Dissertations / Theses on the topic 'Actress'
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Droney, Lorraine Michelle. "The eighteenth-century actress : gender and agency." Thesis, University of Hull, 2014. http://hydra.hull.ac.uk/resources/hull:10544.
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Actresses epitomized the pluralism of the female gender, exposing the variable images of women in their performances, painted images and in literature narrating the histories of performing women. The classification of actresses as either virtuous or immoral was not unique to professional actors and was suffered by women of all classes. And yet, with the theatrical stage as a platform to either conform or challenge conventional gender constructions, actresses possessed exclusive access to the public where they could establish alternative images of femininity. This thesis examines the methods used by actresses in exerting their influence, but also identifies the abuses actresses endured that were distinctive to their profession. Their ability to mimic the manners and fashions of the upper classes and the acceptance of actresses into elite company, demonstrated the changeable nature of what individuals viewed as class identity. The transience of successful actresses in elevating their social status, posed a threat to social hierarchy that was founded on patriarchal authority. However, in appearing to conform to prescribed gender roles that placed women as the subordinates of men, actresses manipulated their identities to complement the public’s attitude. The changeable nature of class identity juxtaposed the capriciousness of female representations, with descriptions of actresses varying from admirable women who were admitted into upper class society, to images of unworthy and immoral seductresses from the lower classes. Virtue once lost was not irreversible and the exploitation of this knowledge by actresses is discussed in relation to the increased visibility of businesswomen who utilised their ambiguous sexuality for career progression. Actresses throughout the eighteenth century were influential public figures, but the agency of the more successful performers aided in the construction of femininity that related to a broader spectrum of women.
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Leask, Margaret. "Lena Ashwell, 1869-1957 'actress, patriot, pioneer' /." Connect to full text, 2000. http://hdl.handle.net/2123/360.
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Thesis (Ph. D.)--University of Sydney, 2001.Title from title screen (viewed Apr. 21, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 2001; thesis submitted 2000. Includes bibliography. Also available in print form.
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Morrison, Joanna. "The actress and the look of the other." Thesis, Morrison, Joanna (2014) The actress and the look of the other. PhD thesis, Murdoch University, 2014. https://researchrepository.murdoch.edu.au/id/eprint/27928/.
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This thesis, titled The Actress and the Look of the Other, comprises a novella and a dissertation. The thesis consists of a work of fiction and a critically-based literary dissertation, with the two complementing each other. That is, this is not a practice-based exegesis where an analysis of a creative component is undertaken. The dissertation analyses two novelistic representations of actresses—Regina in Simone de Beauvoir’s All Men Are Mortal (1946) and Sibyl Vane in Oscar Wilde’s The Picture of Dorian Gray (1891)—through relevant aspects of Existentialism. The application of de Beauvoir’s ideas about female “transcendence” and acting in The Second Sex, and Jean-Paul Sartre’s existentialist philosophy of the other’s look, draws out and illuminates themes of objectivation and alienation in the novels, in relation to these hitherto neglected characters. The thesis addresses the previous neglect of these two figures in literary analyses and illustrates their relevance to the often inexplicit use of Existentialism in celebrity studies. It answers the research question: to what extent does Existentialism inform the actress characters in All Men Are Mortal and The Picture of Dorian Gray? Further, to what extent has Existentialism informed interpretations of the actor in celebrity studies?
The research question also informs the creative component of the thesis, which is titled As Though Floating. Engaging with de Beauvoir’s ideas about acting, “transcendence”, gender and fame, and Sartre’s ideas about self-estrangement in the other’s look, the novella explores how these existentialist themes relate to mortality, insignificance, fame and the acting craft. The novella explores a female actor’s unhappy pursuit of fame and her realisation that fulfilment may lie elsewhere. Fen is dissatisfied in her career as an understudy in London’s West End theatres, and is so preoccupied with recognition and success that she forgets her love of acting itself. When she returns home to Perth for a former lover’s funeral, Fen works through her memories and grief. In doing so, she reconciles with family and friends, and with her past treatment of the former lover whose celebrity and death play a key role in the novel.
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Rentschler, Brittney. "Machinal: A Sourcebook For the Actress Playing "Young Women"." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3405.
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This thesis will document four phases of my rehearsal process/performance while portraying the role of Helen in Sophie Treadwell's Machinal. The first phase of the project will be researching and analyzing historical material on: Sophie Treadwell (the playwright) Ruth Snyder (the murderess upon whom the character of Helen is based), and the actual murder that occurred in the 1920's. The second phase that will be documented is a character analysis. I will take each episode and divide it into the following sections: given circumstances, what is said about the character by the playwright, by others, or by herself, objectives, tactics, vocal traits, and physical traits. The third phase will include a written journal of my experiences as an actor as they occurred during the rehearsals and performances. The fourth and final phase will include a self-analysis of the performance. I will reflect on my abilities in synthesizing the research and character analysis found in phase one and two into the actual performance. In addition, Committee Chair, Mark Brotherton, and my thesis Committee Members, Kate Ingram and Vanduyn Wood will also give written responses. The performances will be held February 14-17, and 21-24, 2007 in the University of Central Florida's Black Box Theatre. Dr. Julia Listengarten will direct the performance.M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Rentschler, Brittney. "Machinal a sourcebook for the actress playing "young woman" /." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002643.
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Stevens, Johanna J. ""The prettiest little actress" : performance theory and Frances Burney's E̲v̲e̲l̲i̲̲̲n̲a̲ /." Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/stevensj/johannastevens.pdf.
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Burton, Sarah. "The public woman : an investigation into the actress-whore connexion." Thesis, Royal Holloway, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286296.
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Grime, Helen Elisabeth. "A strange omission? : Gwen Ffrangcon-Davies, twentieth-century Shakespearean actress." Thesis, University of Winchester, 2008. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503838.
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Wooler, Stephanie. "Performance Anxiety: Hysteria and the Actress in French Literature 1880-1910." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10246.
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My dissertation uses close readings of four texts dealing with the actress, spanning the naturalist novel (Zola’s Nana, 1880, and Edmond de Goncourt’s La Faustin, 1882), autobiography (Sarah Bernhardt’s Ma double vie, 1907) and autobiographical fiction (Colette’s La Vagabonde, 1910), in order to examine late nineteenth-century representations (and self-representations) of the actress in relation to the discourse of hysteria. I argue that in late nineteenth and early twentieth-century France, pathology and performance came together in the stereotype of the hysterical actress. In the wake of the French Revolution, and the subsequent political upheavals of the nineteenth century along with the emergence of a consumer capitalist society, \(fin-de-si\grave{e}cle\) society was living a moment of particular anxiety. This anxiety found a focal point in the hystericised figure of \(la com\acute{e}dienne\), who came to embody a threatening blurring of gender and class distinctions. Actresses were pathologised in a discursive gesture which sought to identify and contain the threat which they were seen to pose, and which seemed to offer an objective narrative which re-established boundaries and identities. The discourse of hysteria, however, was by no means as secure or monolithic as it might seem. I argue that the discourse of hysteria is underpinned by a fundamental performativity which has the potential to be profoundly subversive. By examining different modalities of response to the phenomenon of the hystericisation of the actress, I show how in both male and female-authored texts the discourse of pathology is undermined and reappropriated in a way which foreshadows twentieth-century feminist theories.Romance Languages and Literatures
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DiSalvo, Mary Lorraine. "Redirecting Neorealism: Italian Auteur-Actress Collaborations of the 1950s and 1960s." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11518.
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The aftermath of Italy's cinematic movement neorealism left several directors searching for a new cinematic practice and a new directorial identity. Many of the most artistically intrepid directors of the era turned to women as a means of professional and personal reinvention. This study analyzes the collaborations of Vittorio De Sica, Roberto Rossellini, Federico Fellini, and Michelangelo Antonioni with the actresses Sophia Loren, Ingrid Bergman, Giulietta Masina, and Monica Vitti, respectively.Romance Languages and Literatures
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Lee, Melissa. "Staging the Actress: Dramatic Character and the Performance of Female Identity." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397823196.
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Makhele, Tshepiso. "Akhona leaves Generations." Move, 2013. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1000725.
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Calloway, Cailan C. "Becoming Joan: An Actress' Journey into the Mind of Joan of Arc." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/170.
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The reader's theatre production of Kacy Tiller’s Personal Recollections of Joan of Arc on December 3, 2012 was the culmination of my process as an actress to portray Joan. Through character analysis, extensive research, and collaboration with fellow artists, I was able to discover and grow as an actress.
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Adams, Susan M. "Rhetorical performance: inscription, embodiment, and resistance in the work of nineteenth-century actress/writers /." Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1410677841&sid=1&Fmt=2&clientId=3739&RQT=309&VName=PQD.
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Negishi, Takako. "The Japanese geisha 'Madame Hanako' : a renowned actress on the European stage (1902-21)." Thesis, SOAS, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.679847.
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Asiedu, Emelia Pinamang. "My acting process: getting out of my own way." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/3247.
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My thesis paper will address why I act and different aspects of my work as an actor. Acting training is a constant process and it is the job of the actor to keep up a regular routine that keeps one from going out of practice. I will discuss what I personally do regularly to stay in training. I will also discuss the process I go through to prepare myself to perform in acting roles. Though my approach to developing each new character is different, there are some aspects of my approach that remain constant.
This paper will also describe the kinds of stories I am interested in telling. Though actors are equipped to tell a wide variety of stories from many different perspectives, I, as a Ghanaian female artist of color, am drawn to specific kinds of projects that relate to my life experiences. These are the stories that I feel compelled to tell.
I believe my work is not just an occupation but rather encompasses the way I choose to live my life. So I will also discuss the ways in which I think my acting work is relevant in the world at large. I will include the ways in which I feel my work has had an impact in my environment, as well as how I hope to use my acting a vehicle to influence change in the future.
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Sharp, Marianne Rachel. "Being a woman twice : knowledge, subjectivity and the autonomous actress - a practice-as-research thesis." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529033.
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Crestani, Eliana 1966. "Traveling actress and manager in the nineteenth century: The western career of Nellie Boyd, 1879-1888." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278588.
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This study examines the activity of the Nellie Boyd Dramatic Company between 1879 and 1888. Actress-manager Nellie Boyd formed the company around 1876 and from 1879 onward she decided to perform exclusively in the western U.S., pioneering several southwestern territories. This thesis discusses the Boyd company's impact on the life of particular western towns; the organization of the company, its repertoire and the possible significance of Boyd's choice of roles; and the critical reception accorded to Boyd and her company. The study of Boyd's career in the West offers insights into the significance of traveling companies on the cultural and social development of growing communities. It illustrates the activity of independent traveling companies parallel to the rise of the combination managerial system. It also reveals the story of a woman leading a successful show-business enterprise and enhancing her personal and professional reputation in the nineteenth-century western scene.
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Guenther, Amy. "“What is or can be the Record of an Actress, However Famous?”: Historicizing Women Through Performance in Leigh Fondakowski’s “Casa Cushman”." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1310161174.
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O'Skea, Doreen Lynn. "Perpetual girlhood: what the movies have taught us about ourselves : a content analysis of Best Actress Academy Award-winning films from 1961-1997." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133726.
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Empowered, embattled and embittered women seem to be everywhere in the media today. Either in film, on television or on the Internet, there are more and more women being shown in a variety of working roles. Women are being shown in nontraditional jobs, they are allowed to work in the man's world and they can take charge. All of these things are remarkable but a note of caution is needed, for while these women are working the boardroom the girls are taking over.Women in power are increasingly being shown as unattractive, undesirable and unpleasant. While their counterparts- girls, are shown as loving, lovable and sweet. Films are reinforcing the girlish archetypal ideal by allowing girls to be the winners in nearly all situations.Female characters may begin the story as independent women but they are soon shown the error of their ways and are quickly reduced to a more pleasant, more malleable girl by the film's end.The content analysis of 37 Best Actress Academy Awardwinning films revealed that women are reduced to girls nearly 87 percent of the time. These women gave up their careers, or at least their career goals. They changed their appearance, they altered their personal goals and they suddenly found a way to express more emotion than they ever had in their life as a woman.Further analysis revealed that several subthemes were present in the films. In 19 of the 37 films women were raped or they were the victims of attempted rape. In 12 of the 37 films women were widows, they either began the film as a widow or they were to shortly suffer the grief of widowhood. In 22 of the 37 women are the victims of violence or they are threatened with violence and in 15 of the 37 films the characters are threatened with the loss of their home or they are struggling to make the journey to their home.The final analysis revealed that women were either pitied, maligned, abused or raped while girls were celebrated, loved and adored.Department of Journalism
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Bishop, Mardia J. "From "wax-doll prettiness" to a "lifeless dough doll" : the actress in relation to the images of "woman" in mid-nineteenth-century America /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1334067580.
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Villot, Janine Marie. "Refiguring Indexicality: Remediation, Film, & Memory in Contemporary Japanese Visual Media." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4603.
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Through an analog between film and memory, I argue contemporary Japanese visual media constantly remediates this relationship in order to develop a more inclusive, plastic indexicality that allows media without direct material contiguity access to an indexicality not typically attributed to it. Amidst the early twenty-first century shift from old, mechanical media to new, electronic media, each Japanese text engages the West through intercultural discourses and intracultural responses, just as Japan has continually encountered the West since its forced opening by Commodore Perry in 1853. The plasticized indexicality figured by contemporary Japanese visual media implies the plastic nature of abstracted referents such as memory. I examine these issues through three texts, each representing three different contemporary Japanese visual media forms: the live-action film, After Life (Kore-eda Hirokazu, 1998), the anime film, Millennium Actress (Satoshi Kon, 2003), and the manga, Black Butler (Yana Toboso, 2006-ongoing). Each text remediates film and memory as analogs in ways particular to their own medium to refigure indexicality as inclusive of their own medium, revealing a cultural discourse wherein contemporary Japanese visual media engage with abstracted realities such as memory.
By plasticizing and abstracting the index through its remediation of film and memory, contemporary Japanese visual media reveal visual media's, especially anime's and manga's, ability to relate to culture. Their refigured index is inclusive of all visual media, allowing each the opportunity to index subjective memory and experience. After Life introduces this possibility by privileging its memory-film recreations as a higher fidelity index to memory than documentary, though documentary's remediation informs this index. Both Millennium Actress and Black Butler extend After Life's inclusive possibilities to suggest that their painterly realities are not divorced from reality, but rather representative of its decentered reception as subjective experience and memory. As media technology extends human beings, through new media such as the internet, it also abstracts us from certain material interactions such as reading paperback books or speaking to friends rather than texting them. Contemporary Japanese visual media suggest that as old media make way for new media, we should readjust our preconceptions about media's relations to culture, for as our world becomes digitized, even animated, the painterly realities found in film, anime, and manga bear more relevance than ever to how we construct our worlds, inside Japan and across the world.
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Bohannon, Jeanne Law. ""Here in the To-Day, Forgotten in the To-Morrow:" Re-covering and Re-membering the Feminist Rhetorics of 19-Century Actress and Author Adah Menken." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_diss/96.
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This dissertation project, which recovers the feminist invention of 19th-century actress and author Adah Menken, proves the efficacy of conducting historigraphic recoveries of heretofore forgotten and elided female rhetors. I situate Adah’s visual and written performances within the materiality of Victorian social codes, positioning her as a feminist commentator worthy of inclusion in our remembrances of feminist discourses. I use archival sources including carte de visites (CDVs) and Adah’s letters and poetry as heuristics for gendered critique, to analyze how she resisted the master narrative of Victorian society and its accompanying codes governing public and private feminine behavior. My objectives are three-fold: to use archival recovery as a method to unearth and evaluate what feminist inquiry can accomplish; to argue for the feminist intentions of a previously unknown female writer; and to offer an opportunity to discover cross-disciplinary connections for rhetorical recoveries. Feminist inquiry is itself an exemplar of rhetorical invention, the idea of making a path. In my dissertation project, I illustrate how Adah Menken blazed a path in her personal and public rhetorics. For my principal goal of asserting Adah’s importance as a feminist rhetor, I use primary sources to demonstrate that her invention and resistance provide fertile ground for vital feminist inquiry. As a secondary means of asserting the significance of archival feminist research, I also offer my Adah Menken recovery as a case study for examining ideas of resistance and subversion to dominant master narratives. For this application, I use Judith Butler’s theory of performativity and Michel Foucault’s ideas surrounding the topic of resistance. Ultimately, the convergence of theoretical and practical applications for rhetorical recoveries, both of which I describe in-depth in my dissertation, serve to re-connect fields of inquiry and make them relevant to scholars across the Academe.
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Hanemann, Brook Akya. "The Merry Wives of Windsor: A University Actress's Approach to the Role of Mistress Ford." Master's thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4485.
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Art is too ethereal a thing to judge by tangible measure. There is no scale to weigh a performance on, no level to gauge a character's balance, no plumb line to measure its depth. No critic can appoint an allotment of stars to represent the worth of a production, and the audience, though a vital participant within the performance experience, cannot act as Jury and deliberate together to reach an absolute verdict of approval or disapproval. How then can an actor go about working towards giving a successful performance? The Merry Wives of Windsor was written at a time when wives were not permitted to tread upon the stage at all. During Shakespeare's era the roles of women were played only by cherub faced young men. The version of The Merry Wives of Windsor which was presented by the University of Central Florida in the fall of 2002 was not, however, set in those pre-femme days. The production was presented as if being performed by a traveling acting troupe of men and women with a repertoire of which The Merry Wives of Windsor was only a part. I was cast as Mistress Ford. Embarking on a Shakespeare play is no small feat. Earnest research on the lives of the Elizabethans will offer up clues into the mindset, customs, beliefs, and theories of the age in which the play was written. Modern day actors preparing themselves to take on a Shakespearian role may also look also to the theories and theatrical trends of his or her own time and those that have led up to it. This research is the foundation on which a performance must be built. The theatrical performer must act as his own instrument in the symphony of his performance. Stage acting is an art form which enfolds many forms of expressive artistic communication. The mind, the body, the voice, the emotions and in my opinion the soul must all come into play to reach the summit of an artistic theatrical performance and the actor's journey must be comprised of exercises to stretch and strengthen each area of the actor's instrument. A vigorous vocal regimen must be crafted and adhered to. An analytical investigation of the script is required. The actor's physicality must be tailored to portray the proper class, energy level and spirit of his character. The emotional life of the character should be thoroughly probed and the performer must find a way to fully embody the soul of the character and the age in which the character lived. In this particular case, I came to find that the usual modern day methods of performance preparation most commonly used by actors of our age were not in themselves enough to bring me to what I felt was a successful performance. I came instead to discover that a Brechtian approach to Shakespearian acting solved many of the challenges I faced when coming up short in my prior attempts to use a more Stanislavsky based method. Although the very nature of art makes it impossible to judge by tangible measure, there are very tangible ways to go about preparing for a role upon the stage. No single approach can work for every piece. One must exercise the mind, voice, body and soul to perform a role as weighty as a Shakespearian character. Proper research, analysis, and a regimen built upon exercises for the body and voice are the tools available for the serious actor. This thesis outlines a University actress' use of these tools and details how the discovery of Brechtian elements within the UCF production of Merry Wives opened doors to a new way of handling the portrayal Mistress Ford.M.F.A.
Department of Theatre
Arts and Sciences
Theatre
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Provost, Rebecca. ""Don't Tread On Me": Reading The Dialectical Nature of Laura Linney's On Screen Performance Process." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_theses/180.
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Laura Linney has an extensive education and experience in performance, which has influenced her to create a well-defined methodology when she approaches new roles. She uses a dialectical approach to performance. This approach has two parts as she outlined in a personal interview: phase one is her research, education, understanding of the script, and previous experiences working together to create a character, while phase two is her release of control over the character and the opportunity for the text (film or otherwise) and role to take on their own distinct personalities. This means that Linney eventually gives up agency over her characters in order for them to be effective and successful in the whole of a film. In effect, her characters are created by numerous influences within and outside her range of control. My intentions in this article are to prove that this dialectical methodology is prominent within all aspects of Laura Linney?s performances. In fact, I suggest that her utilization of this technique is what makes her a dynamic, effective, and unique actress. The dialectical nature of her performance techniques can be observed most effectively in specific breakthrough moments within her films. These moments exist most prominently in Linney?s films that are rooted in close character analysis like You Can Count On Me, The Savages, and the HBO mini-series John Adams. Close textual analyses of these scenes show a dramatic hiatus from the standard performance that she has used to help build a character. They show distinct differences between characters, which reinforces my point that each role is not only mandated by Linney?s creative power over her acting, but also a complete release of this control. They highlight how Linney allows herself to be directed and molded to develop deep, complex characters that work organically within the greater text of the film.
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Belghali, Mouna. "L'évolution de l'image de la femme dans le théâtre marocain." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030009.
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Au Maroc, le théâtre comme la situation de la femme n’ont cessé d’évoluer parallèlement, et ce depuis l’indépendance. Alors que pendant le protectorat, le théâtre était un moyen d’expression politique à même de traduire des aspirations nationalistes, il est devenu par la suite un moyen d’expression artistique auquel les hommes de théâtre de l'époque ont voulu donner une identité marocaine en s’inspirant du patrimoine populaire. Va leur succéder une nouvelle génération, consciente des faiblesses du théâtre marocain et des attentes du public. Elle va essayer de bâtir les assises d’une nouvelle écriture et donner un nouvel essor à la pratique théâtrale. Les femmes, quant à elles, et ce, dés les années 50, ont bénéficié de l’accès à l’instruction publique et par là au domaine professionnel. Grâce au travail inlassable du mouvement associatif mené en grande partie par des femmes, notamment dans les années 80, et enfin, par la réforme de 2004 de la Moudawana, la condition féminine a connu de grandes avancées. En conséquence, le statut des femmes a commencé à changer ainsi que leur image sociale. En partant de ces changements socio-politiques et en analysant différentes pièces de théâtre, nous avons essayé d’interroger l’évolution de l’image de la femme. Nous constatons ainsi que la représentation des femmes change selon les styles d’écritures et les époques. Au fil du temps, la palette des rôles féminins s’est diversifiée. Les personnages féminins occupent les premiers rôles, ils sont plus complexes et plus poétiques. Ils sortent du silence et prennent la parole, une parole souvent politiqueIn Morocco, the theater and the condition of women have never ceased to evolve side by side, from the independence onwards. While during the Protectorate, theater was a mean to express political views allowing to reveal the nationalist aspirations and question the moroccan identity. It later became a vehicle of artistic expression for theater makers who wanted to give it a native identity by drawing from the popular heritage. They were followed by a new generation of playwrights and directors, aware of the limitations of moroccan theater and of the audience's expectations. They tried to set the ground for a new writing approach and enabled further developments for theater practice. In the 1950's, women gained access to public education and thus to qualified work. Owing a lot to the tireless efforts of numerous associations often led by women, especially in the 1980’s, and because of the 2004 reform of the "Moudawana ", the condition of women has moved forward in Morocco. As a result, the status of women and their social image has started to change. By considering the social and economic changes and by analyzing different plays, we have tried to question the image of women. We also point out that the representation of women varies according to the era and to the style of writing. As a result, as time passes, the choices and range of feminine roles in the theater have become wider and more diversified. The feminine characters are now seen in major roles which are more complex and more poetic. Women, in both public and theatrical life, have taken “the floor” to speak... often politically
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Silva, Rosemeire da. "No passo da lanterna: em busca do teatro feminista brasileiro contemporâneo." Universidade do Estado de Santa Catarina, 2012. http://tede.udesc.br/handle/handle/1259.
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This research presents a reflection of Brazilian feminist theater, a theatrical experience that seeks different forms of creation in its esthetics. The poetics involved in making this kind of theater focuses towards issues that refer to the social organization of women, be it within personal or social realms, for both these are related to political and social issues. Being that one of its characteristics is polysemy, feminist theater opens different possibilities in its creative process. Feminist theater can be considered a political theater because it deals with feminist issues, consequently dealing with the idea of polis, therefore constitutes a possible tool for triggering educational attitudes. Although the debate surrounding this theme has been sedimented in the United States and England since the 1960´s, in Brazil it is still in the process of being diffused within the academic realm, and for this reason receives due attention in this work. In order to carry forward this discussion, it became necessary to comprehend what feminism is, being that it is a term (whose concept presents itself) with certain incompleteness. Therefore, a choice was made to present historical passages of the feminist movement, which also provided insight into the implied ideologies, in order to understand the development of their proposals, as well as some of the important transformations that occurred in the social structure. To understand what feminist theater is, in relation to referrals from discussions of activists in the theater, the construction of the image of women in society, and the routing of criticism in artistic productions in respect to the representability of women in the scene, it was necessary to conduct a survey of critical theories and practices of the U.S. and British experiences, to discuss ideological, aesthetic and poetic issues within the relationship between theater and feminism. The object of this research is devoted to the discussion of the scenario of Brazilian feminist productions. In relation to this type of theater, the work of two Brazilian actresses are presented: Colla and Azevedo, legitimizing the presence and voice of these actresses, as well as giving visibility to their artistic productions. A dialogue is established with the work of these actresses in order to articulate the theory of feminist theater, with its aesthetic, poetic and ideological practices, bringing to Brazil the discussion of feminist theater. Finally, some perspectives are drawn to contribute to the improvement of Brazilian theater production, giving it visibility and promoting its growth
Esta pesquisa traz a reflexão sobre o teatro feminista brasileiro, uma prática teatral que busca diferentes formas de criação em sua estética. A poética desse fazer teatral está voltada para questões referentes à mulher na organização social, sejam elas pessoais ou de ordem social, pois ambos os tipos estão relacionados a questões políticas e sociais. Tendo como uma das características a polissemia, o teatro feminista abre diferentes possibilidades para seu processo de criação. O teatro feminista pode ser considerado um teatro político, pois trata de questões da agenda feminista, consequentemente referentes à polis, e assim constitui possível ferramenta para o desencadeamento de atitudes pedagógicas. Embora a discussão em torno da temática aqui em questão se encontre sedimentada nos Estados Unidos e Inglaterra desde os anos 1960, no Brasil ainda está em processo de difusão em âmbito acadêmico, e por isso recebe, neste trabalho, a devida atenção. Para levar a termo esta discussão tornou-se necessário compreender melhor o que é feminismo, por se tratar de um termo que apresenta certa incompletude como conceito. Assim sendo, fez-se a opção por apresentar algumas passagens históricas do movimento feminista, o que propiciou também o esclarecimento sobre as ideologias implicadas, de modo a compreender como ocorreu o desenvolvimento de suas propostas, assim como algumas das importantes transformações ocorridas na estrutura social. Para compreender o que é teatro feminista, em relação aos encaminhamentos das discussões das ativistas no teatro, à construção da imagem da mulher na sociedade, e ao encaminhamento da crítica em suas produções artísticas no que diz respeito à representatividade da mulher na cena, foi preciso realizar um levantamento sobre as teorias críticas e as práticas das experiências das estadunidenses e britânicas, que discutem questões ideológicas, estéticas e poéticas na articulação entre teatro e feminismo. O objeto de pesquisa é voltado à discussão em torno das encenações brasileiras de caráter feminista. Com relação a esse tipo de teatro, são apresentados os trabalhos de duas atrizes brasileiras: Colla e Azevedo, legitimando a presença e voz dessas atrizes, assim como dando visibilidade a suas produções artísticas. É estabelecido um diálogo com o trabalho dessas atrizes com o objetivo de articular a teoria do teatro feminista com suas práticas estéticas, poéticas e ideológicas, localizando no Brasil a discussão sobre o teatro feminista. Finalmente, são traçadas algumas perpectivas visando contribuir com o aperfeiçoamento da produção teatral brasileira, dando-lhe visibilidade e promovendo seu incremento
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Adell, María. "Una Estrella moderna: Jean Seberg, de Preminger a Garrel." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/393422.
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La presente tesis analiza la imagen estelar de la actriz norteamericana Jean Seberg así como su relevancia en un momento crucial de la historiografía cinematográfica: el tránsito del clasicismo a la modernidad. La tesis aborda las diversas facetas y características de su inusual estrellato tomando como base las tres primeras películas que protagonizó - Santa Juana (1957), Buenos días tristeza (1958), ambas dirigidas por Otto Preminger, y Al final de la escapada (Jean-Luc Godard, 1960) – así como Les hautes solitudes (Philippe Garrel, 1974), considerada su testamento fílmico. Como figura intermedia entre Hollywood y los nuevos cines europeos, entre el posclasicismo y la modernidad, el estudio de Jean Seberg permite llevar a cabo una revisión de la historia del cine que tenga en cuenta el papel fundamental de los intérpretes o, dicho de otro modo, repensar dicha historia a partir del gesto de la actriz.This dissertation analyzes the star image of American actress Jean Seberg and her relevance at a crucial moment in the history of cinema: the transition from classical to modern cinema. The thesis discusses the various aspects and features of her unusual stardom based on the analysis of her first three films - Saint Joan (1957) , Bonjour Tristesse (1958), both directed by Otto Preminger, and Breathless (Jean-Luc Godard, 1960) - as well as Les hautes solitudes (Philippe Garrel, 1974), considered as her film testament. As an intermediate figure between Hollywood and new European cinemas, between post-classicism and modernity, the study of Jean Seberg allows us to review the history of cinema taking into account the fundamental role of performers in it. Or, in other words, to rethink this history from the perspective of the gesture of the actress.
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Le, Caïnec Yola. "Le féminin dans le cinéma de Georges Cukor de 1950 à 1981." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030178/document.
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À l’aube des années cinquante, l’œuvre de George Cukor interroge sa double réputation de cinéaste sophistiqué et de "cinéaste des femmes" acquise durant les années trente et consacrée en 1939 par Femmes. Le traitement privilégié du féminin dans ses films est renforcé dans le contexte d’après-guerre. En 1950, Cukor réalise la comédie sociale romantique Comment l’esprit vient aux femmes et le drame social Ma vie à moi : tous deux racontent un destin de femme et représentent une aspiration de relier positivement le féminin au drame. Les femmes y prennent en charge l’action et y construisent les motifs de leur libération, tels que la solidarité. Le passage des années cinquante aux années soixante se joue dans la confirmation que le féminin, que j’étudie comme un genre troublé (Judith Butler), et le cinéma de Cukor sont reliés et interagissent dans le sens de la modernité jusqu’à la distance libératrice des années soixantedix et au dernier film du cinéaste, Riches et Célèbres (1981). Certaines formes cinématographiques nouvelles, imaginaires et quasi expérimentales (Gaston Bachelard), s’avèrent particulièrement représentatives du travail de Cukor par leur récurrence dans les effets scéniques et le jeu des actrices. Face à la comédie qui émanciperait les femmes de leur destin par le dérèglement social et comportemental, le drame féminin cukorien favoriserait le surgissement d’héroïnes capables de prendre en charge leur libération à l’écran. Il y aurait alors un faux paradoxe entre la banalisation des caractères que Cukor met en scène et son travail de direction toujours très élaboré à l’endroit de ses actrices, placées dans la double épreuve de leur talent et d’une certaine représentation de la condition féminineIn the early fifties, Cukor's work challenges his own reputation as a director of sophisticated women films — a reputation he had acquired during the thirties, culminating with Women in 1939. His films increasingly center on presenting the feminine during post-war years. In 1950, Cukor directs a romantic social comedy, Born Yesterday and a social drama A Life of Her Own : both narrate a female destiny and link up drama and the feminine in a positive manner. In these films, women are taking responsibility for the action and articulate the motivations for their liberation, for example through solidarity. The turn from the fifties to the sixties confirms that the feminine, seen here as a confused gender (Judith Butler) and Cukor's cinema interact in a modern way creating a liberating distance his seventies film and up to the filmmaker's last film, Rich and Famous (1981). Some imaginary and nearly experimental new cinematic forms (Gaston Bachelard), notably in terms of mise-en-scène and acting, turn out to be particularly representative of Cukor's work. As opposed to comedies that purport to emancipate women from their destiny by upsetting social and behavioral attitudes, Cukor’s female centered drama films show emancipation through the emergence of female characters who take their life into their hands. Hence a false paradox: Cukor may develop commonplace characters, yet the complexity of his actresses’ direction puts their talent to the test and questions a certain representation of women's position in society
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Brown, Arielle B., and Arielle B. Brown. "The Effects of Politics and Media on America: Creating the Role of Lainie Wells in Lee Blessing's Two Rooms." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2130.
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Two Rooms, by Lee Blessings, was selected for performance at the University of New Orleans during the fall of 2015. I studied and portrayed the role of Lainie Wells as my thesis project. The purpose of my thesis was to research a character physically, psychologically, and emotionally as an actress and create a character through the eyes of Lainie Wells.
The following is a brief breakdown of the structure of my written thesis: biography of Lee Blessing, hostage families and their mental state as it relates to the Iranian hostage crisis, mass media effects on Syria, The Hunt for Bin Laden, the rehearsal process, and a scored script including all actions and objectives; a review of my work, my own conclusions based on my process and character arc, photographs of my performance, a professional headshot along with my resume to highlight the significance to my work as an artist.
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Silva, Flávia Cristiana da. "Atriz–Brincante: caminho de experimentações cênicas através da aproximação com a brincadeira do Cavalo Marinho." Escola de Teatro, 2013. http://repositorio.ufba.br/ri/handle/ri/27073.
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Esta dissertação aborda, de forma reflexiva, as experiências motivadas pelo meu encontro com a brincadeira do Cavalo Marinho da Zona da Mata Norte de Pernambuco. A pesquisa foi conduzida conceitualmente, principalmente, em torno das noções de brincadeira e jogo. O objetivo foi identificar elementos presentes nesta tradição que pudessem contribuir para a minha investigação laboratorial em experimentações cênicas. Para isso, fez-se necessário conhecer, mais profundamente, a brincadeira e o seu contexto numa intensa troca entre pesquisadora, brincadores e pessoas que participam direta e indiretamente do Cavalo Marinho. Paralelamente, dediquei-me a um processo laboratorial individual, que tentou identificar, na interface entre teatro e Cavalo Marinho, algumas características que estariam neste elo entre a brincadeira e o jogo no meu fazer artístico, o que chamo de Atriz-Brincante. A partir da pesquisa de campo e vivência em sala de trabalho, apoio-me em noções como corpo, jogo, cultura popular, improviso, comicidade, musicalidade, entre outras.
This thesis approaches, reflectively, the experiences motivated by the meeting between me and Cavalo Marinho play, present in the region of “Zona da Mata” North of Pernambuco. This research was conceptually conducted, mainly, around the notions of play and game. The objective was to identify elements present in this merriment that could contribute to my laboratorial research in scenic experiments. For this, it was necessary to know, deeply, the play and its context in an intense exchange between researcher, players and people involved, directly and indirectly, in Cavalo Marinho. In parallel, I focused on an individual laboratorial process that attempted to identify, in the interface between Performance Arts and Cavalo Marinho, some characteristics that would be present relationship between the play and the game in my artistic practice, which I call Actress-Player. From the field research and experience in the workroom, I take concepts such as body, game, popular culture, improvisation, humor, musicality, among others.
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Marguier, Florence. "Maria Casarès : Recherches et métamorphoses d'une comédienne." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030144.
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Notre approche concernant Maria Casarès est une découverte de son art où sa propre recherche tient une place importante. Elle est en effet une des figures de proue du théâtre de la deuxième moitié du XXème siècle qui poursuit sa route jusqu'à devenir une Figure du théâtre français. D'elle, on garde les visages de la Mort d'Orphée de Cocteau ou de la femme fatale des Dames du Bois de Boulogne de Bresson, sa participation au T.N.P. Et pourtant ceci ne constitue qu'une étape dans une trajectoire où la comédienne va s'enrichir à chaque fois de ses propres découvertes. Au delà de son image de monstre sacré, on se rend compte que Maria Casarès est d'abord une comédienne qui se crée une manière propre d'aborder la scène. Par son art authentique, elle possède une poétique de l'acteur. Celle-ci la situe dans un cheminement nomade où elle traverse les courants du théâtre, dans une quête à la fois artistique et identitaire. C'est cette trajectoire qu'elle partage avec des metteurs en scène complices, de Marcel Herrand à Jorge Lavelli, en passant par Jean Vilar, Bernard Sobel, Bruno Bayen, Patrice Chéreau, Denis Llorca, Jean Gillibert, Maurice Béjart entre autresOur approach to Maria Casarès is a discovery of her art where her own research has an important place. She is effectively one of the figureheads in the theatre of the second half of the 20th century. Because of her, we remember the faces in "La mort d'Orphée" by Cocteau, or la femme fatale in "Les dames du Bois de Boulogne" by Bresson, her participation at the T.N.P. Even so, these are only steps in a future where the actress will enrich her knowledge by her own discoveries. Beyond her reputation as a master in the art of theatre we realise that Maria Casarès is above all an actress who invented her personal way to approach the stage. With her authentic art she possessed the poetics of an actor. This is her nomadic road, where she navigates through theatre in a search which is at the same time identity and art. On this path she shares her search with her director friends, Marcel Herrand and Jorge Lavelli. Also with Jean Vilar, Bernard Sobel, Bruno Bayen, Patrice Chéreau, Denis Llorca, Jean Gillibert, Maurice Béjart and others
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Carnicé, Mur Marga. "La Política de l'actriu en l'obra d'Anna Magnani." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/401858.
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Tradicionalment considerat com un intèrpret d’obres alienes o com un instrument a mans del director, l’actor no ha estat contemplat en la historiografia del cinema ni en els discursos essencials que articulen la teoria fílmica. Aquesta tesi aborda el conjunt d’interpretacions de l’actriu italiana Anna Magnani (1908-1973) des de la següent pregunta: Pot l’obra d’una actriu reflectir un univers estilístic propi? –i si n´és el cas- En quina mesura aquesta pot testimoniar les principals inquietuds i mutacions estètiques del cinema del seu temps? L’estudi es centra en la majoria de les interpretacions que Magnani va realitzar entre les dècades dels 40 i dels 60 del segle XX, i en l’adhesió d’aquestes a les principals corrents històriques del neorealisme italià, la modernitat europea i el post-classicisme nord-americà, així dels seus principals autors. Prenent la perspectiva teòrica dels star studies i l’anàlisi de la performance com a metodologia, la tesi treballa sobre una hipòtesi precisa: la capacitat de l’obra d’Anna Magnani per testimoniar, dialogar i participar de les qüestions essencials que conformen l’estètica cinematogràfica del seu temps sota el segell d’una autoria o d’una política d’actriu.
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Чупріна, Наталія, Тетяна Герман, Ніно Долідзе, and Діана Погосян. "Вплив кінематографа 1930-х років на розвиток модних образів початку ХХ та ХХІ століть." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17947.
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Проаналізовано основні тенденції розвитку жіночої моди 1930-х років. Визначено образно-стилістичні риси, що формували проєктний образ цього періоду. Охарактеризовано критерії впливу кінематографа на формування модних тенденцій та проєктних рішень в дизайні жіночого костюма. Виявлено основні соціо-культурні передумови посилення такого взаємовпливу. Сформульовано засоби відображення образно-стилістичних особливостей моди 1930-х років у розробці колекції сучасного модного одягу.The main trends in the development of women's fashion in the 1930s are analyzed. The figurative and stylistic features that formed the project image of this period are determined. The criteria of the influence of cinema on the formation of fashion trends and solutions in the design of women's costume are described. The main socio-cultural preconditions for strengthening such interaction are revealed. The means of reflecting the figurative and stylistic features of 1930s fashion in the development of a collection of modern fashion clothing are formulated.
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Klein, Sherry. "Reading Thackeray's actresses." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ59612.pdf.
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Casagrande, Thibaut. "Figures de l’actrice dans le roman français et américain, du lendemain de la Seconde Guerre mondiale à aujourd’hui." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040133.
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Dans la lignée des « romans de l’actrice » de la fin du XIXe siècle, plusieurs romanciers français et américains prolongent la fortune littéraire de cette figure au lendemain de la Seconde Guerre mondiale, dans un siècle marqué par l’essor du cinéma et plus largement de la culture populaire. Il s’agit d’analyser comment la littérature perçoit et raconte ces changements à travers la figure de l’actrice, que celle-ci soit inventée ou inspirée de personnes réelles. Les romans de l’actrice du second XXe siècle se caractérisent par une forte homogénéité des enjeux narratifs et empruntent à d’autres genres, tels que le roman de l’artiste et le conte de fées. La sémiologie du personnage central est marquée par un métier qui sème le trouble dans son identité, entre le moi, les rôles et la persona et par l’importance d’un corps portant les marques hyperboliques du genre et de la beauté. Les actrices romanesques illustrent la domination masculine et bien rares sont celles qui trouvent une capacité d’agir et se font « actrices » de leur devenir. L’écriture romanesque opère ainsi une « défiguration » de la figure qui expose la déchéance derrière les images splendides, ou exacerbe ces images pour faire de la merveille un monstre. L’enjeu de ces textes est également intermédial : il s’agit, pour le roman, de se mesurer au cinéma qui l’a remplacé dans son statut de récit populaire, en imitant ses procédés mais aussi en racontant ses modes de réception dans une vision parfois iconoclaste. S’opère ainsi une réflexion sur la littérature et la culture à travers la figure de l’actrice, artiste sans œuvre propre, parfois double de l’auteur dans des jeux entre référence et fictionFollowing in the footsteps of late-19th-century “actress novels”, a number of French and American novelists prolonged the literary fortunes of the actress-protagonist in the years immediately following the Second World War, in the broader context of a century heavily influenced by the rise of the cinema and, more largely, of popular culture. This dissertation analyzes how literature perceives and recounts these changes through the character of the actress, be she fictional or based on a real-life person. Actress novels of the second half of the 20th century are characterized by their predominantly homogenous narrative aims and borrow from other genres, such as the artist novel and the fairytale. The semiology of the main character is marked by a profession that confuses her identity between her own ego, her characters and her persona, and by the importance placed on her body that bears the hyperbolic markers of gender and beauty. Novelistic actresses illustrate male domination and few of them are capable of autonomous action, of becoming independent “actors” of their own destinies. Novelistic writing thereby causes a “disfiguration” of the very figure that exposes the degradation behind the splendid images, or exacerbates those images in order to transform the marvel into a monster. The goal of these texts is also intermedial: the novel is intended to be compared to cinema, which recently supplanted it in its status of popular tale, by imitating its techniques but also by recounting its modes of reception through a sometimes-iconoclastic lens. This leads to a reflection on literature and on culture via the figure of the actress, an artist without her own work, sometimes a clone of the author in a game between referentiality and fiction
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Henriques, Sara Cristina Cunha Martins de Almeida. "Teatro com marionetas: um jogo liminar de possibilidades." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29100.
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O presente relatório tem como objeto de reflexão o processo criativo de um
espetáculo de teatro com marionetas, multidisciplinar que teve por mote as palavras:
Teatro Vida Distorção. Transitando entre o tradicional e o contemporâneo, num jogo
liminar de possibilidades, opera no cruzamento de linguagens. Reflete sobre um processo
criativo que tem por base a partilha, nas seguintes áreas: trabalho de atriz, marionetista,
texto, música, imagem, movimento, vídeo e a relação de proximidade com o público. As
opções tomadas e horizontes abrangidos são analisados e considerados, tendo em conta o
processo a partir de um ponto “zero”, em que o texto e as demais áreas emergiram da
escuta e da interação circular dos elementos O primeiro capítulo contextualiza em
específico e relaciona os pontos de partida para o projeto, enquanto que o segundo relata
e reflete sobre os mesmos; Theatre with puppets: A liminal game of possibilities
Abstract:
The purpose of this report is to reflect on the creative process of a theater show with
puppets, a multidisciplinary one whose motto was: theater Life Distortion. Transiting
between the traditional and the contemporary, in a preliminary game of possibilities, it
operates at the crossing of languages. It reflects on a creative process that is based on
sharing, in the following areas: work of actress, puppeteer, text, music, image, movement,
video and the close relationship with the public. The options taken and the horizons
covered are analyzed and considered, taking into account the process from a “zero” point,
in which the text and the other areas emerged from the listening and circular interaction
of the elements. The first chapter contextualizes and specifically relates the starting points
for the project, while the second reports and reflects on them.
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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 siècleIn 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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Ait, Aattou-Behrend Emma. "Luchino Visconti et l'adaptation cinématographique d'œuvres littéraires : fondements de l'imaginaire et fatalité." Thesis, Strasbourg, 2020. https://publication-theses.unistra.fr/restreint/theses_doctorat/2020/Ait_Aattou_Behrend_Emma_2020_520.pdf.
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En Italie, le cinéma prend vraiment son essor peu avant la Première Guerre Mondiale. Cette nouvelle industrie y connaît un élan considérable grâce à la multiplication des salles obscures. Néoréalisme serait né entre le Toni de Jean Renoir et l’Ossessione de Luchino Visconti. Et c’est autour des adaptations cinématographiques d’ouvrages littéraires de Visconti que notre étude s’attache, au gré des focalisations, inspirations et transpositions du réalisateur milanais. Ainsi, l’œuvre colossale du comte de Lonate Pozzolo se mue en banque de données à la source inépuisableIn Italy, cinema evolved rapidly right before World War I. This new art also grew up thanks to the multiplication of movies theaters. Neo-realism might be born between Jean Renoir's Toni and Luchino Visconti's Ossessione. And this study is about the film adaptation of literary works of Visconti, following the focalizations, inspirations and transpositions of the director from Milan. This way, by analysing his incredible work of art, we will be able to observe how rich the Earl of Lonate Pozzolo's films are
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Jenkins, Ruth Ann. "The Affects of Vocal Fatigue on Fundamental Frequency and Frequency Range in Actresses as Opposed to Non-Actresses." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5062.
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Differences may exist between the voice qualities of those who professionally use and train their voices and those who do not. The examination of fundamental frequency and frequency range m actresses and non-actresses is integral to determining voice quality differences in these populations. These differences, whether the result of frequent use or training of the voice, may exist relative to fatiguing conditions such as may be experienced by actresses in the course of their work. Fatigue has been shown to produce greater effects in normals than in performers, particularly in singers (Gelfer, Andrews, and Schmidt, 1991). Little research has been found comparing actresses to non-actresses in such an interaction effect. In order to determine whether a separate set of normative values should be sought for actresses, it is first necessary to determine whether significant differences exist between these populations in voice quality parameters. The purpose of the present study was to determine whether or not significant changes in fundamental frequency and frequency range occurred in non-actresses relative to actresses as a result of fatigue. The subjects for the study included ten actresses between the ages of 20 and 30 who had a minimum of one quarter of voice training and three years of acting experience and ten women of the same age group who had no voice training or experience in acting. Each subject passed a puretone audiometric screening, had a negative history of voice disorders, and had not smoked within the last year. These two groups were evaluated for: 1) fundamental frequency in prolonged productions of the vowel lal; 2) speaking fundamental frequency in connected speech; 3) frequency range in sung scales; and 4) frequency range in connected speech. Data was statistically analyzed using one way ANOV A tests with repeated measures. No significant interactions occurred between group and time, suggesting that non-actresses did not produce a greater shift than did actresses in fundamental frequency or frequency range as a result of fatigue. These results contradicted some findings and supported other findings of previous research based on similar samples.
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Crouch, K. A. "Attitudes towards actresses in eighteenth-century Britain." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282016.
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Liu, Jiacheng. "New Actresses and Urban Publics in Early Republican Beijing." Research Showcase @ CMU, 2015. http://repository.cmu.edu/dissertations/573.
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This dissertation is a study of the social and cultural history of the new actresses in early Republican Beijing. It shows that the female players, previously banned by the Qing dynasty, entered into a male-dominated profession and carved out a niche for themselves in the highly competitive entertainment business. As they stepped out of the inner quarters and became illustrious opera stars, actresses placed themselves at the center of multiple gazes and discourses. Displaying their physical charm and artistic talent on stage, they became agents of theatrical innovation and developed a distinctive repertoire and performance style. From stage to social life, the early actresses fashioned new femininities that deviated from both Confucian sentimentalism and the May Fourth notion of supreme love. They played a critical role in the formation of a variety of urban publics and animated a dynamic social process of negotiation between the traditional and the modern, the public and the private, the regional and the national, as well as between the personal and the communal.
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Lenk, Erika 1978. "Carlitos : história de vida e obra de Chales Chaplin." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/250941.
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Orientador: Ana Angélica Medeiros AlbanoDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-20T22:09:34Z (GMT). No. of bitstreams: 1 Lenk_Erika_M.pdf: 1109074 bytes, checksum: c0b843e8e4bfece1b0e1a378606a9bc5 (MD5) Previous issue date: 2012
Resumo: Esta dissertação percorre a trajetória de vida do célebre ator e cineasta inglês Charles Spencer Chaplin (1889-1977), o imaginativo criador de Carlitos, cuja graça e lirismo marcaram fortemente a arte do século XX. Sua obra ridiculariza os padrões culturais da sociedade estabelecida através das aventuras do Tramp, o errante marginalizado que permanece vivo no cenário cultural atual. Este estudo busca uma relação entre a vida e arte de Chaplin, identificando fatores que contribuíram para seu desenvolvimento artístico e seu conhecimento em arte.
Abstract: This dissertation contains the life story of the famous actor and English filmmaker Charles Spencer Chaplin (1889-1977), the imaginative creator of the Tramp, whose grace and lyricism left his impression on the twentieth (20th) century. His work satirizes the cultural patterns of the established society through the adventures of the Tramp, the marginalized vagabond that remains alive in the recent cultural scenario. This study searches the connection between Chaplin's life and art, identifying factors that contributed to his artistic development and his knowledge in art.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Martin, Susan M. Hume Robert D. "Actresses on the London stage, 1670-1755 a prosopographical study /." [University Park, Pa.] : Pennsylvania State University, 2008. http://etda.libraries.psu.edu/theses/approved/WorldWideIndex/ETD-2675/index.html.
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Bowman, Barbara A. "How Do Actors and Actresses Age?: Self-Monitoring and Aging." UNF Digital Commons, 1995. http://digitalcommons.unf.edu/etd/92.
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This study investigates the relationship between life events, self-monitoring, and aging. This relationship is explored in the following five areas: religious practices, social networks, intergenerational relationships, retirement, and leisure. It was hypothesized that, compared to low self-monitors, high self-monitors would (a) spend less time in private devotional activities as they age, (b) feel a heavier impact from the reduction in the quantity of social networks, (c) have more distant intergenerational ties, (d) adjust to forced retirement more quickly, and ( e) be less satisfied with leisure time as they age. The 120 volunteer participants ranged in age from 51 through 93. The Self-Monitoring Scale (Snyder, 1974) and the Impact of Events Inventory were administered in structured individual interviews. Findings support the hypothesis that high self-monitors will experience more impact from the reduction in the quantity of social networks as they age. However, the results fail to support the other four hypotheses. Possible alternative explanations for these findings are explored. An appeal is made for future research on the topic of self-monitoring and aging.
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Partonia, Saeed. "ActRec - A Non-monotonic Reasoning Tool for Activity Recognition." Thesis, Umeå universitet, Institutionen för datavetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-99647.
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Human activities usually have a motive and are driven by goal directed sequence of actions. Recognizing and supporting human activities is an important challenge for ambient assisted living. Human activity recognition has a wide scope of application areas, e.g., aged care support, health care, smart homes, natural disasters and energy efficient urban spaces. Different techniques have successfully been applied to infer human activity, including machine learning and data mining. These data driven techniques work well within a particular domain and situations in which they are initially set in. However two main drawbacks with such methods have been observed in the literature: they are domain dependent and also require large amount of data annotation for model training. Hence, different authors have argued for exploring complex activity recognition techniques that not only rely on data but also involve domain knowledge is necessary. Against to this background, in this project, we explore non-monotonic reasoning technics in order to capture domain knowledge in terms of action specification languages. By considering an action specification language, called CTAID, and Answer Set Programming, we propose and develop a system called ActRec system which takes background information into consideration and operates independently from the environmental factors. We also explore a novel definition of activity which is used in the implementation of ActRec.
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Martin, Rebecca Lynn Londré Felicia Hardison. "Robin Humphrey, the teaching artist." Diss., UMK access, 2005.
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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2005."A thesis in theatre." Typescript. Advisor: Felicia H. Londré. Vita. Title from "catalog record" of the print edition Description based on contents viewed June 26, 2006. Includes bibliographical references (leaves 82-93). Online version of the print edition.
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Howe, Elizabeth. "The impact of the introduction of actresses on English drama, 1660-1700." Thesis, Royal Holloway, University of London, 1988. http://repository.royalholloway.ac.uk/items/381ad106-a7de-4394-ae50-3c320741ed15/1/.
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The purpose of this thesis is to analyse the dramatic results of introducing women to replace boy-actors in female roles on the public stage. The impact of the actresses is examined in terms of both the general dramatic consequences of changing the sex of a performer from male to female and the individual influences of the various major actresses who emerged. The thesis begins with an investigation of the exploitation of the female physique in Restoration drama. It examines the treatment of breeches roles after 1660 and shows how sexual relationships in both comedy and tragedy could be substantially changed through the visual, physical dimension provided by real women. The ensuing chapters explore the way in which playwrights were influenced by the popular success of leading actresses in certain types of role and wrote plays around these women and their specialities. In particular, the genesis and development of she-tragedy, the gay couple, the prostitute-mistress figure and the pairing of contrasting female types is traced in relation to the actresses who made these conventions and characters popular. Thus the presence of a particular actress at a particular time may be seen to have crucially affected the course of the drama. The thesis also examines the impact of the actresses' own actual or reputed characters on the roles written for them. It seeks to ascertain the exact nature of the relationship between the leading actresses and their public and how far spectators' knowledge of the women's own personalities affected the type of roles they were given. The study concludes with a brief comment on the scope and general nature of the actresses' influence on Restoration drama.
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Schorn, Susan Elizabeth. ""The merciful construction of good women" : actresses in the marriage-plot novel /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004374.
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Fukuda, Momoko. "La servante dans l'œuvre de Marcel Proust : approche intertextuelle." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040100.
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Cette thèse se propose d’expliciter l’esthétique et l’éthique de Marcel Proust par le biais du personnage de la servante et du thème du dévouement qui lui est lié, en inventoriant ses sources d’inspiration possibles et en débrouillant sa « polychromie intertextuelle ». La première partie tente de mesurer la portée esthétique propre à l’image de la servante à travers le langage, l’art du quotidien ou la religion qui la caractérisent, en examinant l’influence d’Anatole France, de Gustave Flaubert, de John Ruskin et de Joris-Karl Huysmans. Par la suite est abordée la question du dévouement qu’incarne le personnage de la grand-mère de la Recherche, par une lecture comparative avec les Goncourt, Paul Hervieu, Alphonse Daudet, qui explorent le sacrifice méconnu et la tragédie de la mère, puis avec Pierre Loti et Charles Baudelaire, qui ont traité de l’amour et de la culpabilité du fils. Cette thèse se conclut par une étude sur le personnage énigmatique de la femme de chambre de la baronne Putbus, antithèse de l’image de l’humble servante, en analysant l’influence d’Anna de Noailles, afin de mettre en lumière l’ambivalence du désir proustienThis thesis aims to clarify Proust’s aesthetics and ethics through both the character of the servant and the devotion theme, which is closely related to the former, by listing the author’s possible sources of inspiration and unravelling the “intertextual polychromy”. The first chapter attempts to measure the aesthetic importance peculiar to the servant found in language, the art of daily life or religion, which define the character, by examining the influence of Anatole France, Gustave Flaubert, John Ruskin and Joris-Karl Huysmans. Secondly, the question of devotion, incarnated by the grandmother in À la Recherche, is treated, by a comparative reading with the Goncourt brothers, Paul Hervieu, and Alphonse Daudet, who explored the mother’s unrecognized sacrifice and tragedy, then with Pierre Loti and Charles Baudelaire, who dealt with filial love or culpability. This thesis concludes with a study of the enigmatic character of the Baroness Putbus’s chambermaid, antithesis of the image of the humble servant, by examining Anna de Noailles’ influence, in order to throw light on the ambivalence of Proustian desire