. I asked, in a competitive artistic profession that is rapidly developing, what attracts an individual to the authoritative role of the director and what are the underlying motivations of this attraction? The first two stages of the study probed into my incentives as a Persian-Armenian-Australian actor turned director, and then queried the provocations of other theatre directors in a similar predicament. Initial interviews with the directors provided detailed accounts of how they embarked on the profession of theatre directing and insight into their motivations for doing so. The second phase of interviews investigated the director’s role more deeply, focusing primarily and acutely on the activity of directing. The purpose of this phase was to uncover whether, consciously or unconsciously, the activity of directing is a reflection of the individual’s sense of self. The final stage of the study is a creative project that is presented in two parts: a children’s book and an immersive Theatre in Education performance, titled The Special Team Elite. Utilising my creativity as a director and storyteller, these components explored my personal familiarities with cultural prejudice. The significance of this research lies in its innovative approach to the field of theatre directing that addresses cultural effects relating to individuals who have struggled with ethnic identity and displacement. By uncovering that there is more to the role of the director than the mere finality of a production, we can observe that the theatre is a promising setting for cultural exchanges in dialogue and for personal development. Theatre directing as the vehicle for these expansions and progressions of self can potentially address the internal struggles of identity often experienced by those who, in some form, have encountered cultural displacement.

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Klein-Rouquier, Delphine. „La récriture des classiques : Goethe et Schiller dans le théâtre d'Elfriede Jelinek (Ulrike Maria Stuart, FaustIn and out)“. Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20129.

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Depuis ses débuts littéraires, les classiques sont régulièrement convoqués dans l’écriture hautement intertextuelle d’Elfriede Jelinek par le truchement de citations tronquées, disséminées. Sa production dramatique récente est marquée par une confrontation redoublée avec les classiques germanophones, avec de nombreuses récritures produites depuis le milieu des années 2000. Parmi elles, le texte de théâtre Ulrike Maria Stuart (publié en ligne pendant trois jours en 2006, imprimé seulement en 2015) fait écho à la pièce de Friedrich Schiller Marie Stuart, et FaustIn and out (accessible gratuitement sur le site de Jelinek depuis 2011) joue avec l’œuvre « incommensurable » de Goethe, (l’Ur-)Faust. Cette étude effeuille les différentes strates du palimpseste et met au jour les espaces investis par la récriture à travers un parcours balisé, dispositif à entrées multiples permettant de décrire le fonctionnement et les enjeux de la récriture du point de vue de sa production, mais aussi de sa réception, notamment dans les mises en scène. En analysant comment l’espace de la récriture se mue en désécriture et tire profit d’une écriture « seconde » ou mineure (Deleuze), les enjeux macrostructurels, esthétiques et socio-littéraires de ces textes se font jour. La confrontation à la classicité entre en résonance avec le nouveau positionnement de l’autrice au sein du champ littéraire, notamment à travers le processus de classicisation de son oeuvre, influant également sur le destin éditorial singulier des œuvres de notre corpus
Since her literary debut, the classics have regularly surfaced in the highly intertextual writing of Elfriede Jelinek by means of fragmentary and fleeting citations. Her recent dramatic productions are marked by an ever greater confrontation with the Germanic classics, with numerous rewritings produced since the mid-2000s. Among these, the play Ulrike Maria Stuart (published online over three days in 2006 and only published in print in 2015) echoes Friedrich Schiller’s play Marie Stuart, while FaustIn and out (accessible free of charge on Jelinek’s website since 2011) toys with the “immeasurable” work of Goethe, (Ur-)Faust. This study unravels the different strata of the palimpsest and revises the spaces occupied by rewriting through a well-defined path, an approach with multiple entry points that allows the functioning and issues of rewriting to be described from the perspective of both its production and its reception, notably in form of dramatization. By analysing how the space of rewriting evolves into a sort of unwriting and takes advantage of “secondary” or minor (Deleuze) writing, the macrostructural, aesthetic, and socio-literary stakes of these texts emerge. The confrontation with classicity resonates with the new positioning of the author within the literary field, especially through the process of the classicisation of her works, and influences the uncommon editorial approach framing the works of the corpus under investigation

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Guimarães, Natália [UNESP]. „Cia. Artehúmus de Teatro: as raízes sociais e poéticas da fertilidade artística“. Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141517.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esta pesquisa propõe uma análise das referências estéticas das práticas teatrais da Cia. Artehúmus de Teatro, grupo paulista fundado em 1987. Nas pegadas do teatro contemporâneo, esta companhia teatral mobiliza múltiplos elementos estéticos ao longo de uma experiência artística que dá a mesma importância a todas as etapas do processo criativo. Diante de tamanha pluralidade, a pesquisa aqui projetada mobiliza um instrumento metodológico também plural – a “crítica genética” – que se notabiliza por desvelar a gênese criativa da obra artística ao invés de se prender ao espetáculo finalizado. Contudo, como a “crítica genética” ainda se prende a um referencial exclusivamente estético e, considerando que nenhuma obra vaga num vácuo social, esta pesquisa também propõe a “sociologização” do processo criativo, isto é, propõe desvelar as escolhas estéticas que engendram a obra, conectando-as às raízes sociais dos artistas e do grupo. Em suma, se o espetáculo final é um ponto de condensação da experiência criativa, esta, por sua vez, é a condensação das múltiplas experiências sociais dos artistas envolvidos no processo criativo.
This research suggests an analysis of the aesthetic references of the theatrical practices of Cia. Artehúmus de Teatro, a theatre company founded in São Paulo in 1987. Following the paths of contemporary theatre, this company has applied several aesthetic elements throughout its history based on giving equal importance to each stage of the creative process. In order to address such a wide variety, the present research employs an equally plural methodological instrument – the ‘genetic criticism’ – known to be effective in unveiling the creative genesis of a work of art, instead of simply evaluating the final performance. Nevertheless, once the ‘genetic criticism’ grantedly focus on a merely aesthetic referential and considering that no work of art operates in a social vaccum, this research also proposes a deeper look over the social roots of the artists and their work, in order to understand their aesthetic choices. In a nutshell, if we consider the final performance to be the ‘condensation point’ of a creative experience, this last one is the epitome of multiple social experiences lived by each and every artist involved in the creative process.

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Erenrich, Susan J. „Rhythms of Rebellion: Artists Creating Dangerously for Social Change“. Antioch University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1286560130.

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Cepitelli, Thomas. „L'interprétation par les publics des rôles de l'homosexuel masculin dans le théâtre en France au XXème siècle“. Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30022.

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Résumé en français Le personnage homosexuel masculin dans le théâtre en France au cours du XXème siècle a singulièrement évolué. Nous analyserons d’une part, les typologies de ce personnage, à travers huit pièces. D’autre part, pour chacune d’entre elles, nous verrons comment la presse et les publics ont interprété ces personnages. Nous verrons comment, au delà de la forme théâtrale, c’est tout un discours sur les homosexuels qui est donné à voir et qui vient par là interroger les rapports entre le théâtre et la société. Dans la première partie de notre présente étude nous avons présenté le personnage homosexuel dans trois pièces, de facture différente, mais qui donnent toutes les trois à voir une figure de solitaire : Le Monsieur aux Chrysanthèmes, Armory, Un Taciturne de Roger Martin du Gard er Adam de Marcel Achard.. Il est solitaire car emmuré dans une tradition qui le condamne pour son désir alors même qu’il est resté inassouvi. L’homosexualité serait donc la marque d’un esprit faible, qui ne sait pas taire ses penchants et ne s’y employant pas suffisamment bien, se suicide.La deuxième partie de notre travail s’est penchée sur le personnage homosexuel présenté comme source de comique. Il s’agira le plus souvent de montrer que le rire qu’il suscite est une autre forme de condamnation par la société. Il s’agit alors d’un mode mineur, moins violent apparemment, mais tout aussi significatif d’un regard porté par la société sur les homosexuels. Cette partie est centrée sur les pièces d’Edouard Bourdet, La Fleur des Pois, d’André Roussin, Les Œufs de l’Autruche et enfin de Jean Poiret, La Cage aux folles. Le personnage homosexuel fait rire car il est incapable de se conformer à ce que la société, implicitement, attend de lui. Un homme doit, naturellement aimer les femmes, être viril, masculin, maîtriser ses sentiments et ses émotions, ne pas pleurer. Dans notre dernière partie, apparaîtra, pour la première fois, une réappropriation qui va se faire par les homosexuels eux mêmes et, de ce fait, ouvrir la voie à d’autres artistes qui ne parleront pas à la place des homosexuels. Au contraire, naîtront des formes qui seront revendiquées comme étant écrites par des homosexuels. C’est le cas avec les deux dernières pièces que nous avons réunies dans notre corpus : Angels in America de Tony Kushner et Le Pays Lointain de Jean-Luc Lagarce. Elles évoquent, de manière plus directe pour la première, l’épidémie de SIDA dans les années 1980 et 1990 au sein de la communauté homosexuelle
In the XXth century, in French theatre, the gay male character has remarkably changed. We will analyse on one hand the character typologies across eight plays. One the other hand, for each of the plays we will see how the public and the press interpreted these characters. We will see, above the theatrical form, how it finally is a speech on homosexual that is given and that comes and asks the links that are between theatre and society.In the first part of our study we introduced, the gay male character in three plays, with different styles but the three of them will give a solitary figure : Le Monsieur aux Chrysanthèmes of Armory, Un taciturne of Roger Martin and Adam of Marcel Achard. It is a solitary character because it is walled in a tradition that condemns it for its own desire where it is already unfulfilled. Homosexuality will then be seen as the mark of a weak spirit, that can not shut its inclinations and when it’s too obvious the character will commit suicide.The second part of our work underlines gay male character seen as a comic part. The point will show how the character generates laughter, and so, it does prove society condemnation. It is a minor mode indeed, apparently less violent, but it just shows how society sees homosexuals, in an other way . This part will be focused on 3 plays : La Fleur des Pois of Edouard Bourdet,, Les Oeufs de l’Autruche of André Roussi and La Cage aux folles of Jean Poiret. The homosexual character does make laugh because it is unable to conform to what society really expects from him. A man has to love a woman, be manly, masculine, he has to master his feelings and not cry.In our last part will appear for the first time, an acquisition of homosexual signs. Thanks to that other artists will not talk instead of homosexuals. On the contrary, some forms will be born and they will be claimed as written by homosexuals. It is the case in the last two plays we gathered in our corpus: Angels in America of Tony Kushner and Le Pays Lointain of Jean-Luc Lagarce. They both talk, in a more direct way, of the AIDS epidemic in the 80’s and 90’s among the homosexual community

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Laastad, Dyvik Synne. „Performing gender in the 'theatre of war' : embodying the invasion, counterinsurgency and exit strategy in Afghanistan“. Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/46848/.

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This thesis offers a critical feminist reading of the war in Afghanistan, from invasion, through the practice of counterinsurgency, to the training of the Afghan National Army as a central part of NATO's exit strategy. Empirically it focuses on the discourses, policies and practices of the US and Norwegian militaries in Afghanistan. It draws on a range of material including military doctrine and policy, parliamentary discussions, public policy documents, interviews, political statements and soldiers' memoirs. Deploying the theoretical framework of performative gender with an emphasis on embodiment, it shows how particular gendered bodies are called into being and how the distinct practices of war in Afghanistan produce and rely on a series of multiple, fluid and, at times, contradictory performances of masculinity and femininity. It demonstrates how gendered performances should not be considered superfluous, but rather integral to the practices of war. It illustrates this, first, by examining the production of the (in) visible ‘body in the burqa' alongside the ‘protective masculinity' of Western politicians in the legitimation of the invasion; second, through the ‘soldier-‐scholars', ‘warriors' and the Female Engagement Teams (FETs) in practices of ‘population‐centric' counterinsurgency, examining the ways in which counterinsurgency is a gendered and embodied practice; and third, through the remaking of the fledgling Afghan National Army (ANA) recruits in the NATO exit strategy. The thesis furthers feminist studies on gender and war in International Relations by emphasising the multiplicity of gendered bodies and performances by problematizing singular notions of masculinity and femininity. It contributes to existing literature that reads the war in Afghanistan as a neocolonial and biopolitical practice, enhancing these readings by paying attention to the gendering of bodies and their performances, thereby expanding critical investigations into late modern ways of war and counterinsurgency.

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Keidan, Joshua. „Learning, Improvisation, and Identity Expansion in Innovative Organizations“. University of Toledo / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1586874155982614.

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Gurgel, Izabel Rosa Barbosa. „Um vazio me chama da praÃa ao porÃo, uma experiÃncia de invenÃÃo de pÃblico no Theatro JosÃ de Alencar?: estudo de caso do Projeto PorÃo“. Universidade Federal do CearÃ, 2004. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=19746.

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nÃo hÃ
Uma cartografia do Projeto PorÃo, realizado no Theatro JosÃ de Alencar, em Fortaleza, no perÃodo de maio de 2001 a dezembro de 2002. Objetiva problematizar a noÃÃo de pÃblico com a qual se opera no campo da produÃÃo cultural. Para alÃm do pÃblico como demanda a ser atendida, um alvo a ser atingido. Opera na perspectiva de que pÃblico Ã uma construÃÃo social. PÃblico Ã criado, inventado, produzido. A relaÃÃo que subjaz Ã esta perspectiva Ã a de teatro e processos de subjetivaÃÃo. Como um programa de formaÃÃo de platÃia, desenvolvida por uma instituiÃÃo cultural de carÃter pÃblico, governamental, pode instaurar prÃticas sociais vitalizadoras? A indagaÃÃo conduz a pesquisa empÃrica, realizada ao longo da vigÃncia do projeto. Perpassa o diÃlogo com a sociologia de Pierre Bourdieu, com Ãnfase na compreensÃo do aprendizado pelo corpo. A compreensÃo de subjetividade como processo social, como eminentemente gestada no social, vem de Deleuze-Guattari. Aponta para uma compreensÃo de pÃblico no Ãmbito da produÃÃo. Uma compreensÃo que atribui ao pÃblico o papel de artista, criador de novas demandas, agente social da permanente invenÃÃo da vida.
A cartography of the PorÃo Project, held at the Theatro JosÃ de Alencar, in Fortaleza, from May 2001 to December 2002. It aims to problematize the notion of the public with which it operates in the field of cultural production. Beyond the public As a demand to be served, a target to be reached. It operates in the perspective of which public is a social construction. Public is created, invented, produced. The relationship that underlies this perspective is that of theater and processes of subjectivation. As an audience-building program, developed by a cultural institution of Public, governmental, can establish vital social practices? The inquiry leads to empirical research, conducted over the life of the project. It permeates the dialogue with the sociology of Pierre Bourdieu, with an emphasis on the understanding of learning by the body. The understanding of subjectivity as a social process, as eminently gestated in the social, comes from Deleuze-Guattari. It points to an understanding of the public in the field of production. An understanding that Public the role of artist, creator of new demands, social agent of the permanent invention of life.

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Haenisch, Dayana. „Ensino de ciência no acolhimento institucional: a ciência no polo“. Universidade Tecnológica Federal do Paraná, 2016. http://repositorio.utfpr.edu.br/jspui/handle/1/2306.

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Acompanha: Proposta pedagógica crítica: articulação entre o teatro do oprimido e o ensino de ciência
Este estudo foi motivado em torno da seguinte inquietação, como o ensino de ciências, em uma perspectiva crítico-problematizadora, no serviço de acolhimento institucional, pode contribuir para a formação científica e educacional de adolescentes em condição de vulnerabilidade? Essa questão tem por objetivo geral analisar a contribuição do ensino de ciências desenvolvido em ambiente de acolhimento institucional, em uma perspectiva crítico-problematizadora freireana, para a promoção do conhecimento científico às adolescentes acolhidas e identificando como o processo de significação conscientizadora, do qual as acolhidas são autoras, colabora para a sua transformação individual e social. A presente investigação busca auxiliar significativamente na preparação e na formação das adolescentes para sua autonomia ao chegarem aos dezoito anos, essa ação educacional vem promover o conhecimento científico, a partir do acesso ao ensino de ciências no acolhimento institucional, como também, apoiá-las no processo de ruptura do ciclo de violência na história de suas vidas. Nessa perspectiva, a pesquisa é embasada na educação problematizadora e transformadora com pressupostos freireanos, com as contribuições da Pedagogia do Oprimido. Como procedimentos metodológicos da pesquisa-ação, utiliza-se o desenvolvimento de duas das técnicas, sendo o Teatro Imagem e o Teatro Fórum, do método teatral conhecido por Teatro do Oprimido, criado por Augusto Boal. Posteriormente, articula-se a promoção do conhecimento científico pautado nos Momentos Pedagógicos, referenciados por Delizoicov, Angotti e Pernambuco. Para analisar os dados e informações trazidos pela pesquisa de campo se recorre à Análise Textual Discursiva, considerando a audiogravação realizada em cada encontro com as adolescentes, destacando-se as categorias a priori e as emergentes manifestadas no estudo. Concluindo com a apresentação dos resultados, nos quais foi possível verificar a contribuição do ensino de ciências, em espaço de educação não formal, como também identificar o processo de significação conscientizadora, em que notou-se a presença da consciência crítica ao final do percurso da pesquisa de campo.
This study was motivated by the following disquiet, how can teaching science, in a critical-problematizing perspective, in the institutional reception service, contribute to the scientific and educational formation of vulnerable adolescents? The general objective of this question is to analyze the contribution of science education developed in an institutional reception environment, in a Freirean critical-problematizing perspective, for the promotion of scientific knowledge to the adolescents and identifying as the process of meaningful awareness, of which the receptions Are authors, collaborates for their individual and social transformation. The present research seeks to help significantly in the preparation and training of adolescents for their autonomy when they reach the age of eighteen, this educational action promotes scientific knowledge, based on access to science education in the institutional reception, as well as support them in the Process of breaking the cycle of violence in the history of their lives. From this perspective, the research is based on problematizing and transformative education with Freirean presuppositions, with the contributions of the Pedagogy of the Oppressed. As methodological procedures of the action research, the development of two of the techniques, being the Image Theater and the Theater Forum, of the theatrical method known as Theater of the Oppressed, created by Augusto Boal. Subsequently, articulates the promotion of scientific knowledge based on the Pedagogical Moments, referenced by Delizoicov, Angotti and Pernambuco. In order to analyze the data and information brought by the field research, we use the Discursive Textual Analysis, considering the audio-recording performed in each encounter with the adolescents, highlighting the a priori and emerging categories manifested in the study. Concluding with the presentation of the results, in which it was possible to verify the contribution of science teaching in a non-formal education space, as well as to identify the process of awareness-raising meaning, in which the presence of critical awareness was noticed at the end of the course field research.

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Masegosa, Gayo Fabiola Sofía. „La vida teatral a Andorra de 1900 a 1970“. Doctoral thesis, Universitat de Lleida, 2017. http://hdl.handle.net/10803/668334.

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La vida teatral a Andorra de 1900 a 1970 estudia el teatre a Andorra des dels seus inicis populars fins a l’aparició del teatre comercial, a partir de 1960, amb l'auge del Casal del Centre. A partir dels anys cinquanta comencen les produccions d’autors andorrans. La tesi té dues vessants. La històrico-sociològica centrada en les representacions teatrals que es posen en escena a Andorra durant aquells anys. I la folklòrico-literària on s’analitzen les obres pròpiament andorranes, entre les quals destaca la producció d’Esteve Albert. Com a conclusió, durant el període 1900 – 1970, es constata que el teatre andorrà és popular i en català, lligat a les festes de Nadal i Carnaval i a l’entorn pirinenc. Malgrat les nombroses representacions d’obres còmiques (la major part de les quals són realistes i de dramaturgs catalans) el substrat escènic folklòric i muntanyenc (com el dels balls de l’óssa) predomina.
La vida teatral en Andorra de 1900 a 1970 estudia el teatro en Andorra desde sus inicios populares hasta la aparición del teatro comercial, a partir de 1960, con el auge del Casal del Centre. A partir de los años cincuenta comienzan las producciones de autores andorranos. La tesis tiene dos vertientes. La histórico-sociológica centrada en las representaciones teatrales que se ponen en escena en Andorra durante aquellos años. Y la folclórica-literaria donde se analizan las obras propiamente andorranas, entre las que destaca la producción de Esteve Albert. Como conclusión, durante el periodo 1900 - 1970, se constata que el teatro andorrano es popular y en catalán, ligado a las fiestas de Navidad y Carnaval y en el entorno pirenaico. A pesar de las numerosas representaciones de obras cómicas (la mayor parte de las cuales son realistas y de dramaturgos catalanes) el sustrato escénico folclórico y montañoso (como el de los bailes de la osa) predomina.
Theatrical life in Andorra from 1900 to 1970 studies the theater in Andorra from its popular beginnings until the appearance of the commercial theater, from 1960, with the rise of the Casal del Centre. Beginning in the 1950s, the productions of Andorran authors began. And the folkloric-literary where the Andorran works are analyzed, among which the production of Esteve Albert stands out. As a conclusion, during the period 1900 - 1970, it's observed that the Andorran theater is popular and in Catalan, linked to the Christmas and Carnival parties and in the Pyrenean environment. The thesis has two aspects. The historical-sociological centered on the theatrical performances that are put on stage in Andorra during those years. In spite of the numerous representations of comic theatrical works (most of which are realistic and of Catalan playwrights) the folkloric and mountainous scenic substrate (like the one of the dances of the bear) predominates.

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Silva, Amanda Costa da. „Era uma vez um cinema: o caso do Cine-Theatro Independência e os mecanismos de preservação do patrimônio de Santa Maria (RS)“. Universidade Federal de Pelotas, 2013. http://repositorio.ufpel.edu.br/handle/ri/1044.

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The central objective of this essay was to reflect about the Cine-Theatro Independência s process of tipping, at Santa Maria (RS), discussing the conflicts related to heritage preservation and memorials choices. This place was inaugurated in 1922 in the central square of the city. Throughout more than 70 years, it staged performances, meetings and reunions gatherings, besides daily views of movies. Although Santa Maria have other great representation spaces for the cultural scene of the city, Cine Independência was the only movie theater in town that went through a process of tipping. This process, however, went so nebulous and seemingly confused. Currently, the space is mischaracterized and houses the Popular Shopping of Santa Maria. Therefore, this study aimed to identify, from the site's history and the process of tipping, elements that were crucial to the well reached the current situation, performing a reflection on the conflicts that underlie this process. For this, a literature has developed in relation the city's history, its cultu ral spaces and Cine Independência, contextualizing with other major cities of the state, as preservationists regarding public policies and memory and heritage concepts. In addition, it was searched documentation linked to this process of tipping, as well, along with the city archives, images and articles published in journals. Finally, if conducted an interview with former mayor of Santa Maria, seeking thus to better understand how this process took place and the constitution of the Popular Shopping of Santa Maria
O objetivo central dessa pesquisa foi refletir sobre o processo de tombamento do prédio que abrigou o Cine-Theatro Independência, em Santa Maria (RS), debatendo os conflitos referentes à preservação do patrimônio e às escolhas memoriais. O espaço foi inaugurado em 1922, na praça central da cidade. Ao longo de seus mais de 70 anos, foi palco de apresentações artísticas, encontros e reuniões sociais, além das exibições diárias de filmes. Apesar de Santa Maria possuir outros espaços de grande representatividade para o cenário cultural do município, o Cine Independência foi o único cine-teatro da cidade que passou por um processo de tombamento. Esse processo, entretanto, transcorreu de forma nebulosa e aparentemente confusa. Atualmente, o espaço está descaracterizado e abriga o Shopping Popular de Santa Maria. Dessa forma, esse trabalho buscou identificar, a partir do histórico do local e do processo de tombamento, que elementos foram decisivos para que o bem chegasse à atual situação, realizando uma reflexão sobre os conflitos que permeiam esse processo. Para isso, se desenvolveu uma pesquisa bibliográfica tanto em relação à história da cidade, seus espaços culturais e o Cine Independência, contextualizando com outras importantes cidades do estado, quanto referente às políticas públicas preservacionistas e aos conceitos de memória e patrimônio. Além disso, se buscou a documentação ligada a esse processo de tombamento, bem como, junto a acervos da cidade, imagens e matérias publicadas em periódicos. Por fim, se realizou uma entrevista com o ex-prefeito de Santa Maria, buscando, assim, compreender melhor de que forma se deu esse processo e a constituição do Shopping Popular de Santa Maria

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Fontes, Carlos Henrique Lisboa. „Ci?ncia como montagem, montagem como ci?ncia“. Universidade Federal do Rio Grande do Norte, 2006. http://repositorio.ufrn.br:8080/jspui/handle/123456789/13752.

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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
The thesis describes parallel possibilities between the knowledge built in theatre and in Science. The narrative is constructed through a reflexive observation of the process of making a threatical play, specifically O Tempo da Chuva by Grupo Beira de Teatro , in analogy to the process of making a scientific theory, specifically the one described by Werner Heisenberg in his book Physics and Beyond: encounters and conversations . It sets a dialog with authors/actors from various areas of knowledge, such as Edgar Morin, Werner Heisenberg, Ren? Descartes, Paul Feyerabend, Paul Caro, Juremir Machado da Silva, Maria da Concei??o de Almeida, Renato Ferracini, among others. It discusses the hypothesis that Science is the process of building and the theatrical process of building a play can also be systematized, likewise science. The thesis defends, as the complexities science may suggest, a method as a strategy. Developed throughout the process, such method could only be verified at the end, when the elements of the setting of atomic physics theories and theatre were correlated. Questions such as: the place of theatre and science in our contemporary society and the political and ethical role of artists and scientists are at the episthemological basis of this narrative which we have started, but it is not even close to a conclusion
A disserta??o narra poss?veis paralelos entre os saberes do teatro e da ci?ncia. A narrativa ? constru?da a partir de uma reflex?o do processo de montagem do espet?culo teatral O Tempo da Chuva do Grupo Beira de Teatro, em analogia ao processo de constru??o de uma teoria cient?fica, descrita por Werner Heisenberg em seu livro A Parte e o Todo . Tem como interlocutores autores/atores de v?rias ?reas do conhecimento, como Edgar Morin, Werner Heisenberg, Ren? Descartes, Paul Feyerabend, Paul Caro, Juremir Machado da Silva, Maria da Concei??o de Almeida, Renato Ferracini, entre outros. Discute a hip?tese de que ci?ncia ? montagem e de que uma montagem teatral tamb?m pode ser sistematizada, a exemplo da ci?ncia. A disserta??o defende, como sugerem as ci?ncias da complexidade, o m?todo como estrat?gia. Criado no processo, esse m?todo s? pode ser verificado ao final, quando os elementos de montagem das teorias da f?sica at?mica e do teatro foram interrelacionados. Questionamentos como: o lugar do teatro e da ci?ncia na sociedade sobremoderna e o papel pol?tico e ?tico dos artistas e dos cientistas est?o na base epistemol?gica desta narrativa que aqui come?amos, mas que nem de longe est? perto de uma conclus?o

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PIZZETTI, BARBARA. „LE ATTIVITA' DI TEATRO NEL SISTEMA CARCERARIO ITALIANO: QUAL PROCESSO DI ISTITUZIONALIZZAZIONE?“ Doctoral thesis, Università Cattolica del Sacro Cuore, 2022. http://hdl.handle.net/10280/123045.

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La tesi si inserisce nel filone di studi della Sociologia del Carcere ed ha come oggetto di indagine il processo di ‘incorporazione’ delle attività teatrali all’interno della funzione rieducativa della prigione, vista attraverso i diversi ruoli istituzionali. Sullo sfondo di una più ampia ricostruzione del dibattito sociologico sulle teorie e le funzioni della pena quale costruzione sociale culturalmente e storicamente determinata, nonché delle dinamiche di carcerizzazione che connotano il sistema penitenziario attuale − con particolare riferimento al contesto italiano − la pratica teatrale, quale strumento di riabilitazione e reinserimento sociale dei detenuti, viene esplorata nella sua evoluzione storica e nelle sue molteplici implicazioni sociologiche. L’analisi dei materiali empirici raccolti in 12 istituti della Lombardia e dell’Emilia Romagna attraverso lo strumento dell’intervista semistrutturata, in riferimento ai livelli di interazione tra teatro e carcere individuati come macro (rappresentanti istituzionali: direttori, comandanti, funzionari giuridico-pedagogici), meso (operatori teatrali) e micro (detenuti beneficiari dell’attività) evidenzia le ricadute, le potenzialità, le criticità del processo di istituzionalizzazione; le resistenze messe in atto dal personale penitenziario; il senso di estraneità ed i rischi di assimilazione degli operatori esterni; le opportunità di cambiamento personale e relazionale che l’attività teatrale offe alle persone ristrette in relazione al proprio percorso rieducativo.
The thesis ranks among the studies of the Sociology of prison and has as its object of investigation the process of 'incorporation' of theatrical activities within the re-educational function of the prison, seen through the different institutional roles. On the background of a broader reconstruction of the sociological debate on the theories and functions of punishment as a culturally and historically determined social construction, as well as of the dynamics of imprisonment that characterize the current penitentiary system – with particular reference to the Italian context – theatre, as a tool for rehabilitation and social reintegration of prisoners, is explored in its historical evolution and in its multiple sociological implications. The analysis of empirical materials collected in 12 institutes in Lombardia and Emilia Romagna through semi-structured interviews, with reference to the levels of interaction between theatre and prison identified as macro (institutional representatives: directors, commandants, educationalists), meso (theatre operators) and micro (prisoners) highlights the repercussions, potential, critical aspects of the institutionalization process; the resistance put in place by prison staff; the sense of extraneousness and the risks of assimilation of external operators; the opportunities for personal and relational change that theatre offers to restricted people in relation to their re-education.

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Soto, Aisha M. „Through the Eyes of the Homeless“. ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1946.

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When reviewing the entire project from start to completion, I can honestly say, Through the Eyes of the Homeless is a play about ten women and their plight. It illustrates their dealings with everyday issues of hurt, disappointment, abuse, love, and hope. I believe the true impact of this play is the undeniable prayer for help and hope within each monologue. Despite the horrors that are unveiled and released through hidden secrets, the undertone of betterment is truly resonating. My own expectation for this play is simply to strike awareness and understanding in the eyes of the people. It is my objective to have each audience member leave the show with a completely different perspective on homelessness. Homelessness seems to be one of those taboo societal problems the world chooses to turn away from because of lack of awareness. I believe it is fear of the unknown that keeps us blind, deaf, and dumb about certain issues. After all is said and done, I am simply asking anyone who reads this play, watches it, or hears it to listen to each voice carefully and the message it conveys.

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Foisil, Marylène Nadia. „Le corps : instrument du comédien : gestuelle et mimesis, empreintes et vecteurs socioculturels et historiques“. Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG043.

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Le jeu est dans la comédie sociale et le comédien le transporte sur la scène. Les rôles dépendent de la structure de la société, de la place de l’acteur et de son individualité. Ils évoluent selon des facteurs extérieurs et intérieurs à l’humain. Certains acteurs s’approprient plus facilement leur rôle que d’autres, s’en défont pour en jouer un nouveau avec une aisance surprenante. Ils naviguent au sein de la société, épousent gestuelle et discours de chaque classe, abandonnent un costume pour en revêtir un autre. Ils s’engagent dans une nouvelle partie du jeu social, alors que d’autres n’en maîtrisent qu’une. Leur latitude est plus restreinte. Le théâtre est le domaine qui érige ce jeu des rôles en profession. Dès lors, l’interrogation sur la latitude du comédien à jouer requiert une contextualisation et appelle la question de l’inné et de l’acquis. L’humain joue-t-il d’emblée ou apprend-il à jouer et dans ce cas quelles étapes jalonnent cette formation? En tout premier lieu, le cadre afférent au théâtre dont nous parlons, à la société où il se développe et au corps qu’il met en jeu est posé. Ensuite, par une recherche théorico-empirique le corps est désarticulé et étudié dans ses dimensions anthropologique, anatomophysiologique, scénique. Par la suite, dans la sphère du corps en mouvement, le corps est exploré selon un processus de déconstruction-reconstruction par un aller-retour de la scène au quotidien menant vers une anthropologie théâtrale et un théâtre anthropologique. Enfin, le comédien est réintégré au coeur du corps social, dont il est membre, qu’il crée et qui le crée
Theatrical play is present in everyday life and the actor recreates it on stage. The roles played depend on the social structure, the actor and his or her individuality. They evolve according to interior and exterior human factors. Some actors take on a role more easily than others, then let it go in order to play a new one with surprising ease. They move through society, melding gestures and speech patterns of each social class, dropping one costume for another. They are involved in a new part of the social game, while others only perfect one. The latter’s scope is more limited. The theatre is the arena that creates professional role players. Therefore, the examination of the scope of the actor requires a context and asks about what is innate and what is acquired. Does the human play impulsively or learn to play and if so, what are the steps in this training? First, the context and framework concerning the theatre, the society where it develops and the body type of actors is posited. Following a theoretical and empirical approach, the body is analysed and the anthropological, anatomical, and scenic dimensions are explored. Next, the body in movement is investigated according to a deconstruction-reconstruction process alternating between the stage and everyday life, leading to a theatrical anthropology and an anthropological theatre. Finally, in the last part of the research the actor is reintegrated into the heart of society, to which he belongs, that he creates and by which he is influenced
Das Spiel existiert in der sozialen Komödie und der Schauspieler bringt es auf die Bühne. Die Rollen hängen von der sozialen Struktur ab, von dem Platz des Schauspielers in der Gesellschaft und seiner Individualität. Sie entwickeln sich nach den äußeren und inneren Faktoren des Menschen. Einige Schauspieler eignen sich ihre Rollen leichter an als andere,befreien sich von einer Rolle um eine neue mit einer überraschenden Leichtigkeit zu spielen. Sie tauchen in die Tiefe der Gesellschaft ein, und übernehmen Gestik und Rede jeder Schicht, lassen ein Kostüm zurück um sich mit einem anderen zu kleiden. Sie engagieren sich in einer neuen Partie des Gesellschaftsspiels, während andere nur eine beherrschen. Deren Handlungsspielraum ist eingeschränkter. Das Theater ist der Bereich, der dieses Spielzum Beruf macht. Folglich erfordert die Frage nach dem Handlungsspielraum des Schauspielers eine Kontextbildung und wirft die Frage nach Angeborenem und Erworbenen auf. Spielt der Mensch aus eigenem Anlass oder lernt er zu spielen und welche Etappenmarkieren diese Ausbildung? Zuerst setzen wir die Rahmenbedingungen dieser theaterbezogenen Recherche fest: Umwelches Theater handelt es sich? In welcher Gesellschaft entwickelt es sich? Und welche/was für Körper wurden inszeniert? Dieser Körper wird sodann durch eine theoretische undempirische Forschung desartikuliert und in seinen anthropologischen,anatonomophysiologischen und szenischen Dimensionen erforscht. Durch einen Prozess der Dekonstruktion-Konstruktion vom alltäglichen Leben zur Bühne und vice versa wird der Körper erkundet. Daraus entsteht eine Theater Anthropologie und ein anthropologisches Theater. Zuletzt wird der Schauspieler in den sozialen Körper - dessen Mitglied er ist, den er kreiert und der ihn neuerschöpft - wieder integriert

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Thiébot, Emmanuelle. „Dramaturg(i)es du conflit israélo-palestinien en France : entre assignations identitaires et résistances“. Thesis, Normandie, 2019. http://www.theses.fr/2019NORMC035.

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Quelques critiques universitaires ont été écrites sur des spectacles récents prenant pour thématique le conflit israélo-palestinien, mais il n’existe pas d’étude d’ensemble à ce sujet. Par ailleurs, depuis le début des années 2000, plusieurs recherches se sont attachées à préciser les relations qu’entretiennent le théâtre et la politique. Cette thèse vise à approfondir cette réflexion à partir des transferts culturels d’œuvres israéliennes et palestiniennes vers la France, des années 1970 à nos jours.Pour ce faire la méthodologie mise en œuvre articule historiographie du théâtre, histoire des représentations théâtrales et étude du champ de production culturelle en diachronie. Elle a permis de mettre en évidence la persistance de l’Orientalisme renforcé par le déphasage historique entre la France et Israël et l’inégal développement entre la France et la Palestine. La représentation théâtrale peut offrir un espace de résistance aux assignations identitaires subies par les artistes d’Israël et de Palestine, ou bien reproduire les rapports de domination lisibles à travers le degré de légitimité des dramaturg(i)es. La thèse rappelle la complexité des rapports de domination qui ne sont pas réductibles au racisme ou à un « choc de civilisations » mais relèvent d’une hégémonie culturelle entretenue par les institutions théâtrales et universitaires, et critiques dramatiques. Ces instances de légitimation sont analysées ici en tant que productrices d’un discours idéologique dont l’étude remet en question la posture de neutralité qui accompagne l’autonomie de l’art
In a limited scope, academic critiques have been written on recent productions on the theme of the Israeli-Palestinian conflict, still there exists no comprehensive study on the subject. Additionally, several studies have focused on clarifying the relationship between theatre and politics since the early 2000s. The thesis aims to expand on this line of thought, deriving from cultural transfers of Israeli and Palestinian works to France, from the 1970s to the present day.The methodology implemented articulates theatre historiography, history of theatrical performances and the study of the cultural production field in diachrony. The methodology allowed for the highlighting of the persistence of Orientalism, reinforced by the historic phase-shift between France and Israel and the unequal development between France and Palestine. The theatrical performance can either offer a space of resistance to the identity assignements suffered by artists from Israel and Palestine, or can reproduce domination relations that are legible through the degree of legitimacy of the theatre performances and performers. The thesis evokes the complexity of relations of dominance that are not reducible to racism or a "clash of civilizations" but are a cultural hegemony maintained by theatrical and academic institutions, and drama reviewer. These instances of legitimation are analyzed here as producers of an ideological discourse, the study of which challenges the posture of neutrality that accompanies the autonomy of art

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Dissertationen zum Thema „Sociology of theater“

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