Dissertations / Theses: 'Historical drama'

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Warner, Kathleen Marie. "Historical theory, popular culture and television drama /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19144.pdf.

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Wilfong-Pritchard, Geoffrey. "Cloven hoof, historical drama and the construction of narrative theology." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0028/NQ48821.pdf.

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Hwang, Yun Mi. "South Korean historical drama : gender, nation and the heritage industry." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1924.

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From the dynamic landscape of contemporary South Korean cinema, one trend that stands out is the palpable revival of the historical drama (known as the ‘sageuk’ in Korean). Since the early 2000s, expensive, visually striking, and successful costumed pieces have been showcased to the audience. Now rivalling the other mainstream genres such as gangster action, romantic comedy, and the Korean blockbuster, the sageuk has made an indelible impact on the national film industry. Even so, the cycle has yet to receive much critical attention. This thesis addresses the gap, driven by the question, what is the impetus behind the surge of the ‘historical’ witnessed in recent sageuk films? For this, I first take a diachronic view of the historical context of the genre, which later serves as the reference point for the genre memory. Adopting a synchronic approach, I then examine the industrial, political, and social contexts in Korea at the turn of the new century that facilitated the history boom. While national memory and transnational politics fuelled Koreans’ interest in their past, the popular media – cinema, television, publishing industry, and performance theatre – all capitalised on this drive. The government also took part by supporting the ‘culture content industry’ as a way to fashion an attractive national image and accelerate the cultural export system. Collectively, these efforts translated to the emergence of history as a commodity, carving a unique space for historical narratives in the national heritage industry. As such, different agents – the consumers, the industry, and the state – had their stakes in the national mobilisation of history and memory with competing ideological and commercial interests. Ultimately, the sageuk is the primary site in which these diverging aspirations and desires are played out. In chapters that follow, I engage with four main sub-types of the recent historical drama, offering textual and contextual readings. The main discussion includes the ‘fusion’ sageuk (Untold Scandal), the biopic (King and the Clown and Portrait of a Beauty), the heritage horror (Blood Rain and Shadows in the Palace), and the colonial period drama (Rikidozan, Blue Swallow and Modern Boy). While analysing the generic tropes and narrative themes of each film, I also pay attention to contemporary discourses of gender, and the cultural treatment of masculinity and femininity within the period setting. Such investigation, in turn, locates the place of the historical genre in New Korean Cinema, and thus, offers a much-needed intervention into one of the neglected topics in the study of cinematic trends in South Korea.

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Taylor, Miles Edward. "Nation, history, and theater : representing the English past on the Tudor and Stuart stage /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9986765.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 255-265). Also available for download via the World Wide Web; free to University of Oregon users.

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Mateer, Megan. "Living history as performance an analysis of the manner in which historical narrative is developed through performance /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1136660752.

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LaPlant, Donald David. "Metahistorical theater : recent American approaches to the dramatic presentation of historical material /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018378.

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Thesis (Ph. D.)--University of Oregon, 2001.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 243-250). Also available for download via the World Wide Web; free to University of Oregon users.

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Nees, Heidi L. ""Indian" Summers: Querying Representations of Native American Cultures in Outdoor Historical Drama." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1352840321.

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Lei, Daphne Pi-Wei. "Performing the borders : gender and intercultural conflicts in premodern Chinese drama /." Thesis, Connect to Dissertations & Theses @ Tufts University, 1999.

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Thesis (Ph.D.)--Tufts University, 1999.
Adviser: William Sun. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 264-283). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

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Habegger, Kimberly Anne. "The historical drama in Spain during the postwar and the transition to democracy /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu148767164005605.

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Faasen, Cornelia. "Theatre as alternative historical narrative : a study of three plays : "Ubu and the Truth Commission", "Copenhagen" and "Ghetto"." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/3006.

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Thesis (MDram (Drama))--University of Stellenbosch, 2009.
In this thesis I examine the way in which fictionalised and dramatised narratives in theatre have the potential to create significant alternative narratives that can potentially be regarded as a crucial part of history writing. This is done through a critical analysis of three historically orientated dramatic texts, Ubu and the Truth Commission by Jane Taylor (1998), Copenhagen by Michael Frayn (1998) and Ghetto by Joshua Sobol (1984). I investigate how these playwrights narrativised history by fictionalising and dramatising events and people of historical importance, and how each of these plays individually contributes to the debate on narrative in historiographical discourse. Drawing on Hayden White’s theory on the poetic and narrative nature of history writing, as represented by his definitive work, Metahistory, I explore different theories and works on the philosophy of history to determine the precise nature of narrative itself as well as the historical work. Chapter Two is therefore an exploration of White’s philosophy on the ‘historical imagination’ as he describes his theory on the narrative and poetic nature of the historical document. In addition, this chapter provides an introduction to narrative in a theatrical text. This is done in order to examine how we can apply White’s theory to investigate narrative in theatre that focuses on historical events for the purpose of possibly including the dramatic narrative in the broader discourse on narrative in history writing. In this I highlight the theatrical narrative as a specific practice of language beginning with an interlude on representation in theatre. This is applied as the basis for examining the three texts in subsequent chapters. There are both general and more specific advantages in pursuing these arguments. Firstly, it may generate an understanding of some of the broad claims and problems bearing on the impact that literary theory is said to have on a subject which is not normally considered to fall within its domain, namely history writing. The work of Hayden White has been singled out to represent these claims, as he challenges the traditional distinction between history and literature. As a result, we are made aware of those arguments which set out to show that there are aspects of historical writing which are often ignored or which we generally overlook. An example of such an aspect that serve as the focus of this study is the narrative in historical explanation, representing the “ineluctably poetic nature of the historical work” (White 1983:xi). As such theatre can be an important tool in the process of constructing memory and alternative narratives, arguing that these narrativised histories could provide a “countermemory to the dominant narrative of the official histories” (Hutchison 1999:3). The theatrical texts singled out demonstrate that these alternative narratives in the theatrical texts function as a discourse of multi-levelled stories that engage with the complexities of the society and the complexities present in the context of the plays, making a contribution to the practice of historiography itself.

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Pennino, Anthony Paul. "All our yesterdays : the political and social significance of the historical drama in Great Britain." Thesis, Royal Holloway, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271072.

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Guo, Dawei. "Beyond totalitarian nostalgia : a critical urban reception study of historical drama on contemporary Chinese television." Thesis, University of Westminster, 2012. https://westminsterresearch.westminster.ac.uk/item/8z4z8/beyond-totalitarian-nostalgia-a-critical-urban-reception-study-of-historical-drama-on-contemporary-chinese-television.

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From the mid-1990s a wave of dramatic serials featuring the legendary figures of China’s bygone dynasties has emerged in dramatic programming on Chinese primetime television. The commercialization of mass media and the rise of media consumerism in China since the early 1990s have fostered the emergence of these historical dramas on television. Set during the dynasty era, these television historical dramas have been at the forefront in articulating political and legal principles based on the Confucian-influenced traditional Chinese culture. Although media scholars have interpreted the popularity of the television historical dramas as a revival of Confucianism, virtually no empirical research has been done to explore how Chinese audiences relate their viewing experiences to the revival of Confucianism according to their own social and cultural conditions. This thesis presents a qualitative audience study of how the historical dramas are understood and socially and culturally valued in contemporary China, taking into account personal, social, historical and cultural issues that relate to viewers’ engagement with this television genre. Between late September 2007 and early April 2008, the author carried out his fieldwork audience research in two urban settings in China, the city of Beijing and that of Changsha. 10 focus groups and 11 in-depth interviews were conducted involving more than 60 respondents from young adult and middle-aged audience groups. According to the author’s fieldwork data analysis, the ways that the Chinese audience engages with the historical drama are far more complex than generally thought; rather than insist on a literal interpretation of the drama text, the audience engages with the historical television drama in quite a divergent way due to his or her age, gender, life stage and socio-cultural status. Meanwhile, informed by the Grounded Theory, the author identified two text-based interpretive frameworks that are adopted by the respondents across all the focus groups and in-depth interviews in their understanding and evaluation of the historical drama text. These two interpretive frameworks include the framework of fact/fiction and that of ‘classic-ness’. To conclude, the author argues that the Chinese audience’s response to the historical drama goes beyond a literal, political sense of totalitarian nostalgia; it is characterised by an increasingly more liberal, diverse and indeed open-ended engagement with the historical drama text. Nevertheless, a critical re-evaluation of Maoist revolutionary classic literary works is manifested within that engagement process.

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Lopes, Ana Cristina Caminha Viana. "Calabar, o elogio da traiÃÃo: um novo drama histÃrico." Universidade Federal do CearÃ, 2006. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=17202.

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FundaÃÃo de Amparo Ã Pesquisa do Estado do CearÃ
The teatral play Calabar, o Elogio da TraiÃÃo, by Chico Buarque and Ruy Guerra, has for subject the historical episode of the Dutch Invasion in the BrazilColony of century XVII. The play focus the controversial historical character Calabar, intrepid warrior allied to portuguese, that, in 1632, desert for the dutch side. Instigating the reader/spectador to review history with other eyes, the authors of Calabar , using a mordacious irony, demystify the betrayal concept. Although belongs to the dramatical sort, Calabar, o Elogio da TraiÃÃo is identified with the main characteristics of the literary subgenus of Latin American origin: the New Historical Romance (NHR). This work objective to realize a comparative and prospectus exercise: to transpose the model of the NHR to the Calabar work, as possibility of inclusion of this play in a possible model of the New Historical Drama. For in such a way, the work was divided in three chapters. In the first one, we approach some theoretical aspects and the passage of the literary subgenus âhistorical fictionâ (including romance and drama) in the Romantism. We weave some comments about the NHR and the Brazilian drama of century XX. Finally, we display, our proposal of adaptation of the NHRâs characteristics to the Calabar play. In the second chapter, we revise the historical episode of the Dutch Wars and deal with the thematic appropriation of the Dutch Invasion in Brazilian Literature. In the third chapter, we realize the transposition process identifying the NHRâs characteristics in Calabar, O Elogio da TraiÃÃo. Between them: critical revision, cyclical and unexpected character of history, rich intertextuality, parody, irony and metafiction.
A peÃa teatral Calabar, O Elogio da TraiÃÃo, de Chico Buarque e Ruy Guerra, tem por assunto o episÃdio histÃrico da InvasÃo Holandesa no BrasilColÃnia do sÃculo XVII. A peÃa focaliza o controverso personagem histÃrico Calabar, intrÃpido guerreiro aliado dos portugueses, que, em 1632, passa a apoiar os holandeses. Instigando o leitor/espectador a rever a histÃria com outros olhos, os autores de Calabar, por meio de ironia mordaz, desmistificam o conceito de traiÃÃo. Embora pertenÃa ao gÃnero dramÃtico, Calabar, o elogio da traiÃÃo identificase com as principais caracterÃsticas do subgÃnero literÃrio de origem latinoamericana: o Novo Romance HistÃrico (NRH). Este trabalho visa realizar um exercÃcio comparativo e prospectivo: a transposiÃÃo do modelo do NRH Ã obra Calabar , como possibilidade de inclusÃo desta peÃa em um modelo possÃvel de Novo Drama HistÃrico. Para tanto, foi dividido em trÃs capÃtulos. No primeiro, abordamos alguns aspectos teÃricos e o percurso do subgÃnero literÃrio ficÃÃo histÃrica (incluindo romance e drama) no Romantismo. Tecemos, ainda, consideraÃÃes relativas ao Novo Romance HistÃrico e Ã dramaturgia brasileira do sÃculo XX. Por fim, expomos nossa proposta de adaptaÃÃo das caracterÃsticas do NRH Ã peÃa Calabar . No segundo capÃtulo, revisamos o episÃdio histÃrico das Guerras Holandesas e tratamos da apropriaÃÃo temÃtica da InvasÃo Holandesa na Literatura Brasileira. No terceiro capÃtulo, realizamos o processo de âtransposiÃÃoâ, identificando as caracterÃsticas do NRH em Calabar, o elogio da traiÃÃo. Entre elas: releitura crÃtica, carÃter cÃclico e imprevisÃvel da histÃria, rica intertextualidade, parÃdia, ironia e metaficÃÃo.

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Pinkney, Michael L. "African-American dramatic theory as subject of cultural studies : an historical overview and analysis /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488190109869644.

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Willis, Craig Allen. "Step, ball, change? : a queer historical analysis of recent commercial theatre /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080600.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 261-271). Also available for download via the World Wide Web; free to University of Oregon users.

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O'Donnell, David O'Donnell, and n/a. "Re-staging history : historiographic drama from New Zealand and Australia." University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.

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Since the 1980s, there has been an increasing emphasis on drama, in live theatre and on film, which re-addresses the ways in which the post-colonial histories of Australia and New Zealand have been written. Why is there such a focus on �historical� drama in these countries at the end of the twentieth century and what does this drama contribute to wider debates about post-colonial history? This thesis aims both to explore the connections between drama and history, and to analyse the interface between live and recorded drama. In order to discuss these issues, I have used the work of theatre and film critics and historians, supplemented by reference to writers working in the field of post-colonial and performance theory. In particular, I have utilised the methods of Helen Gilbert and Joanne Tompkins in Post-Colonial Drama: Theory, Practice, Politics, beginning with their claim that in the post-colonial situation history has been seen to determine reality itself. I have also drawn on theorists such as Michel Foucault, Linda Hutcheon and Guy Debord who question the �truth� value of official history-writing and emphasize the role of representation in determining popular perceptions of the past. This discussion is developed through reference to contemporary performance theory, particularly the work of Richard Schechner and Marvin Carlson, in order to suggest that there is no clear separation between performance and reality, and that access to history is only possible through re-enactments of it, whether in written or performative forms. Chapter One is a survey of the development of �historical� drama in theatre and film from New Zealand and Australia. This includes discussion of the diverse cultural and performative traditions which influence this drama, and establishment of the critical methodologies to be used in the thesis. Chapter Two examines four plays which are intercultural re-writings of canonical texts from the European dramatic tradition. In this chapter I analyse the formal and thematic strategies in each of these plays in relation to the source texts, and ask to what extent they function as canonical counter-discourse by offering a critique of the assumptions of the earlier play from a post-colonial perspective. The potential of dramatic representation in forming perceptions of reality has made it an attractive forum for Maori and Aboriginal artists, who are creating theatre which has both a political and a pedagogical function. This discussion demonstrates that much of the impetus towards historiographic drama in both countries has come from Maori and Aboriginal writers and directors working in collaboration with white practitioners. Such collaborations not only advance the project of historiographic drama, but also may form the basis of future theatre practice which departs from the Western tradition and is unique to each of New Zealand and Australia. In Chapter Three I explore the interface between live and recorded performance by comparing plays and films which dramatise similar historical material. I consider the relative effectiveness of theatre and film as media for historiographic critique. I suggest that although film often has a greater cultural impact than theatre, to date live theatre has been a more accessible form of expression for Maori and Aboriginal writers and directors. Furthermore, following theorists such as Brecht and Brook, I argue that such aspects as the presence of the live performer and the design of the physical space shared by actors and audience give theatre considerable potential for creating an immediate engagement with historiographic themes. In Chapter Four, I discuss two contrasting examples of recorded drama in order to highlight the potential of film and television as media for historiographic critique. I question the divisions between the documentary and dramatic genres, and use Derrida�s notion of play to suggest that there is a constant slippage between the dramatic and the real, between the past and the present. In Chapter Five, I summarize the arguments advanced in previous chapters, using the example of the national museum of New Zealand, Te Papa Tongarewa, to illustrate that the �performance� of history has become part of popular culture. Like the interactive displays at Te Papa, the texts studied in this thesis demonstrate that dramatic representation has the potential to re-define perceptions of historical �reality�. With its superior capacity for creating illusion, film is a dynamic medium for exploring the imaginative process of history is that in the live performance the spectator symbolically comes into the presence of the past.

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Stewart, Lauren Marie. "Representation of Northern English and Scots in seventeenth century drama." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5988.

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Early Modern English (c. 1500-‐1700) is a difficult period for dialectological study. A dearth of textual evidence means that no comprehensive account of regional variation for this period can be attempted, and the field has therefore tended to be somewhat neglected. However, some evidence of regional varieties of English is provided by dialect representation in Early Modern drama. The dialogue of certain English and Scottish characters (and of those who impersonate them) is often marked linguistically as different from other characters: morphosyntactic forms, lexical items, and phonological features shown through variant spellings suggest dialectal usage in contrast to Standard English. This evidence, I argue, forms a legitimate basis on which to build at least a partial account of regional variation. The 47 plays analysed in this thesis were all written and/or printed between 1598 and 1705, and all feature examples of either Northern English or Scots dialect representation. From these examples we can build up a picture of some of the main phonological, morphosyntactic, and lexical elements of the seventeenth century dialects spoken in Scotland and northern England. Moreover, this literary evidence can help clarify and contextualise earlier scholarly work on the topic. The content of the plays themselves, along with the dialect representations, also provide sociocultural and sociolinguistic information about the perception of Scots and northerners and of the attitudes towards them across the country. In Chapter 1 I outline my methodology and provide a review of relevant literature, particularly focusing on other studies of dialect representation in drama. Chapter 2 gives an overview of the historical context for my linguistic data in seventeenth century Britain, including discussions of theatrical history in both England and Scotland, and of population movement and dialect contact. The Scottish dialect evidence is presented in Chapters 3 to 6. In Chapter 3, I give a chronological list of 33 plays featuring Scots dialect representation. In order to contextualise the plays, I provide background information about the author, printing, and performance history; a brief summary of the plot and a description of the dialect speaker; my assessment of the dialect representation; and if pertinent, commentary by other critics. I present and analyse the data from dramatic depictions of Scots, focusing on lexical items (Chapter 4), morphosyntactic features (Chapter 5), and phonological features as indicated by variant spellings (Chapter 6). I compare the literary data with linguistic reference works, including modern and historical dialect atlases, dictionaries, and dialect surveys. I also consult additional Early Modern sources and other reference works. The next four chapters focus on representations of dialects of northern England. These chapters follow the same format as the chapters on Scottish dialect: Chapter 7 contains a discussion of 15 seventeenth-‐century plays featuring representations of Northern English. Chapters 8, 9, and 10 mirror the structure of Chapters 4, 5, and 6, respectively, discussing lexical forms, and morphosyntactic and phonological features in representations of Northern English. I offer my conclusions in Chapter 11. With my detailed analysis of the data, I demonstrate that representations of regional usage in seventeenth century drama cannot be dismissed as stereotyped examples of a stage dialect, and that these literary data are worthy of being analysed linguistically. Although the quantity of dialect representation differs from one play to the next, and the quality covers a broad spectrum of linguistic accuracy, it nevertheless provides important information about non-‐standard dialects of northern England and Scotland in the seventeenth century.

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Griffith, Virginia Yvonne. "Vanêk na Hrad the historical context and dramaturgical implications of the Vanêk plays /." Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1082745241.

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Smyth, Catherine Lee. "Primary Teachers’ Historical Knowledge and Ways of Knowing: Sense Making and Practice in a Disciplinary World." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/28581.

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This qualitative study investigated the relationship between primary teachers’ social and personal epistemology. Specifically, the study examined how teachers without formal history education nor a disciplinary background made sense of the past, how they organised their understanding of what doing history entails, and how they constructed new personal and collective understandings to inform their professional practice. This case study was situated within a long-term professional learning primary history project between the researcher and regional schools in northern New South Wales, Australia. The setting for the study, a 1-day participatory drama workshop for primary teachers’ professional learning in history, was attended by 40 primary teachers, local museum curators and various school executives drawn from a range of schools in the region. Six primary teacher participants were interviewed before and after the workshop intervention. Verbal data were analysed at different levels of granularity using Chi’s (1997) Verbal Analysis to understand the teachers’ historical sense making and practical knowledge. Interpretative Phenomenological Analysis (Smith et al., 2009) made sense of the participants’ experiences before and after the intervention. The study found that primary teachers’ historical knowledge and understandings were grounded, developed and generated through personal and professional experiences. Their historical knowledge and ways of knowing were shaped by individual sense making and by the culture and context of their practice. A significant contribution of this research is the reconfiguration of primary teachers’ professional learning as a shared interdisciplinary epistemic space. The study also offers new insights into the epistemic affordances of specific activities that can activate historical knowledge and understandings.

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Hallett, David F. "Cautious rebellion, a critical study of the Canadian historical play in English." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ58281.pdf.

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Donahue, Katherine Anne. "Fact Through Fiction: A Case Study of Televised Historical Drama's Influence on Audiences' Perceptions of the Past." Thesis, Boston College, 2014. http://hdl.handle.net/2345/3857.

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Thesis advisor: William Stanwood
Thesis advisor: Lindsay Hogan
Never before has it been so important to investigate the way in which televised historical drama recreates and represents the past, for, as Robert Rosenstone (2003) acknowledges, “the increasing presence of the visual media in modern culture and the vast increase in TV channels seems to ensure that most people now get their knowledge of the past, once school is over, from the visual media” (p. 10). Therefore, this research uses the popular PBS Masterpiece Theatre program Downton Abbey as a case study to examine the accuracy of depictions of historical periods in contemporary television programs with the intent of discovering the impact of historical fiction on audiences’ perceptions of the past and, subsequently, on the collective memory of the public domain. Using a reception analysis approach, this research considers both producer-encoded and audience-decoded content within the four categories of (I) Setting, Details, and Design; (II) History; (III) Behavior; and (IV) Agenda, Values, and Effects outlined by Paul B. Weinstein (2001) to form conclusions concerning the relationship between the encoding and decoding of Downton Abbey, in particular, as well as the larger implications these findings have for televised historical drama and society’s collective memory, in general. Ultimately, this essay argues that through its precision of post-Edwardian detail, Downton Abbey attempts to construct a veil of accuracy behind which the series’ narrative is theoretically able to operate freely and without rigid constraint by history’s “hard and fast rules” (Fellowes, 2012a, p. 60). The findings also reveal an incongruity between this philosophy of encoding and the subsequent decoding process of Downton Abbey’s audience members. Finally, this study offers two potential functions historical drama may serve in contemporary society: as either a catalyst for historical inquiry or as a purveyor of distinctly modern, as opposed to historical, lessons
Thesis (BA) — Boston College, 2014
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program
Discipline: Communication Honors Program
Discipline: Communication

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Spong, Andrew. "The repertory of the Rose : a contribution to an historical materialist critique of early modern English drama." Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421202.

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Nordgren, Lars. "The Greek Interjections : Studies on the Syntax, Semantics and Pragmatics of the Interjections in Fifth-Century Drama." Doctoral thesis, Stockholm University, Department of French, Italian and Classical Languages, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-75536.

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This thesis investigates the linguistic and philological characteristics of the primary interjections in Ancient Greek drama. It employs Ameka’s definition and classification from 1992 as its theoretical base, and provides a comprehensive research survey. The thesis has a data-driven approach, and is based on all items traditionally classified as interjections. In the chapter on morphology and syntax, the unique characteristics of interjections are presented. E.g., NPs co-occurring with interjections form an interjection phrase, which follows a specific pattern, in accordance with a phrase schema. The chapter on semantics, which is the main part of the thesis, employs an analytical model based on a moderate minimalism approach. This assumes that all items have a core meaning that can be identified without the aid of context, yet allows different, but related, meanings. The definition adopted in the present thesis states that interjections share only formal characteristics, and thus can be divided into categories based on their semantic features, which are defined using Kaplan’s notion of informational equivalence. The thesis deals with three such categories, each with its individual semantic properties: expressive interjections, express the speaker’s experience of emotion and/or cognition; conative interjections, express what the speaker wants the addressee or auditor to do; imitative interjections, depict or reproduce sounds or events. Items in category 1 are the most frequent and thus receive most attention. In the chapter on pragmatics, it is proposed that the primary function of interjections is to express the core semantics in a specified context. Felicity conditions are suggested for an utterance to convey the primary meaning of an interjection. Interjections are also shown to have various secondary functions, e.g. that of strengthening markers. Finally, a lexicon is provided, which offers individual informational equivalents of all interjections under study.

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Morrill, Richard Brooke. ""Warriors of the Working-day" Class in Shakespeare's Second Historical Trilogy." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/MorrillRB2004.pdf.

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Gosse, Douglas. "Historical fiction, drama, and journal infusion in grade nine, early French immersion history, a curriculum guide using Enfants de la rébellion." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23140.pdf.

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Herrmann, Andrew F. "Re-Discovering Kolchak: Elevating the Influence of the First Television Supernatural Drama." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/811.

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Each panelist has chosen an artifact (or type, genre, etc.) from the recent past and interrogated its role as an influence on contemporary popular culture, working to show the linkage between then and now. This type of work is underappreciated and we would like to attempt to show how informing ourselves on popular culture past can make us better critics in the present. Our hope is to inspire others to take up that cause as well. In that spirit, we would like to encourage people to come prepared to discuss ideas and share their own work in a workshop type environment.

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Foster, Benjamin Thomas. "HISTORICAL INTIMACY: CONTEMPORARY RECLAMATIONS OF AFRICAN AMERICAN HISTORY IN THE DRAMA, POETRY, AND FICTION OF SUZAN-LORI PARKS, NATASHA TRETHEWAY, AND COLSON WHITEHEAD." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1066.

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Three contemporary authors – Suzan-Lori Parks, Natasha Trethewey, and Colson Whitehead – within the African American Literary Tradition explore relationships to history in light of a dominant rhetoric that represents African American history through a white, hegemonic lens. In Parks’ The America Play, Trethewey’s Bellocq’s Ophelia, and Whitehead’s The Intuitionist, these authors comment on historical representation through such symbols as iconic figures like Abraham Lincoln, photographs, and elevators as starting points to explore the possibility of an independent space for African American history. Rather than remarking on just the representation of the artifact, however, the authors enter a conversation on how history is remembered and experienced. Parks, Trethewey, and Whitehead each form their own expression on historical representation; in each case, their works address the ability, or inability, to achieve historical intimacy amidst a push back from hegemonic narratives in the public eye. Historical intimacy, as the leading concept of the dissertation, refers to developing a close proximity to history not as a mere representation but as lived experience. Parks sees historical insight developing only through brief moments of intimate contact, if at all. Trethewey imagines personal, even sensual, familiarity with the subjects of her poems as a way of breaking through social frames and learning to connect with the past. Whitehead works through paradoxes to dissolve representational patterns of discourse, like verticality, and reach for a post-rational space wherein both open historical possibility, which stresses self-reflexivity, and a foundation in a “real,” experienced history unlock the opportunity for the construction of an intimate history. Although no author presents historical intimacy as an achieved goal, their works suggest varying degrees of potential and connection.

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Theodoraki, Anezina. "SEEING THE SEEING PLACES A Video Documentary on the Historical Significance of the Ancient Greek Theatres of Lato, Thorikos, and Makynia." Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1082120594.

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Natalenko, Rie. "Exegesis to support Heloise." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060807.152947/index.html.

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Калантаєвська, Ганна Павлівна, Анна Павловна Калантаевская, Hanna Pavlivna Kalantaievska, and Ю. Сизоненко. "Конфлікт у душі героя і трагедія його роздвоєння у драмі І. Карпенко-Карого "Сава Чалий"." Thesis, Видавництво СумДУ, 2008. http://essuir.sumdu.edu.ua/handle/123456789/15687.

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Ludwig, Carlos Roberto. "Tensões políticas e psicológicas em 'MacBeth' e no drama de Shakespeare." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/15321.

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A proposta de dissertação de mestrado, intitulada Tensões Políticas e Psicológicas em Macbeth e no Drama de Shakespeare, é fazer uma leitura crítica à luz dos aspectos históricos e dos problemas psicológicos apresentados na obra de Shakespeare (1564-1616). Serão analisados os problemas políticos, históricos e psicológicos em Macbeth e no drama shakespeariano, pois, percebe-se uma intrínseca relação entre as tensões políticas e históricas e a consciência na obra de Shakespeare, nem sempre elucidada pela crítica contemporânea. Assim, notam-se dois elementos opostos, que geram tais conflitos: de um lado, o Estado monárquico, cuja necessidade é manter uma ordem harmônica e estável, que, para isso, cria mecanismos punitivos que regem e determinam a conduta do indivíduo, como por exemplo as idéias de ordem, de justiça retributiva, pregadas nas homilias, e da mística dos dois corpos do rei; de outro, o indivíduo, por exemplo Macbeth, cujo desejo entra em conflito com o Estado e sua necessidade de ordem, a fim de tentar sobrepô-los para satisfazer sua vontade. Como se observa, a oposição dos problemas históricos se revelam não só no plano político, mas Shakespeare também cria artifícios estéticos que ampliam as tensões políticas no plano psicológico. Assim, elementos históricos como o tiranicídio e a monarcomaquia vão figurar como elementos propulsores das tensões psicológicas. Essa dissertação está organizada em três capítulos. O primeiro capítulo, intitulado Tensões Políticas e Históricas em Macbeth e no Drama de Shakespeare, apresenta problemas históricas amplamente discutidos na era elisabetana e jacobina como a tirania, a monarcomaquia, a violação da soberania, as idéias de ordem e a teoria os dois corpos do rei. No segundo capítulo, Consciência no Drama de Shakespeare e na era Elisabetana e Jacobina, pretende-se mostrar como tais problemas históricos desencadeiam tensões psicológicos em algumas peças de Shakespeare, em particular em Macbeth, Richard II, Richard III e Hamlet. No terceiro capítulo, Tensões Psicológicas em Macbeth: a Consciência e a Ambição, apresenta-se uma análise da consciência e da ambição em Macbeth, como uma reação a esses embates entre o estado, seus mecanismos superegóicos e o indivíduo.
This master thesis, entitled Political and Psychological Tensions in Macbeth and in the Shakespearean Drama, aims to analise Shakespeare’s (1564-1616) masterpiece in terms of historical aspects and psychological issues. I propose to analise political, historical and psychological problems in Macbeth and in the Shakespearean Drama, for we can perceive an intrinsic connection between these political and historical tensions, and conscience in Shakespearean work, which is not always explained by some contemporary critics. At this point, there are two opposing elements, which create such conflicts: on the one hand, there is the monarchal State, whose necessity is to keep the harmonious and stable order, which hence forge punitive tools in order to control and determine the individual behaviour, such as the order ideas, retributive justice, and the theory of the King’s two bodies, which were preached in the homilies; on the other hand, there is the individual, for instance Macbeth, whose desire comes into conflict with the monarchal State and its necessity of order, for satisfying his will. That opposition of the historical problems appears not only in the political realm, but Shakespeare creates aesthetic devices as well, which spread out the political tension into the psychological level. Thus, historical issues as tyrannicide and monarchomachy will reappear as propulsioning elements to the psychological tensions. This thesis is organised in three chapters. The first one, entitled Political and Historical Tensions in Macbeth and in the Shakespearean Drama, presents some historical issues widely discussed in the Elizabethan and Jacobean Ages, such as tyrany, monarchomachy, the violation of sovereignty, the order ideas and the theory of the king’s two bodies. In the second chapter, Conscience in the Shakespearean Drama and in the Elizabethan and Jacobean Ages, it is presented how these historical problems unchain psychological tensions in some of the Shakespeare’s plays, especially in Macbeth, Richard II, Richard III and Hamlet. In the third one, Psychological Tensions in Macbeth: Conscience and Ambition, it is provided an analysis of conscience and ambition in Macbeth, as a result of a reaction against these collisions between the monarchal State, its superegoic mecanicisms and the individual.

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Stevens, David Todd. "An Historical Analysis of Rule and Policy Changes in the Texas University Interscholastic League One-Act Play Contest, 1986-2006, and the Results of Those Changes: Administrator and Teacher Perceptions." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28480/.

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The University Interscholastic League (UIL) One-Act Play Contest is a competition where similarly sized Texas schools present an 18-40 minute play usually adjudicated by a single judge. At each level of competition the judge awards individual acting awards as well as selecting two productions to advance to the next level of competition. After the awards are announced the judge gives an oral critique to each of the schools. Because of the wide participation and diversity of plays produced, certain rules and guidelines have been adopted to ensure safety, allow for equity, satisfy legal standards, and make the running of the contest practical. These rules can be modified to achieve positive outcomes and improved educational results. Changes in the rules of a UIL contest are in accordance with stated educational objectives of the UIL. Occasionally, however, modifications in procedures raise questions. The problem of this study was to determine, from the perceptions of administrators and teachers, whether significant modifications in the rules and policies for the UIL One-Act Play Contest over a time span of 20 years have had impacts on the goals and procedures of the contest. The study utilized a qualitative approach through historical analysis and a survey to answer two research questions. Historical analysis identified the six modifications in the UIL OAP over the years 1986-2006. The survey instrument determined the impact of these changes on the goals and procedures of the contest. Based on the responses of the survey the competition experience has been enhanced by recent changes.

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Shifflett, Matthew. "MATOAKA: Pocahontas in the Age of Identity." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1573.

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This thesis details the labors of research and judgment that informed the writing of Matoaka, a Play in Three Acts. Specifically, the thesis explores the historical puzzles surrounding the life of Pocahontas and justifies the decisions made in dramatizing her life in the aforementioned play. Non-fictional works of the last four hundred years are considered, as well as popular dramatic performances of the nineteenth century. These works are examined closely in order to reveal the Pocahontas story as a point of contact between many concurrent social discourses. Reflections are also offered on the production of the aforementioned play and its reception in Petersburg, Virginia, in April and May of 2007. Finally, the production script of the play itself is offered as an appendix

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Tasker, Elizabeth Anne. "Low Brows and High Profiles: Rhetoric and Gender in the Restoration and Early Eighteenth Century Theater." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/english_diss/18.

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The Restoration and early eighteenth-century theaters of London formed an important mixed-gender rhetorical venue, which was acutely focused on the age-old “querrelle des femmes” (or woman question). The immediate popularity of the newly opened Restoration theaters, the new practice of casting actresses rather than actors in female roles, and the libertine social climate of London from 1660 to the early 1700s created a unique rhetorical situation in which women openly participated as speakers and audience members. Through a methodology combining feminist historiography, performance theory, Bitzer’s rhetorical situation, and Habermas’ notion of the public sphere, this dissertation reclaims the Restoration theatre as one of the earliest public, secular, mixed-gender rhetorical venues in the English-speaking world. London theater of the Restoration and the early eighteenth century presents a feminist kairos for rereading and revisioning the actress from object to subject, from passive receiver to deliverer of performative rhetoric. Overall, the attention given to issues of femaleness in the plays of this period exceeds that of preceding and subsequent periods. The novelty of the actresses, as well as disillusionment with the male-dominated government and system of patriarchy, were major contributing factors that led to the female focus on stage. This phenomenon of female rhetoric also reflects the charisma, elocutionary skill, and visual rhetoric of the best female performers of the period, including: Nell Gwyn, Mary Saunderson Betterton, Elizabeth Barry, Anne Bracegirdle, Susannah Mountfort Verbruggen, Anne Oldfield, and Lavinia Fenton, all of whom are discussed from a rhetorical perspective in this dissertation.

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Nemeth, Lilian Casalderrey Prochaska. "D. Carlos: o duplo ficcional refletido na verdade histórica." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-10082016-130503/.

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Inserida no projeto Autor por Autor, que consiste na análise de textos teatrais cujo tema e/ou motivo trata(m) da História Portuguesa, esta dissertação dedicou-se à análise e interpretação das peças Pátria, de Guerra Junqueiro, e D. Carlos: drama em verso, de Teixeira Pascoaes, que trazem uma personagem ficcional criada a partir de D. Carlos, rei de Portugal entre os anos de 1889 e 1908. No diálogo travado entre a Ficção e a História, buscou-se a visão que Guerra Junqueiro e Teixeira Pascoaes tiveram do papel desempenhado por D. Carlos, rei de Portugal, durante a agonia da monarquia portuguesa, às vésperas do nascimento e fim da Primeira República. A pesquisa em torno da personagem histórico-real procura responder quem foi D. Carlos na representação de historiadores, com o objetivo de, depois de analisadas as peças, traçar paralelos entre as personagens ficcionais criadas à luz do D. Carlos histórico-real. Por meio desta comparação é possível perceber a escolha das características elencadas por cada escritor para compor as personagens ficcionais em decorrência da mensagem alegórica que cada texto ficcional possui, examinando em que medida a História surge como uma construção que muito deve à verossimilhança e interpretação subjetiva da Ficção. As personagens ficcionais, que representam o rei em cada uma das peças, parecem antagônicas entre si. A explicação para tal disparidade está intrinsecamente ligada ao drama histórico definido por Almeida Garrett durante o Romantismo Português, motivo de essa definição ter sido utilizada como ponto de partida para a metodologia escolhida para a análise das peças, posto que o exame dos textos literários encontrou uma releitura didática do presente à luz de alegorias criadas com a História de Portugal e por meio da tradição das escolas literárias nas quais se inserem, Decadentismo-Simbolismo (Pátria) e Saudosismo (D. Carlos: drama em verso). Para que tal caráter didático-elucidativo fosse revelado, fizeram-se necessárias as análises dos períodos históricos de elaboração e publicação de Pátria (1896) e D. Carlos: drama em verso (1918-1925). A análise da personagem foi fundamentalmente baseada nos estudos de Renata Pallottini em seu livro Dramaturgia: a construção da personagem, de onde foram elencados três pontos a serem estudados para compreender a construção das personagens que representam D. Carlos nas peças analisadas. Os três enfoques revelaram-se intrinsecamente interligados e determinantes para a escolha dos atributos da personagem histórico-real, utilizados para compor as personagens histórico-ficcionais que representam o rei em Pátria e D. Carlos. Os levantamentos históricos, as análises das peças e das personagens conduziram a dissertação à conclusão de que, em ambos os casos, D. Carlos era a personagem histórica mais emblemática para a construção da mensagem de cada peça, por ser ele o representante da monarquia nos períodos históricos que compuseram a unidade de ação, tempo presente, das peças aqui analisadas.
Inserted into the Project Author by Author, which is the analysis of theatrical texts whose theme and/or reason tells about Portuguese history, this work is dedicated to the analysis and interpretation of the books Pátria, from Guerra Junqueiro, and D. Carlos: drama em verso, from Teixeira de Pascoaes, who brings both a fictional character created from D. Carlos, King of Portugal, between the years 1889 and 1908. By the dialogue between fiction and history, we sought the view that Guerra Junqueiro and Teixeira de Pascoaes had for the role played by D. Carlos, King of Portugal, at the Portuguese monarchy decadence period, on the eve of the First Republic. Looking through the historical research carried out around the real historical character, we answer who was D. Carlos in the mental representation of historians, and then by analyzing each play, in order to draw parallels between the fictional characters created and the real historical D. Carlos, we justify the choice of the characteristics listed by both writers through the allegorical message of each fictional plays, examining the extent of the history construction that owes much to the likelihood and subjective interpretation of fiction. The explanation for the disparity between the allegorical messages and fictional characters of each piece, appears intrinsically linked to the historical drama defined by Almeida Garrett during Portuguese Romanticism, link that have been the starting point for the chosen methodology to our books analysis, becouse the examination of each literary texts founds a didactic retelling of the allegories created with the Portugal history and through the tradition of literary schools to which each play belong, Decadentism-Symbolism (Pátria) and Saudosismo (D . Carlos: drama em verso). To reveal this didactic and instructive character, it was necessary to analyzes the historical periods of preparation and publication of Pátria (1896) and D. Carlos: drama em verso (1918-1925). The characters analysis was primarily based on Renatas Pallottini studies in her book Dramaturgia: a construção da personagem, from which were listed three points to be studied to understand the construction of the characters representing D. Carlos on the analyzed parts. The three approaches have proven to be intrinsically linked and decisive for the choice of the real historical character atributes, used to compose the historical-fictionals characters that represent the King in Pátria and D. Carlos. Historical surveys, and the character analysis led us to the conclusion that, in both cases, D. Carlos was the most emblematic historical character to the construction of each piece messages, because he was the simbol of the monarchy at the historical periods that built up the unity of action and present time, by the documents analyzed here.

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Sörlin, Marie. "Att ställa till en scen : Verbala konflikter i svensk dramadialog 1725–2000." Doctoral thesis, Uppsala University, Department of Scandinavian Languages, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-8422.

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This thesis deals with interactional patterns in verbal disputes as portrayed in the written dialogue of Swedish drama over three centuries. The overarching aim is to contribute to research into conflict talk in Swedish dialogue, but also to contribute to historical pragmatics and linguistic stylistics.

The teoretical and methodological framework combines elements from conversation analysis and theories of communicative events (activity types). A corpus of 30 drama texts, written during the 18^th century, the late 19^th century, and the late 20^th century, was examined for examples of conflict events that are lexically marked as such in the texts (by words such as argument, dispute, quarrel etc.).

A total of 47 conflict events were identified in 21 of the 30 drama texts. The construction of the beginning of the three most significant types of conflict sequences found within 45 of the 47 events, totalling 111 sequences, is analysed in detail. The three sequence types concern differences in opinion (disagreement sequences), accusations (complaint sequences) and directives (rejection sequences).

One result of the study is that complaint sequences are shown to be by far the most common conflict pattern in the data. Another result is that few differences are found regarding the construction of the sequences over three centuries. For the most part, it is the same sort of moves that are frequent no matter which period the data stem from. One conclusion is therefore that the conflict patterns in drama dialogue appear to be relatively stable over time.

The study also deals with the dramatic functions of the conflict patterns (the events, sequence types or moves). Two functions are discussed, namely plot development and characterisation. While all conflict can further the process of characterisation, for example by showing the negotiation of differences in power between the characters, less than half of the events further the plot by having an effect on the disputants or other characters in the drama.

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Žana, Pejanović. "Фигура оца у историјској драми српског предромантизма и романтизма." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2018. https://www.cris.uns.ac.rs/record.jsf?recordId=107469&source=NDLTD&language=en.

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Предмет истраживања докторске дисертације јестефигура оца у историјској драми српскогпредромантизма и романтизма. Намераистраживања је да на основу обимног корпусадрамских текстова изврши темељна анализа драмау којима је идентификована фигура оца као и да сепружи преглед ликова који се јављају у овојулози. Истраживачки рад ће бити усмерен напроучавање и допуну резултата досадашњиханализа улоге мушких ликова. Успоставиће сепримерена типологија главних и епизодних ликовакоји се у историјским драмама српскогпредромантизма и романтизма појављују уулози оца. Полазиште дисертације је историјскадрама и фигура оца као њен незаобилазни део.Почетна претпоставка је да је психолошкауверљивост наступа појединих јунака последицапородичних прилика, а не историјских догађаја.Тежиште истраживачког рада је приказивањејунака чија ауторитативна природа доводи досукоба, отуђења од породице и самоотуђења.Докторска дисертација би требала подстаћи неканова питања и одговоре као и нова проучавањаисторијске драме
Predmet istraživanja doktorske disertacije jestefigura oca u istorijskoj drami srpskogpredromantizma i romantizma. Nameraistraživanja je da na osnovu obimnog korpusadramskih tekstova izvrši temeljna analiza dramau kojima je identifikovana figura oca kao i da sepruži pregled likova koji se javljaju u ovojulozi. Istraživački rad će biti usmeren naproučavanje i dopunu rezultata dosadašnjihanaliza uloge muških likova. Uspostaviće seprimerena tipologija glavnih i epizodnih likovakoji se u istorijskim dramama srpskogpredromantizma i romantizma pojavljuju uulozi oca. Polazište disertacije je istorijskadrama i figura oca kao njen nezaobilazni deo.Početna pretpostavka je da je psihološkauverljivost nastupa pojedinih junaka posledicaporodičnih prilika, a ne istorijskih događaja.Težište istraživačkog rada je prikazivanjejunaka čija autoritativna priroda dovodi dosukoba, otuđenja od porodice i samootuđenja.Doktorska disertacija bi trebala podstaći nekanova pitanja i odgovore kao i nova proučavanjaistorijske drame
The subject of the doctoral thesis research is thefigure of a father in the historical drama ofSerbian Preromanticism and Romanticism.Based on the large corpus of drama texts, theintention of this research is to do a thoroughanalysis of dramas where the figure of a fatherhas been identified as well as to present areview of characters appearing in this role. Theresearch work will be aimed on studying andcompleting the results of the previous analysisof male characters. An appropriate typology ofmain and episodic characters which appeared inhistorical dramas of Serbian Preromanticismand Romanticism in the roles of a father,will beestablished. A starting point of the thesis is thehistorical drama and the figure of a father as itsunavoidable part. The initial assumption is thatthe psychologically stringent appearance ofsome heroes is the consequence of familyevents and not of the historical ones.The centreof the research work is a presentation of theheroes whose authoritative nature leads toconflict, alienation from the family and selfalienation, too. The doctoral thesis shouldinduce some new questions and answers as wellas a new studying of historical drama

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岑金倩 and Kam-sin Shum. "A study of female characters in modern Chinese historicaldrama (1911-1949)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31214605.

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Vinciguerra, Maria. "Pour un theatre "dialectique" : étude comparative de deux pratiques esthétiques les Mains sales et Mère courage et ses enfants." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59239.

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This thesis examines the theoretical foundations of Brecht's and Sartre's "dialectical" theatre. Proceeding first from their most significant theoretical writings, it then studies representative plays--Mutter Courage und ihre Kinder and Les Mains sales--in an attempt to make explicit the relationship between theory and artistic practice. The textual analysis proper develops certain aspects of theme, structure and reception which in turn reveal meaningful differences and contradictions. Sartre's "dramatic" theatre in fact evidences a sort of ideological creativity whereas Brecht's "epic" theatre presents a more primordial artistic creativity. Therefore, though the concept of dialectical theatre (essentially political and/or historic) is a common thought-structure to both dramatists, its actualization differs. I will argue that Sartre's work shows a view of the art process as ideologically predetermined and almost ineluctable. Brecht's more primordial work, on the other hand, shows process as a creative anagnorisis, more immediate and archetypal. In the last chapter, I will give an overview of the changes in consciousness produced by these approaches of "dialectical" theatre and substantiate these by criticism that has dealt with the subject.

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Brodén, Linn. "Historia & Drama : -amatörteater i skolan." Thesis, Karlstad University, Karlstad University, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-661.

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SAMMANFATTNING

Under kursen Estetiskt lärande har en ständig frågeställning varit: Hur kan man arbeta med estetiska ämnen och samtidigt kombinera dem med ett annat?

Jag har gjort ett examensarbete i två delar, den första är en litteraturstudie där olika författares teorier om drama och amatörteater tas upp. Den andra är en undersökning av amatörteatrars bevarade material från Folkrörelsernas arkiv.

Mina frågor i arbetet är:

1. Till vilken nytta har elever och lärare i drama om kunskap i amatörteaterhistoria?

2. Hur skulle man kunna arbeta med fakta från amatörteaterföreningar i dramaundervisningen i skolan?

3. Vilken typ av regler/stadgar följer amatörteaterföreningar?

Jag har funnit att drama och historia mycket väl kan och bör användas tillsammans. Historia ger ämnet bakgrund och kan hjälpa elever att förstå ämnet. Historia är en del i alla ämnen i skolan mer eller mindre uttalat men av någon anledning har ämnet drama förbisetts. Detta trots att det står i LPO-94 att ”Utbildning och fostran är i djupare mening en fråga om att överföra och utveckla ett kulturarv – värden, traditioner, språk, kunskaper – från en generation till en annan”. ”I all undervisning är det angeläget att anlägga vissa övergripande perspektiv.”

Min undersökning har lett till tron att man kan arbeta med fakta från amatörteaterföreningar i skolan. Man kan ha lektioner som är uppbyggda på liknande stadgar. Amatörteatrar har en mer avslappnad miljö och bidrar till deltagarnas utveckling som individer och ger dem bättre självförtroende.

Under 1960-70-talet var några av dagens mest respekterade dramateoretiker i sin karriär, Brian Way och Dorothy Heathcote. De hade båda olika syn på drama och teater, då Heathcote såg en ständig underliggande mening i allt som görs hade Way ett objektsperspektiv.

Abstract

During the course Estetiskt lärande we’ve been discussing how one can mix the subject drama with an ordinary subject like history.

My paper is divided into two parts. The first one is a study of different literature that speaks of drama both as a subject and amateur theatre that I’ve come to believe has a better form of working. My questions in this paper are:

1) What use does students and teachers in drama have of amateur theatre?

2) How could one work with facts from amateur theatre in school drama?

3) What kind of rules does apply for amateur theatre?

My research has led me to the conclusion that drama and history should bee used together in school. In the guide over school (LPO-94) it says:” Education and upbringing in a deeper sense is a question about transferring and developing a cultural inheritance – values, traditions, language, and knowledge from one generation to another”. “In all tutoring it’s important to have overlooking perspective”.

My research has also led me to believe that it is better for the students to work in a way more similar to amateur theatre. By using material from archives they could apply them to their own lectures. Amateur theatre has a more relaxed environment then in school, and the students may build a better self esteem.

During the 1960-70s some of today’s most respected drama speakers were in the beginning of their careers. Brian Way and Dorothy Heathcote. They had different ways of looking at drama as a subject, Heathcote always searched for an underlying sense about everything while Way saw things from an objects perspective.

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Quinteros, Evelyn. "Obra teatral: Júpiter Discurso ideológico a través de la literatura." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-79875.

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This study, Jupiter, a theatre play: an ideological discourse through literature, is based upon the play written by Francisco Gavidia that tells the story of the Salvadoran nation, which after having lived many decades under the Spanish yoke, is organized with the help of the Creole elite, in order to obtain independence. For Francisco Gavidia it is important to raise awareness of the importance of freedom in the Salvadoran population. The objective of this work is to analyze the main characters in order to identify the existence of an ideological message in the drama, Jupiter. To accomplish this purpose, we have used some drama concepts established by García Barrientos 2007; some other concepts based on the narrative theory by Mieke Bal (1995), and the theory of the Historical Novel explained by Fernández (2003); both theories have served as a tool to facilitate and deepen the study of the characters, some structural elements, and ideological discourse that we find in this literary work. Our study has focused on the analysis of the main characters, both fictional and historical, with the main character being a black slave: Jupiter. This figure represents the Salvadoran population that has lived several decades under the Spanish yoke. Then we find the figure of the woman embodied in the character named Blanca. This character plays the role of a passive woman, since she has no voice or power, and she is seen as an object through which the male characters can obtain power and material wealth. Another fictional character is Beltranena who represents the Spanish power in Salvadoran territory during the Colonial era. Finally, there are two historical figures who serve the purpose of leaders in the planning and execution of the rebellion to acquire the freedom for the people. Our hypothesis has been corroborated, since according to our analysis the characters deliver an ideological message, because the author exposes the ideology through the main characters.

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Danbolt, Viktoria, and Rasmus Jinnestrand. "Drama i historieundervisningen." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-34569.

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Då skolan ska bidra till att ge eleverna en djupare ämneskunskap och förståelse för samtidenkrävs det fler metoder för att variera och anpassa undervisningen till varje individ. Syftet medföljande examensarbete var att undersöka om dramapedagogiska metoder används iämnesundervisningen samt, om så var fallet, i vilket syfte lärare använder sig avdramapedagogiska metoder. Vidare undersöktes vilka möjligheter till förbättradundervisningskvalitet användandet av dramapedagogik i undervisningen, med särskilt fokuspå historieämnet, skulle kunna erbjuda. Metoden som användes för att besvara frågorna vartriangulering, en kombination av kvalitativ och kvantitativ undersökning där en enkät medflervalsfrågor och fria formuleringar utgjorde vårt empiriska material. Resultatet haranalyserats genom utvecklingspsykologiska teorier och ämnesdidaktiska teorier med fokus påhistorieämnet. Undersökningens resultat visade att lärare i alla ämnen använder sig avdramapedagogiska metoder främst för att stärka värdegrundsarbetet. Lärare i historiaanvänder sig av dramapedagogiska metoder i undervisningen för att levandegöraundervisningen, utveckla historisk empati och förståelse samt motivera eleverna att ta till sigkunskap.

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Kelsey, Jonathan Melvin. "The Writing of JI: From These Walls." Akron, OH : University of Akron, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1247708978.

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Thesis (M.A.)--University of Akron, School of Dance, Theatre, and Arts Administration-Theatre Arts, 2009.
"August, 2009." Title from electronic thesis title page (viewed 10/21/2009) Advisor, James Slowiak; Faculty readers, Durand Pope, David Bush; School Director, Neil Sapienza; Dean of the College, Dudley Turner; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

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De, Santis Vincenzo. "Le dramaturge dissident. Le théâtre de Louis Lemercier entre Lumières et Romantisme (suivi de l’édition critique d’Agamemnon et Pinto, ou la journée d’une conspiration)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040039.

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La production dramatique de Jean-François-Louis-Népomucène Lemercier s’inscrit justement dans ce moment de transition entre ce que l’on a appelé Néoclassicisme et le Romantisme. Né en 1771 et mort en 1840, cet homme de lettres et académicien a assisté aux bouleversements qui ont caractérisé l’histoire de France du tournant des Lumières jusqu’à la Révolution de Juillet et même après. L’étendue de sa vie et surtout de son activité de dramaturge dépassent donc amplement ce « long dix-huitième siècle » que l’histoire littéraire tend à prolonger jusqu’en 1820. Ce travail s’intéresse donc à la production d’un dramaturge qui, dans son ambigüité intrinsèque, s’avère à plusieurs égards révélatrice d’une ambigüité caractérisant de manière plus générale l’ensemble de cette période de transition. Auteur de celle que l’on retient souvent comme la dernière tragédie classique – c’est le cas de son Agamemnon de 1797 – Lemercier est également considéré, déjà à partir du dix-neuvième siècle et notamment par Schlegel, comme l’un des premiers auteurs proprement romantiques, son Pinto de 1800 étant justement une protoforme de drame romantique. Ce travail se compose de deux grandes parties, la première consistant en une étude monographique sur l’ensemble de la production dramatique de Lemercier, la deuxième en une édition critique des œuvres majeures du dramaturge, son Agamemnon, qui représente un de plus grands succès tragiques de la période directoriale dont les reprises continuent jusqu’en 1826, et Pinto, une « comédie historique » qui fut en revanche un succès de scandale lors de sa création à la Comédie-Française et qui encourût par la suite la désapprobation de cinq régimes politiques
The dramatic productions of Jean-François-Louis Népomucène Lemercier (1771-1840) reveal a transition between Neoclassicism, Preromanticism and Romanticism. This writer and academician witnessed the political and social upheavals that characterized France from the twilight of the Enlightenment until the July Revolution and thereafter. The span of his life and works amply exceeds the "long Eighteenth Century" that literary historians have extended to 1820 (Claude Pichois). This dissertation includes two main parts: a monographic study of Lemercier’s dramatic production and a critical edition of the playwright’s major works, Agamemnon (1797), one of the most successful tragedies during the “Directoire” and to 1826; and Pinto, a “historical comedy” composed between 1798 and 1800, and which was seen as a “romantic” triumph in 1834. Lemercier has often been regarded as the author of one of the last classical tragedies (Agamemnon i.e.); nevertheless, in spite of being, at times, one of Romanticism’s fiercest detractors, he emerges in Nineteenth century criticism – and above all in Schlegel’s writings – as one of the most influential pioneers of romantic drama. The intrinsic ambiguity of Lemercier’s dramatic production reveals the uncertainties of this transitional age. This ambiguity thus demands a holistic approach: the context of Lemercier’s literary works will be analyzed from an esthetic, historical and political point of view, emphasizing their intricate relationships with literary and political authorities and censorship issues throughout the period
La produzione drammatica di Jean-François-Louis Népomucène Lemercier si inserisce in quel momento di transizione tra Neoclassicismo, Preromanticismo e Romanticismo che caratterizza gli ultimi anni del Diciottesimo e il primo trentennio del Diciannovesimo secolo. Nato nel 1771 e morto nel 1840, questo scrittore e accademico ha assistito agli sconvolgimenti che hanno caratterizzato la storia della Francia dal tournant des Lumières fino alla Rivoluzione di Luglio e anche oltre. La sua vita e la sua attività poetica oltrepassano ampiamente il “lungo Settecento” che la storia letteraria tende ad estendere sino al 1820 già a partire dalla periodizzazione proposta da Claude Pichois. Questo lavoro si concentra sulla produzione di un autore che, nella sua intrinseca ambiguità, è sotto molti aspetti indicativa di un’indeterminatezza che caratterizza più in generale questo periodo di transizione estetico-letteraria. Spesso considerato, in primis da Madame de Stael, come l’autore dell’ultima tragedia classica - è il caso di Agamemnon del 1797 - Lemercier è stato visto, già a partire dal XIX secolo e in particolare da Schlegel, come uno dei primi autori di drammi romantici, di cui Pinto, ou la journée d’une conspiration (1800) rappresenterebbe una protoforma. Il presente lavoro, che si focalizza sul macrotesto teatrale di Lemercier senza tuttavia negligere altri aspetti della sua variegata opera, consta essenzialmente di due sezioni, una dedicata allo studio del macrotesto teatrale dell’autore, con un’attenzione particolare al contesto-storico letterario e alla ricezione; l’altra all’edizione di due opere, Agamemnon e Pinto, che rappresentano per molti aspetti due degli esempi più significativi della sua produzione drammatica. Il rapporto conflittuale di Lemercier con l’autorità politica e con la nascente “scuola” romantica saranno inoltre oggetto di questa riflessione

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Ormianin, Maria Ascensión Jiménez Martin. "The theme of infanticide in modern American drama." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24337.

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Salvador, Francisca Nunes da Mota. "Da lousa ao palco: teatro como possibilidade de desenvolvimento de agência." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/13699.

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Made available in DSpace on 2016-04-28T18:22:57Z (GMT). No. of bitstreams: 1 Francisca Nunes da Mota Salvador.pdf: 29148648 bytes, checksum: 860931329684636d5c1f101faa35481e (MD5) Previous issue date: 2014-10-17
Conselho Nacional de Desenvolvimento Científico e Tecnológico
The aim of this research is to investigate, critically, the development of creative agency in chain activity system on a drama project for teenagers at elementary school (7th grade). The project is developed at Instituto Dinâmico Alfredo Chaves (ES), where proposals aimed at reading and production of speech genres for elementary and high school are promoted. The question that organizes this research is: How do chain activity system enable the development of agency? Two sub questions were proposed: What types of collaboration were constituted in the meetings? What types of agency flourished? This study finds itself within the context of Applied Linguistics and is supported by the Social Historical and Cultural Activity Theory, with focus on agency. It is designed as a Critical Research on Collaboration (MAGALHÃES, 2010; 2011), whose goal is to create the context of negotiation in which the subjects learn from each other, generating shared knowledge. The corpus of this research consisted of four meetings held during the process of production of a play as well as testimonials, written by the students who were involved in the project in the year of 2013. Data were analyzed prioritizing enunciation, discursive and linguistic aspects, based on studies on argumentation. The results show that the process, which was carried out by the subjects of research, promotes collaborative relationships, enabling the development of agency. However, it is important that the teacher acts intentionally and responsively so that there is critical collaboration in a way that subjects take part in relational and transformative agency
O objetivo desta pesquisa é investigar, de forma crítica, o desenvolvimento de agência no sistema de atividades em cadeia, que se propõe criativa, em um projeto de teatro para adolescentes em fase de escolaridade do segmento Ensino Fundamental, 7º ano. Trata‐se de um projeto desenvolvido no Instituto Dinâmico Alfredo Chaves (ES), local em que são promovidas propostas voltadas à leitura e à produção de gêneros discursivos para o Ensino Fundamental e Médio. A pergunta que organiza esta pesquisa é: Como o sistema de atividades em cadeia possibilita o desenvolvimento de agência? Duas subperguntas foram organizadas: Que tipos de colaboração foram constituídos nos encontros? Que tipos de agência foram decorrentes? Este estudo está inserido no contexto da Linguística Aplicada e apoiado na Teoria da Atividade Sócio‐Histórico‐Cultural, com foco em agência. Está delineado como uma Pesquisa Crítica de Colaboração (MAGALHÃES, 2010; 2011), cujo objetivo é criar contexto de negociação, em que os sujeitos aprendam, uns com os outros, a produzir conhecimento compartilhado. O corpus desta pesquisa foi constituído de quatro encontros ocorridos durante o processo de produção de uma peça de teatro e depoimentos escritos por alunos do projeto, em 2013. Os dados foram analisados priorizando os aspectos enunciativos, discursivos e linguísticos, com base nos estudos sobre argumentação. Os resultados mostram que o processo percorrido pelos sujeitos da pesquisa promove relações colaborativas, possibilitando o desenvolvimento de agência. No entanto, é importante um agir intencional e responsivo do professor para que haja a colaboração crítica, de modo a mobilizar os sujeitos a uma agência relacional e transformativa

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Lopes, Tania Fedotovas. "Ouro Preto : o drama social do direito ao patrimonio." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278685.

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Orientador: Jose Luiz dos Santos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Esta pesquisa tem como local empírico a cidade de Ouro Preto. A questão: investigo a vida social a partir de dois rituais, carnaval e Semana Santa, com o objetivo de compreender a relação entre patrimônio e turismo. Utilizo o conceito de drama social de Victor Turner. Concluo a tensão existente em Ouro Preto: viver em um núcleo simbólico e a vida social em uma cidade comum
Abstract: This research has as empiric local the city of Ouro Preto. My question (is): to research the social life by two rituals - Carnival and "Semana Santal". My goal is to understand the relation between national and world heritage and tourism. To do this I'm using the Victor Turner' s concept of social drama. At the end I verify a tension in Ouro Preto: to reside in a' symbolic nucleus and at the same time living the social life in a common city
Mestrado
Mestre em Antropologia Social

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Posadas, Torrijos Karina. "La ironía como crítica a la historia en Corona de luz de Rodolfo Usigili." Tesis de Licenciatura, Universidad Autónoma del Estado de México, 2017. http://hdl.handle.net/20.500.11799/67458.

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Rodolfo Usigli es considerado como el iniciador del teatro mexicano contemporáneo al abordar en sus obras, temáticas que él consideraba puramente nacionales. Su tarea como hombre dedicado al teatro, abarcó todas las facetas del ámbito teatral con el ideal de alcanzar la cumbre de esta expresión artística. Entre su producción se encuentra la trilogía de las Coronas, conformada por Corona de sombra (1942), Corona de fuego (1959) y Corona de luz (1963), cada una de ellas muestra un pilar distinto con el cual Usigli pretende cimentar un concepto de unidad nacional. La última obra de la trilogía, Corona de luz, está basada en la historia de las apariciones de la Virgen de Guadalupe al indio Juan Diego. Es a partir de dicha temática que Rodolfo Usigli escribe una trama alrededor de la construcción de un milagro que se espera beneficie a los conquistadores, pero que al final conforma el pilar de la soberanía espiritual de los mexicanos. En esta obra el dramaturgo emplea la ironía como un recurso para esgrimir una crítica hacia la historia nacional y, sobre todo, a aquellos con el poder de utilizar la historia en su beneficio. Corona de luz, Rodolfo Usigli, ironía, drama histórico.

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Domínguez, Soto Iván. "Festival de Dramaturgia Europea Contemporánea: una mirada a su recepción en Chile." Tesis, Universidad de Chile, 2013. http://repositorio.uchile.cl/handle/2250/131376.

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Tesis para optar al grado de Magíster en Literatura mención Literatura Chilena e Hispanoamericana
El Festival de Dramaturgia Europea Contemporánea se estableció, durante los once años que se realizó, como uno de los eventos más importantes del ambiente cultural nacional, pues permitió acercar al público chileno las obras de los representantes más destacados de la actual escena teatral europea. Este festival fue creado con el objetivo de servir de instancia de diálogo cultural entre los artistas teatrales de Chile y Europa, por lo que el presente trabajo busca indagar si se produjo realmente este diálogo, mediante el análisis de las condiciones en las cuales se recepcionó una de las obras participantes en el evento, por parte del público asistente; y establecer cuáles fueron los aportes del festival al ambiente cultural chileno.

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Coloma, Cares Estefanía. "Survivors in modern American tragedy." Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/130551.

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Dissertations / Theses on the topic 'Historical drama'

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