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Dissertations / Theses on the topic 'Live theater'
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Shrader, Angela D. "A Comparison of Audience Response to Live and Recorded Theatre Performances." Marietta College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1430070781.
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Torpey, Peter Alexander. "Disembodied performance : abstraction of representation in live theater." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/55198.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2009.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 151-158).
Early in Tod Machover's opera Death and the Powers, the main character, Simon Powers, is subsumed into a technological environment of his own creation. The theatrical set comes alive in the form of robotic, visual, and sonic elements that allow the actor to extend his range and influence across the stage in unique and dynamic ways. The environment must compellingly assume the behavior and expression of the absent Simon. This thesis presents a new approach called Disembodied Performance that adapts ideas from affective psychology, cognitive science, and the theatrical tradition to create a framework for thinking about the translation of stage presence. An implementation of a system informed by this methodology is demonstrated. In order to distill the essence of this character, we recover performance parameters in real-time from physiological sensors, voice, and vision systems. This system allows the offstage actor to express emotion and interact with others onstage. The Disembodied Performance approach takes a new direction in augmented performance by employing a nonrepresentational abstraction of a human presence that fully translates a character into an environment. The technique and theory presented also have broad-reaching applications outside of theater for personal expression, telepresence, and storytelling.
Peter Alexander Torpey.
S.M.
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Miller, Michael R. M. Eng Massachusetts Institute of Technology. "Show design and control system for live theater." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/65324.
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Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2010.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 75).
Tod Machover's upcoming opera Death and the Powers calls for an unprecedented integration of technology and theater. These uses of technology are at the heart of the show and include a Greek chorus of nine "Operabots"; a novel surround sound and audio processing architecture; a massive string instrument called "The Chandelier"; three 14' tall robotic stage fixtures with displays called "The Walls"; and more. Each component has its own unique challenges, but all share the need for a comprehensive show design and control system. A show design and control system was built for this specific purpose and will be used for Death and the Powers. The software affords real-time control over the robotic elements in the opera alongside predetermined, choreographed routines.
by Michael R. Miller.
M.Eng.
4
Kastel, Thiemo [Verfasser]. "Live Performances and Broadcast Productions with Augmented Reality / Thiemo Kastel." Gernsbach : Prof.(FH) Dr. Thiemo Kastel, kastel media solutions, 2017. http://d-nb.info/1139666266/34.
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Zachry, Corinne. "CREATING PUPPETS THAT LIVE: AN EXPLORATION OF THEORIES AND TECHNIQUES IN MODERN PUPPETRY." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1366906448.
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Chau-Dang, Tiffanie T. "Using Optical Illusions to Enhance Projection Design for Live Performance." Kent State University Honors College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1588376296563101.
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Thomas, Kenneth. "Who, What, Why: A Self-Reflection on the Creation and Practice of Audition Technique in the Business of Live Theatre." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/633.
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Gray, Leslie. "A Home You Can’t Live in: Performances of the Black Body and Domestic Space in Contemporary Drama." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19318.
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Theatre is often an invitation to enter the black home subject to its violations and crisis; this thesis repositions the black home and body in contemporary American and British theatre as constructed by the narratives and transgressions of the moment they are in. I examine Suzan-Lori Parks’ In the Blood, Katori Hall’s The Mountaintop and Sabrina Mahfouz’s Chef as sites of memory, nostalgia, and trauma where what is considered “home” resists the safety of concrete walls and a white picket fence. Instead, I argue the playwrights suggest, with their black female protagonists, that home transcends the material. Parks, Hall, and Mahfouz each meditate on what it means for black women to dwell in unsafe places, the home you don’t want to return to. This is significant in that it encourages a respect for the lived experiences and cultural knowledge acquired in autonomous homes and bodies of black women whose narratives have often been made invisible.
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Vandorpe, Dries. "The Archaeology of Liveness." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430786242.
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Faigin, David A. "COMPARING LIVE AND VIDEO-TAPED THEATRICAL PERFORMANCE IN CHANGING STIGMATIZING ATTITUDES TOWARDS PEOPLE WITH SERIOUS MENTAL ILLNESS." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1141964034.
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Büscher, Barbara. "Live Electronic Arts und Intermedia : die 1960er Jahre." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-39497.
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Die in der Geschichte der Künste als Neoavantgarde der frühen 1960er Jahre bezeichneten Entwicklungen der Grenzüberschreitung und Prozessorientierung bilden in exemplarischen Analysen das Zentrum des Gegenstandsbereichs dieser Arbeit. Sie umfassen sowohl die grundlegenden Innovationen, die - von John Cages Ideen und Konzeptionen angestoßen – die Arbeit der Komponisten/Performer der Live Electronic Music prägten, wie die Erweiterung der künstlerischen Materialien und Veränderung der Verfahren der Bildenden Kunst seit Happening und Fluxus. Sie umfassen die minimalistischen Verschiebungen des Verständnisses von Körper-Bewegung und Objekten in der Tanz/Performance vor allem der New Yorker Judson Dance Group und die performative Erforschung der Grundlagen von Kino/Film-Wahrnehmung im Expanded Cinema. An diesen drei Bereichen wird eine doppelte historische Bewegung aufgezeigt: zum einen die des Durchstreichens, Verschiebens, Ersetzens konventionalisierter Parameter und Wert-Hierarchien; zum anderen eine durch den Entwicklungsschub technischer Medien und deren Auswirkungen auf Gesellschaft und Wahrnehmung angestoßenes Interesse an der Verbindung von Kunst und Medien. Eine wichtige Schnittstelle dieser Entwicklungen manifestiert sich in den Aufführungen der inzwischen legendären Nine Evenings: Theatre and Engineering, die 1966 in New York stattfanden. Die Analyse dieses Ereignisses, des Arbeitsprozesses, der ihm vorausging und an dem in gleicher Weise Künstler und Ingenieure beteiligt waren, wie der einzelnen Performances bildet einen Ausgangspunkt dieser Untersuchung. Dass Systemtheorie und Kybernetik als Denkmodelle für die Kunstproduktion erschlossen werden sollten, lässt sich nicht nur anhand der Manifestationen dieses Ereignisses zeigen, sondern auch anhand der Analyse zeitgenössischer Diskurse im Kunstfeld nachweisen. Live Electronic Arts heißt in diesem Zusammenhang: das unmittelbar (aktuell) vorgeführte Handeln mit technischen Medien in einer performativen Anordnung. Diese Verbindung wird von den Künstlern selbst als Mensch/Maschine-Kopplung verstanden – der Konstruktionsprozess wird zu einem wesentlichen Bestandteil künstlerischer Strategie. Der Einbezug zeitgenössischer Technologien wird so nicht als Frage nach der Neuartigkeit von Darstellungsmodi relevant, sondern als eine Frage nach Prozessen des Regelns, Steuerns und der Signalübertragung (control&communication) – also nach den Prozessen, die das Agieren mit ihnen strukturieren. Ausgehend von den Nine Evenings und der an ihnen beteiligten Künstler – Musiker, Tänzer und Choreographen sowie Bildende Künstler und Filmemacher – widmet sich die Arbeit in detaillierter Untersuchung den Versuchsreihen der einzelnen Künstler, denen die experimentellen Performances zugerechnet werden können. Sie zeigt für alle drei Bereiche – Live Electronic Music, die performativen Praktiken der Judson Dance Group und Expanded Cinema – unter welchen Bedingungen, ein Interesse und die Arbeit an der Kopplung von Körper-Bewegung und technischen Systemen entstandThe developments of transgression and process-orientation, which in art history are designated as the Neo-Avantgarde of the early 1960s, form the central subject of this text with its exemplary analyses. They involve the fundamental innovations, which - initiated by John Cage's ideas and concepts - characterised the work of the composers/performers of Live Electronic Music, as well as the expansion of artistic materials and the modification of art's techniques since Happening and Fluxus. They also cover the minimalistic shifts in the understanding of bodily movement and objects above all in the dance/performance of the New York based Judson Dance Group and the performative investigation of the foundations of cinema/film perception in the Expanded Cinema. A twofold historical movement is illustrated in these three areas: on the one hand, the movement of cancellation, postponement, substitution of conventional parameters and value hierarchies; on the other, one of interest in the connection between art and the media triggered by the thrust of development in the technological media and their effects on society and perception. An important point of intersection of these developments manifests itself in the performances of the since legendary Nine Evenings: Theatre and Engineering, which took place in New York in 1966. The analysis of this event, of the process of work that preceded it and which involved artists and engineers in equal measure, as well as of the individual performances forms the basis of this investigation. That system theory and cybernetics should be developed as a working hypothesis for art production can be demonstrated not only through manifestations of this event, but also through contemporary discourses in the field of art. In this context, Live Electronic Arts means the immediately (currently) performed action in a perfomative configuration using technological media. The artists themselves understand this relation as an interconnection of human being and machine. The process of construction becomes an essential component of the artistic strategy. The inclusion of contemporary technologies becomes relevant not as a question about the novelty of the modes of representation, but as a question about the processes of structuring, regulating and the transmission of signals (control & communication), thus about processes that structure the performance with these technologies. Beginning with the Nine Evenings and the participating artists (musicians, dancers, choreographers, as well as visual artists and film makers), this text provides a detailed investigation into the series of experiments of the individual artists, to which the experimental performances can be attributed. It demonstrates for all three areas (Live Electronic Music, the perfomative practices of the Judson Dance Group, and Expanded Cinema) under what circumstances interest in and work on the interconnection of bodily movement and technological systems arose
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Chen, Si. "Entrepreneurial Programming Through Partnership: A Case Study of a Multimedia Performance and Interdisciplinary Arts Making by Shadowbox Live and the Columbus Museum of Art." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460719553.
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Toole, Michael T. "TELEMETRY IN THEATER MISSILE DEFENSE DEVELOPMENT." International Foundation for Telemetering, 1994. http://hdl.handle.net/10150/608551.
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International Telemetering Conference Proceedings / October 17-20, 1994 / Town & Country Hotel and Conference Center, San Diego, CaliforniaSince the Gulf War, there has been significant interest in Theater Missile Defense (TMD) resulting in funding growth from tens of millions of dollars at the time of the Gulf War to $1.7 Billion in 1994. The Ballistic Missile Defense Organization (BMDO) has developed a Theater Missile Defense test and evaluation program that will assess technological feasibility and the degree to which system functionality and performance meet technical and operational requirements. The complexity of the TMD program necessitates a comprehensive test program which includes flight testing, ground testing, and modeling and simulation. This article will provide and overview the requirements and capabilities needed to satisfy these requirements. The data processing, and telemetry communities will play a major role in providing the expertise to support the development of the nation’s future Theater Missile Defense capabilities.
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Richardson, John M. "The Blue Glow From the Back Row: The Impact of New Technologies on the Adolescent Experience of Live Theatre." Thesis, Université d'Ottawa / University of Ottawa, 2010. http://hdl.handle.net/10393/19609.
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This article considers the impact of new technologies on the adolescent experience of live, literary theatre. Drawing together the work of theorists in literacies, new technologies and audience studies, together with brain research, and the results of a focus group of four secondary students who have seen four plays at Canada’s National Arts Centre, it examines the consequences of young people’s immersion in digital culture and the new mindset that often results. The expectation of instant access to data, inter-connectivity, stimulation and control can make it difficult for adolescents to decode the metaphorical aspects of a theatrical performance. The article concludes that language arts and dramatic arts educators have a key role in teaching students how to decode—and therefore enjoy and appreciate— a play.
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Enriquez, Andres Ray. "Acting as a life : "What am I doing?"." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3290.
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Björnsson, Karl. "Amplified Speech in Live Theatre, What should it Sound Like?" Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74001.
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Sound on-stage has always been part of the theatre experience. Today the usage of microphones to amplify speech is very common and has become more of a rule rather than an exception. This study investigates amplified speech in live theatre. The goal was to understand the sound engineers’ choice in how, when and why they would apply certain techniques when amplifying speech in live theatre. Six theatre sound engineers were interviewed using a semi-structured form and the analysis was of a grounded theory. The interviews were conducted via skype where both video and audio were recorded. Four main categories were created; microphones, voices, aesthetics and technical, and subcategories were developed from the interviews. The research showed that theatre engineers strive to optimize the illusion for the theatre audience to believe that during the performance, they’re located in the same world as the actors are located in.
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Najar, Daronkolae Esmaeil. "Pam Gems: Rethinking Her Life and the Impact of Her Plays on British Stage." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523487108676837.
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Matsos, Christopher T. "“With Clotted Locks and Eyes Like Burning Stars”: Corporeality and the Supernatural on the Gothic Stage, 1786 - 1836." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274922246.
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Jeffries, Sean A. "LIFE ON THE LINE: AN ANALYSIS OF THE LIGHTING DESIGN FOR A CHORUS LINE." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334244672.
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Schaffer, Timothy J. "Eric Bentley’s “Double” Lives." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1288392126.
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Hallenbeck, Christopher Brunner. "On the Line: Lighting A Chorus Line." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/200051.
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TheaterM.F.A.
This thesis examines, details, and evaluates the process used while executing the lighting design for a production of A Chorus Line, produced by Temple University's Department of Theater. I will discuss each part of the design process as well as the technical rehearsal process and evaluate the choices made.
Temple University--Theses
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Bytsenko, Anastassia. "Liev Tolstói e o teatro: texto e contexto de O Cadáver Vivo." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-13022014-114418/.
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A análise aborda o fenômeno artístico e cultural que é o teatro de Liev Tolstói no limiar entre a literatura e a história do teatro russo. A ênfase recai em apenas uma peça e suas quatro versões cênicas, permitindo, por um lado, abranger um grande período de tempo e observar as transformações que ocorrem com O Cadáver Vivo no decurso de um século de história russa; por outro lado, visa aprofundar o estudo dedicado a uma faceta específica da arte de Liev Tolstói.The analysis addresses the artistic and cultural phenomenon that is the theater of Leo Tolstoy on the threshold between literature and history of Russian theater. The emphasis is in one piece and its four scenic versions, allowing one hand, cover a large period of time and observe the changes that occur with The Living Corpse over a century of Russian history, on the other hand, seeks to deepen study dedicated to a specific facet of the art of Leo Tolstoy.
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Droth, Barbara Elektra. "Live art, life art : a critical-visual study of three women performance artists and their documentation." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/48339/.
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This thesis is a 'practice-led' project that uses observational documentation methods, a long-term collaboration with three live artists, and a narrative analysis to encourage a visual display of 'knowing' the person who makes live art, the performance work itself and the reality of producing and archiving live art. My practice of documenting live performances produces digital representations of the three artists I collaborated with. The fragmented and non-linear expressions of the live performances, which can be viewed in the video documents, also find echo in the life history interviews of the artists. Triangulated with an examination of the artists' websites, these diverse texts provide insight into how the live artists make sense of their embodied autobiographical experiences in a virtual environment. A post-structuralist narrative analysis proposes that the live and online performance-narratives constitute the artists' self as 'an artist' and examines these texts for ideas of the 'self-portrait' and of 'life as experienced'. The research suggests this is especially helpful to the audience's meaning-making processes when engaging with Live Art. The thesis investigates the three artists' representations of the body, specifically their strategies to compel a disruptive reading of nudity, femininity and motherhood. Other performative strategies found in these artists' work lead to discussions on ritual enfleshed in performance, based on Richard Schechner's (1995) understanding of iterative practices, and of participatory incantations that integrate narratives found in myths into narratives of selfhood and community. This thesis aims to develop the understanding of contemporary performance art pratice through examples of three artists' autobiographical performativity in live and online environments. The thesis advances narrative theory beyond its literary framework through a visual and practice-based approach. By linking narrative theory with visual methods this project seeks to demonstrate that experiential approaches could be relevant to narrtaive researches, visual anthropologists, performance ethnographers, as well as live artists, all faced with the inevitability of mediatisation. It contributes to ideas on the digital dispersions of the live artists' identity as not a fracturing of the unified body experienced in live performance but instead as a place for the artists to exercise agency through virtual performativity. The thesis consists of two parts, a website (http://bsdroth.wix.com/thesis2013) and a written text. The online videos and the written text, when read together, form a performative analysis towards the 'knowing who' of the artists. It contributes to the growing interest in methodologies that investigate, document and present cultural experiences and their perceived value. The online presentation of my practice also demonstrates the digital and virtual environment the live artists' work operates in, as exemplified in this thesis. The website is a physical manifestation of integral ideas in this project, around authenticity, ownership and virtual experiences.
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Cleary, Kathleen Colligan. "Playing God in live theatre: the politics of representation /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487848891513182.
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Nason, Ryan. "Life in the Pits: A Trumpeter’s Life in New York’s Musical Theater." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23798.
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Pit musicians have fallen through the cracks of musical theater scholarship. In all my research, I have yet to come across any sources that thoroughly examine musical theater from the perspective of the musicians who perform in its orchestras day in and day out. Thus, this thesis documents Richard (Dick) R. Smith's life as a professional musician living and working--in vaudeville and on Broadway--in midcentury New York City. Smith might be relatively unknown, but he played a significant role in a variety of musical contexts. By understanding his life, we gain valuable insight into histories that have only focused on the experiences and achievements of actors, bandleaders, composers, orchestrators, and conductors, among others. Examining Smith's experiences also help us understand something about the hundreds, if not thousands, of similarly anonymous pit musicians whose talents and hard work made New York City's vibrant musical life possible.
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Mackay, David Bruce. "DIRECTING AS YOU LIKE IT: FROM CONCEPTION TO PERFORMANCE." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/207270.
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TheaterM.F.A.
As You Like It is regarded as one of Shakespeare's mature comedies in that he combines both serious and comic subject matter. Hired by Bard on the Beach Shakespeare Festival in Vancouver, Canada, I was granted permission by Temple University to submit this production as my thesis. Approaching the play from an objective perspective proved initially difficult due to the vast multitude of research materials and my personal experience of having twice performed in the play. However, by analyzing Shakespeare's text, and approaching the play from the ending first, I was able to discover my unique conceit on directing the play. Set during the English Civil War, I was able to establish the necessary two worlds of the play, a Puritan Court and an English Cavalier Forest of Arden. Through a series of six chapters I explain my process from conception to production, as well, I also evaluate my growth as a director during this artistic achievement. A Director's Script, Costume Sketches, an early Set Design and Reviews support my journey to Opening Night of As You Like It.
Temple University--Theses
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Debouy, Estelle. "Édition critique, traduction et commentaire des fragments d' Atellanes." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100156/document.
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Le sujet sur lequel porte cette thèse de doctorat est l’atellane. La première partie de la thèse consiste à présenter ce genre, ce qui a conduit l'auteur à s’intéresser à sa place et à son statut, à la lumière de ce qu’écrit Tite-Live notamment. Puis est proposée une interprétation des fragments qui nous sont parvenus : l'auteur montre que si l’atellane emprunte au théâtre d’Aristophane ou de Plaute notamment, elle a aussi son originalité propre. Après cette étude générale, la thèse présente l'histoire du texte. Comme aucun manuscrit des auteurs d’atellanes n'a été conservé, c'est uniquement par la tradition indirecte qu'il est possible de reconstituer ce que furent ces pièces atellanes : l'auteur a donc étudié cette tradition qui est essentiellement grammaticale, car c'est dans les travaux des grammairiens d'époque tardive, et presque exclusivement chez Nonius, que se trouvent des citations des auteurs d'atellanes. La thèse présente ensuite l’édition critique des fragments de Pomponius et Novius, avec, en regard, la première traduction en français de ces pièces dont il ne reste environ que trois cents vers au total. Contrairement aux éditions précédentes, l'auteur de cette thèse a fait le choix d’un apparat critique positif constitué à partir de la consultation de tous les manuscrits de Nonius. La dernière partie de la thèse est consacré au commentaire de ces fragmentsThe field which this thesis covers is the so-called Atellana fabula. In the first part of it, which is an overall presentation of the particular genre, such questions as the one of the position of the Atellana with respect to other similar genres are addressed in the light of Livy’s texts among others. Then an interpretation of the fragments that came to us is proposed: it is put forward that the Atellana had original characteristics whatever it may have borrowed from the plays of Aristophanes or Plautus among others. After this overall presentation of the Atellanae, the historical study of the text and its tradition is proposed. As the text itself of the Atellanae is not given in any manuscript, one only may rely on indirect tradition to restore fragments of those plays. Most of this tradition is found in the works of the grammarians of later antiquity, especially in Nonius, where almost all of the quotations of Atellanae that came to us are preserved. Then a new critical edition of Pomponius’ and Novius’ fragments is proposed, along with the first translation into French of these plays of which no more than three hundred lines are preserved. Contrary to the previous editions of these fragments, this one presents a positive apparatus criticus, which includes the readings from the manuscripts of Nonius which all have been directly collated. Finally a new commentary on the fragments is proposed
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Bayer, Mark. "Queen Anne's men and the commercial life of London's neighborhood economies /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402957195914.
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Cutler, Jason. "Line of Action." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/355.
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Griff, Adam M. (Adam Michael) 1974. "Open space : theater and public life on the Central Artery." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29299.
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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2003.Includes bibliographical references (p. 89).
In the light of changes to the composition of society and the emergence of new technologies, conventional understandings of public space and inherited spatial forms no longer apply. Yet, for all the pessimism about whether these spaces will continue to exist, people still flock to places where they can be together. At the heart of this urge lies a crucial understanding of the modern city. Instead of being a closed community the modern city is cosmopolitan, a place for the gathering and living together of strangers. The city is the place where one goes to know people different from one self. Consequently, the city's reason for being is to socialize- for information, for business, for the development of the self. Like any place for socializing, it has its roots in pleasure. Located on the North End parcels of the central artery, my thesis project employs those programs that emerged right as this new understanding of the city dawned -- hotels, clubs, coffee shops, public promenades, restaurants, theaters, and pubs- to create spaces for socializing within the city. Social interaction is discursive, based on communicating, instead of being a visual relationship. The goal of the design is to create those moments where individuals can approach each other instead of being passive spectators to one another. Despite its lightheartedness, socializing and pleasure are serious because they set the terms on which different people can communicate and relate to one another, which ultimately is the basis for any democratic politics.
by Adam M. Griff.
M.Arch.
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Knehans, Amanda. "As you like it| The road to design." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523340.
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Through associations and personal experiences, I settled on the overarching concept that, "The road is closed," for the stage design of As You Like It. Pulling from my surroundings as inspiration, I created a realistic road on the Studio Theatre's stage using found and borrowed objects to enhance the road's authenticity. With a blocked road as a metaphor for the characters' inner journeys to overcome their own prejudices and achieve an enlightened way of thinking, the audience joined the ensemble on their path of self-examination and discovery.
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Parker, Herb. "Bark Like a Dog!: Outrageous Ideas for Actors." Digital Commons @ East Tennessee State University, 2013. http://amzn.com/0615866573.
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This book, a short and easy read with common sense coaching and easy to follow exercises, takes beginning acting students through techniques and improvisations that will help them overcome perhaps their greatest fear: making “The Big Choice.” Using sound examples from classical as well as contemporary plays, Herb Parker makes it easier for the theatrical neophyte by making the case that a play is “about human beings caught in an outrageous situation, caused by love.”
“Actor, director, teacher Herb Parker has given us a splendid new book about acting. He analyzes this ancient art in clear, precise, engaging prose while dispensing acute, methodical and perceptive advice. Brilliant actor that he is, Herb understands the craft, the exceptional director gently leads the actor toward a fully realized performance and the thoughtful, caring teacher explains it all to the reader (student). This is the book of acting you need and one you will cherish.”https://dc.etsu.edu/etsu_books/1052/thumbnail.jpg
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Farris, Charles Adron III. "CHARLES MEE’S HOTEL CASSIOPEIA: A DIRECTORIAL COMPOSITION IN SEARCH OF THE ‘INNER LIFE’." Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1247861560.
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Dunne, Joseph. "Regenerating the live : the archive as the genesis of a performance practice." Thesis, University of Lincoln, 2015. http://eprints.lincoln.ac.uk/22280/.
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Live performance lacks the durability of art practices such as photography, film and painting, and so definitions of ‘live’ acts have traditionally been formulated in terms of ‘transience’ and ‘disappearance’. In this context the archive and archival documents are often described as the antithesis of performance’s ontology. An archive’s primary function is to preserve material for future, undetermined uses, whereas a live event is temporary and cannot endure as ‘itself’ outside of the temporal-spatial zone it unfolds in before an audience. Yet archival documents are intimately imbricated in the creation of live acts. This can be seen in all performance practices, from written plays in the dramatic theatre, to the assemblage of materials used in devised performance, to the ways sites are framed as sources of historical knowledge in performance reenactments. By examining the role documents play in performance practice I argue that archival materials have the potential to act as the genesis for live acts. The archive’s generative function makes performance a potential method of historical research, where documents can help engender an interactive reciprocity between spectators and the past. The archival mode of performance practice I advocate in this thesis requires spectators to become participants inside the performance sphere, just as historians participate in the writing of historical discourses in the archive. There are several practice-as-research components to my project. These include the Audience as Document events and two workshops. The primary practice-as-research event is a participatory site-specific performance Voices from the Village. The Olympic Village in Stratford, East London, is framed as a type of authoritative historical document that works as a meta-narrative of London’s past. The Olympic Legacy anchors the memories of East London’s residents to a time they are encouraged to re-live in their everyday lives. At the centre of contemporary urban regeneration projects is a firm conviction that the future can be built in the here-andnow. Participants are guided through the Village and by two tour guides who attempt to inculcate them into the Legacy Project – a new type of citizenry based upon the neoliberal hegemony. In the third part participants explore what would happen if the neighbouring Hackney Wick estate was ‘regenerated’ in the future. My practice 4 examines how documents in performance can act as interlocutors between a site’s past(s) and a participant’s ‘live’ experience. The enduring form of digital documents creates a manifold afterlife for performance on the Web, which is the home of an evolving network of people who connect to each other through their re-interpretation of the Olympic Legacy. I am arguing that the life of a performance does not end over a fixed duration, but is instead a dialogic process with a multitude of access points.
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Doe, Connor Bartlett. "Puppet Theater in the German-Speaking World." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/88.
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This work begins with a brief history of puppet theater in Germany. A look at important social aspects, pertinent philosophical discussions and the significance of puppet theater in the German literary tradition follow. The final chapter looks at Peter Schumann, a German puppeteer and artist who lives in America. In Germanistik, German puppet theater deserves a devoted place in the field of legitimate study in terms of its history, content and influence. Puppet theater's historical development in Germany represents the larger evolution of Germany. From ancient times up to the present day, this artistic form of representation has enjoyed an audience in the German-speaking regions. The evolution of puppet theater parallels Germany's quest for legitimacy as a nation and desire for cultural unification. A study of puppet theater thematizes the issue of popular cultural history. For most of its existence in Germany, puppet theater served as popular entertainment. The conception of folk art and folklore - which includes puppet theater - by the German Romantics led them to believe that folk artists possessed a mysterious authenticity inaccessible to Classicists and their narrowly-defined world of high art. Much German literature and thought from the 19th century onward shows a fondness for the Volk aspect of puppet theater. Puppet theater and its reception in German Romanticism helped to shape literary and philosophical themes that would lead to further recognition of puppetry as an art form and an integral aspect of German culture. In the 20th century, puppet theater took on bold new forms. Adapting to film, television, academia and the avant-garde, respected proponents of puppet theater brought the art form into the light of day. No longer did it merely consist of vulgar or mildly artistic street performances or as a vehicle for Romantic-era nostalgia. German puppet theater in the 20th century moved into the realm of mass culture with film and, more effectively, with television. It also gained footing in academia, eventually becoming a fully-recognized field of study as well as a performance medium with infinite possibilities. One can only hazard a guess as to where puppet theater will go in the future. The ability of the art form to uncannily reflect the human condition is well known. How the human condition will change and how the performers of puppet theater will respond remains to be seen.
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Lee, Jirye. "Stage of Her Own: Autobiographical Solos by Women in New York City in the First Decade in the 21st Century." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494288492098892.
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Burston, Jonathan Isaac. "The megamusical new forms and relations in global cultural production /." Thesis, Online version, 1998. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.286017.
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Kattner-Ulrich, Elizabeth [Verfasser]. "The early life and works of George Balanchine (1913 - 1928) / Elizabeth Kattner-Ulrich." Berlin : Freie Universität Berlin, 2010. http://d-nb.info/1024743748/34.
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Reinhardt, David Lee. "Theatrical living : responsive lives which manifest God's loving presence and ways." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16579.
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God is revealed through Scripture and the Incarnation as desiring to establish loving relationships with others beyond the Trinity. In the beginning he did so by creating human beings, and making himself, his desires, and his ways known to them. He chose to do so through particular actions and encounters in history which involved various forms of embodied manifestation, and led up to the supreme manifestation: the enfleshing of Jesus. Following on from the acts of Jesus which perfectly manifested God and his ways to the world in the flesh, human creatures created in the image of God and united to Christ are also called and gifted by God to manifest God's presence, activity, and ways in this world by using their bodies to live faithfully and responsively to the leading of the Spirit. In order to investigate and demonstrate these claims, Part I of the thesis examines a selection of precedent-setting events chronicled in the Old Testament in which God manifested his presence and ways to people in a variety of circumstances. Part II is concerned with a theological examination of God's manifestations and the roles people can and should play in these manifestations. It begins by engaging with reflections on the subject from the early church fathers Irenaeus, Athanasius, and Augustine; and, in keeping with the Reformed approach taken in the thesis generally, this is followed by in-depth treatments of Reformer John Calvin and Reformed theologian Karl Barth on the revelation, manifestation, and proclamation of God by people in this world. Having substantiated the claim that how people live is significant and of concern to God as it can impinge upon his ongoing desire to make himself and his ways known, Part III is designed to provide a fuller understanding of some of the meaning and significance conveyed by bodily expressions in human interactions with an eye towards seeking ways to live more faithfully to God. It identifies the theatre, particularly improvisational theatre, as a laboratory for understanding human living, and so explores the insights of theatre practitioners into everyday living; while also considering the work of philosophers of language and sociologists who do the same. Through this spotlight on the theatricality of life the case is made for attempting to live responsively, in keeping with improvisational actors, in ways that are faithful to God and which can serve to aid those united to Christ as they seek to make God known to others.
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Haagensen, Cecilie. "Lived experience and devised theatre practice : a study of Australian and Norwegian theatre students' devised theatrical practice." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/76152/1/Cecilie_Haagensen_Thesis.pdf.
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This study explores the incorporation of young people's lived experience upon the creative dynamics in the development of devised performance practice. By employing Vygotsky's creativity theory to devising processes the role of lived experience is analyzed through three case studies located in two theatre education colleges in Norway and Australia. The study demonstrates how young peoples' life experience is a primary resource that is developed and reasoned upon in the creative performance practice. A key finding of the study is the identification of two distinct type of performance outcome in devised theatre practice, described as "livsbasert/life-based" and "egenskapt/self-made" that will enable devised theatre to have a more nuanced understanding of both process and product in the Nordic context.
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Walker, Greg Delany. "Embracing failure: the life between polite and pushed." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6329.
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My name is Greg Delany Walker. I’m an MFA candidate in Theatre Arts with a specialization in Acting at the University of Iowa. The following is my thesis that addresses my artistic process as an actor. My main focus in this thesis is to unpack my beliefs about what makes good acting and how I personally achieve that. I detail many schools of thought that pair well together to seek out vulnerability in actors. Vulnerability is my chief struggle as an actor given that I have a tendency to overthink things and rely more on intellect than on passionate expression in my daily life and in my work. That tendency leads me to be polite as an actor, which has gotten in the way of my being able to reach my full potential.
I discovered time and time again how important it is to understand and embody acting techniques so deeply that I can let them go. All the different techniques of analysis, physical and voice work are essential, but they need to transition to being second nature. The techniques outlined in this thesis, learned in my life and through the program at the University of Iowa, have to be so ingrained that I don’t need to think of them in the moment on stage. The key to being present on stage seems so simple in a way, but it has been a great challenge for me to fully let go of control to allow for my potential public failure and humiliation. The times that I’ve embraced failure have been the strongest moments for me as an actor because of the power of risk.
My hope is that by detailing my own process and experiences, with that idea of building technique and releasing into the present moment, that others could be further empowered to do the same in acting or in life.
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Davila, Andrés. "Les formes de la transe dans le cinéma expérimental ethnographique contemporain." Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030026.
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Cette recherche se concentre sur le travail de cinéastes contemporains dont la pratique artistique reprend l'un des thèmes centraux du cinéma ethnographique : le phénomène de la transe. Des artistes tels que Marc et Éric Hurtado (Jajouka, quelque chose de bon vient vers toi, 2012), Tiane Doan na Champassak et Jean Dubrel (Natpwe, le festin des esprits, 2013), Vincent Moon (Collection Petites Planètes), Soundwalk Collective et Patti Smith (Illuminations, 2018) ou Susana de Sousa Dias (Fordlandia Malaise, 2019), explorent de nouvelles voies de recherche ethnographique à travers le cinéma expérimental. Bien que relativement éloignés dans leurs champs d'expérimentation respectifs, ces artistes abordent différentes dimensions de la transe dans un même esprit de découverte. Pour ce faire, ils ont principalement recours à l'invention formelle et aux processus de production et de distribution en dehors de l'industrie cinématographique. Les œuvres de ces artistes relèvent d’une approche spécifique du cinéma et se caractérisent par l’utilisation de la pellicule (Super 16mm, 16mm, Super 8 et 8mm), l’exploration des particularités de la perception, le dédain pour les formats numériques standardisés et l’utilisation des pouvoirs du son et de la musique pour créer une expérience sensorielle. En outre, dans ces œuvres, nous voyons comment les cultes de transe dans le monde contemporain, pour la plupart populaires, continuent de résister à la subordination aux systèmes religieux. Dans de nombreux cas, les formes de transe de ces cultes trouvent de fortes résonances avec les mythes, la poésie et la musique de traditions qui s'écartent de l'orthodoxie religieuse. Ainsi, le caractère marginal et parfois transgressif de ces pratiques, par rapport aux religions institutionnelles, leur confère souvent une dimension subversive et libertaire. Ce travail de recherche utilise une méthode interdisciplinaire et interroge la relation entre ce groupe de films et l'ethnomusicologie, l'ethnographie de la possession, le cinéma ethnographique et le cinéma expérimentalThis research focuses on the work of contemporary filmmakers whose artistic practice takes up one of the central themes of ethnographic cinema: the phenomenon of trance. Artists such as Marc et Éric Hurtado (Jajouka, quelque chose de bon vient vers toi, 2012), Tiane Doan na Champassak & Jean Dubrel (Natpwe, le festin des esprits, 2013), Vincent Moon (Collection Petites Planètes), Soundwalk Collective & Patti Smith (Illuminations, 2018) and Susana de Sousa Dias (Fordlândia Malaise, 2019), explore new avenues of ethnographic research through experimental film. Although relatively distant in their respective fields of experimentation, these artists approach different dimensions of trance in the same spirit of discovery. To do so, they mainly resort to formal invention and to production and distribution processes outside the film industry. The works of these artists have a specific approach to cinema and are characterized by the use of film (Super 16mm, 16mm, Super 8 and 8mm), the exploration of the particularities of perception, the disdain for standardized digital formats and the use of the powers of sound and music to create a sensory experience. Furthermore, in these works we see how trance cults in the contemporary world, mostly popular, continue to resist subordination to religious systems. In many cases, the trance forms of these cults find strong resonances with the myths, poetry, and music of traditions that depart from religious orthodoxy. Thus, the marginal and sometimes transgressive character of these practices, in relation to institutional religions, often gives them a subversive and libertarian dimension. This research work uses an interdisciplinary method and questions the relationship between this group of films and ethnomusicology, the anthropology of possession, ethnographic cinema and experimental cinema
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Vaieland, Natalie Marie. "Shadow, Gender, Transference: Alfred Wolfsohn in Charlotte Salomon's Life? or Theater?" BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6433.
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Charlotte Salomon's Life? or Theater? is a complex compilation of painting, musical notations, autobiography, cinematic layouts, and literary text. Salomon scholars have neglected a crucial element of Life? or Theater?, which is the significant influence of Salomon's friend, Alfred Wolfsohn. This thesis fills this void by examining the correlation between stylistic influences in Salomon's work and by exploring Wolfsohn's theoretical practices. Using a framework informed by Jungian psychology and Wolfsohn's extensive music theory, this thesis argues that Salomon portrayed her own story via Wolfsohn's philosophy of catharsis. As trauma became a reoccurring theme in Salomon's life, painting and creation became her purification and the means by which she recovered her own sanity. To expound the importance of Salomon's emotional expulsion in Life? or Theater?, this thesis considers her biography, traumatic life events, and her formal art training at the Vereinigte Staatsschulen für Freie und Angewandte Kunst. The combination of her chaotic life events, her training as a visual artist, and her inclusion of musical and theatrical elements emphasize her ability to efficiently call upon the most effective and expressive artistic style for her catharsis. In its synthesis, Salomon's Life? or Theater? becomes a Gesamtkunstwerk that is the pinnacle of German Expressionism. Lastly, this thesis will look to the relationship and influence of Wolfsohn. Arguing that Wolfsohn's influence was more than encouraging Salomon to paint, this thesis will draw connections between Wolfsohn's theories and Salomon's approach to Life? or Theater?. In arguing for the importance of Wolfsohn's theories, and by understanding her work as catharsis via Gesamtkunstwerk, this thesis has contributed new ways of understanding Salomon's complex work, Life? or Theater?, as more than an illustrated autobiography.
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Whittington, Amanda. "Bad girls and blonde bombshells : lived feminism in popular theatre." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/34413/.
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This project examines texts from a body of work which numbers fifteen performed across the country. The accompanying commentary identifies the ways in which 'Be My Baby' and 'The Thrill of Love' tell female-centred stories in a popular dramatic voice which explore aspects of women's lived experience. It engages with feminist theory and practice to identify the diffuse and sometimes contradictory feminisms within the plays. Dramatic structure is considered with close reference to realist and expressionist forms. The exegesis investigates their engagement with popular culture, the importance of music in the narratives and the methods by which they seek to reclaim women's history. The commentary brings together academic mainstream sources to contextualize the study. Playtexts are examined with reference to a broad range of theorists, practitioners and cultural commentators including Eileen Aston and Geraldine Harris, Erin Hurley, Angela McRobbie, Graham Saunders, Lucy O'Brien, Carol Ann Lee and Lyn Gardner. The distinctive aspects of affective solidarity and feeling are identified as unifying elements of the play's personal and political concerns.
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Okafor, Mary-Blossom Chinyelum. "Theatre of life : rituals, transition and progression among the Igbo." Thesis, University of Plymouth, 1998. http://hdl.handle.net/10026.1/2560.
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The Igbo are perpetual celebrants of life. Their need to celebrate life means that the Igbo will ceaselessly try to make the best of life, because they believe that although life may be full of uncertainties, such uncertainties are only temporary. So, the Igbo will celebrate whatever fortune brings in the knowledge that tomorrow will definitely be different. It is this insight into the transitory nature of things that makes the Igbo celebrate life, aware that time has the ability to obliterate uncelebrated memories. In the researcher's opinion, this work has succeeded in establishing the fact that the study and understanding of rituals do not have to be a schematic nightmare neither do they have to prove that they belong to either the dramatic or theatrical genres - rituals are just what they are - performance. Rituals reflect life in action, and this study has demonstrated that these rituals can be better understood by breaking them down into various categories and clusters (families). From such sub-division will, hopefully, emerge specific attributes which can enable us to determine the cluster each ritual belongs to. Furthermore, the analyses of rituals, ritual agents and performance styles bring out the real flavour of Igbo performance. These make it evident that Igbo performance is vibrant, symbolic and full of life, and that conversely, Igbo life is equally vibrant, symbolic and full of theatre and rituals that need to be constantly performed. It is hoped that Igbo theatre practitioners and users (playwrights, directors, producers and actors) would find the ritual categorisation and explanation of ritual symbols useful in enabling their work to be as meaningful as possible. This study developed and used the concept of Triangle of Life (ToL) to facilitates the emergence of the real nature of Igbo theatre because it enabled the classification of Igbo rituals into clusters of either passive, controlled active or active. These adjectives as used here, refer to the extent of the performer's involvement in the ritual action. However, while for the performer(s) a ritual can either be passive, controlled active or active, it is always active for the participatory spectator- audience or participant. The ToL is an equilateral triangle (three equal sides marked as A-B, B-C and C-A axes), and from plotting the rituals along the axes of the triangle, it becomes evident that Igbo theatre is in two main phases- the theatre of the living, and that of the dead - this means that while at any time any of the phases is dominant, it still has undertones of the other. For example, the rituals on the A-B and B-C axes belong to the theatre of the living, and these are performed in readiness for life after death in the ancestral realm. However, the C-A axis is made up of rituals in which the dead are made to rest and empowered to re-incarnate and re-appear at point A. This axis is equally important to the living because in empowering their dead, the living ventilate painful emotions through mourning and in so doing, they are healed not only of the departure of the deceased, but also of the most of life's pent up pains. This is a demonstration that the theatre of the living and the dead are both two sides of the same coin - none is more important than the other. In Igbo theatre, therefore, we come in direct contact with the core of Igbo dualism in which the human being operates as a spirit, and vice versa. A full appreciation of this form of theatre will depend primarily on how willing one is to remain open to the way the Igbo see, interpret and live their lives. In view of this, I shall throughout this work, continually strive to achieve the following: (a) to use the study of Igbo ritual performance to add to the picture of Igbo life (hence, Igbo theatre) which archaeology, oral tradition and observation from the Europeans gave little or no insight into, (b) to use Igbo rituals as a practical framework for understanding aspects of Igbo performance (c) by the end of this work to be able to have contributed a model that can be applied to the study of most ritual performances, and in doing so, to provide a cross-cultural perspective in ritual performance, theory and practice. Chapter 1 traces the origin of the Igbo, their entire belief system and encounter with, and progression through Christianity and colonialism. It is important that this chapter be read as dispassionately as possible, for it is only in this manner that the full effect of dualism on Igbo performance can become clearer. Chapter 2 examines some existing theoretical perspectives in relationship to ritual practices in Igboland. Chapter 3 and 4 contain the main thrust of the work because they apply the information gathered during the fieldwork to enable a better understanding of the performative structure and process of Igbo rituals. A lot of Igbo words have been unavoidably used in order that the full flavour and essence of the work is savoured. Most of these words have been explained.
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Ladki, Maha. "#Life in a concentrated form' : Peter Brook's theatre (1960-1990)." Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283447.
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Mottin, Monica. "Rehearsing for life : theatre for social change in Kathmandu, Nepal." Thesis, SOAS, University of London, 2009. http://eprints.soas.ac.uk/28933/.
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The objective in this research is to examine the production and performance of theatrical activities aiming at bringing about social change in both development and political intervention. My investigation began with Aarohan Theatre Group, a Kathmandu-based professional company and subsequently extended to Maoist cultural troupes. I have taken a critical perspective considering theatre as a mode of socio-cultural practice embedded in the wider socio-political reality. Thus, I present an account of what it means to do theatre and live by theatre in contemporary Nepal, from 2005 to 2006, through the artists' perspective. Co-performance, that is participation in some performances, complemented participant observation as a methodology. Theatre provides an outstanding context for both social reflection and symbolic action. In a manner similar to ritual, theatrical performances can become deliberate means for both constructing and de-constructing power and symbolically legitimizing or de-legitimizing authority. In Nepal, modern artistic and political theatre developed side by side. First, an historical overview of its development will set the scene for understanding the role played by theatrical performances in the years 2005-2006. In fact, during my fieldwork, history repeated itself. The restrictions on civil rights imposed by the king through the 2005 Emergency affected both street and proscenium theatre activities. Subsequently, ethnographic descriptions will illustrate the theatrical apparatus that the king employed to legitimize his power and how autocracy was similarly resisted and fought against in the streets through theatrical forms of protest and street theatre, loktantrik natak. I will then narrow my focus to a specific form of participatory street performance, kachahari natak, to describe how it was adopted and adapted in Nepal and how the theatre group developed as an organization. In conclusion, 1 will draw comparisons between different forms of 'theatre for social change', kachahari natak, loktantrik natak and Maoist cultural programmes.
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Burden, Josephine E. "Living life to the full a qualitative study of community theatre, older people, and the construction of leisure /." Connect to this title online, 1997. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050914.125729/.
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Raby, Peter Humfrey. "'Life at the full' : the idea of the natural in English and French theatre, 1815-1848." Thesis, Royal Holloway, University of London, 1985. http://repository.royalholloway.ac.uk/items/692532ab-fb94-46aa-a56d-cf2d972586a3/1/.
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The study investigates the development of theatre in England and France between 1815 and 1848, concentrating on a number of attempts to create a serious and poetic dramatic experience which reflected the artistic concerns of the time. It examines the general state of theatre and drama in London and Paris, and takes particular note of the reactions of one country's critics to the productions of the other. The central issue discussed is the idea of the natural, especially in terms of acting style and mise en scene. The study analyses some of the efforts of authors and producers to reconcile the demands and potential of Romantic dramaturgy with the expectations of the audience. The crucial problem may be described, in Bulwer Lytton's terms, as the attempt to fuse the simple and the magnificent, or, alternatively, the natural and the theatrical. The study outlines the organization, repertory, mise en scene and acting style in England and France at the start of the period (Chapters 1 and 2). It discusses the difficulties confronting the English Romantics as potential dramatists, with particular attention to Marino Faliero (Chapter 3). Chapter 4 describes the 1827-28 visit to Paris of the Theâtre-Anglais, specifically the impact of Shakespeare productions upon French critical consciousness. The effect of that impact is discussed with reference to selected productions of French Romantic drama (Chapter 5). Chapter 6 outlines the incidence and influence of French theatrical practice in London, emphasising the natural acting style of the comediens and the high quality of mise en scene. Chapter 7 describes the growth in England of the idea of the unified production, and assesses the importance of Macready as a producer. In Chapter 8, the difficulty of achieving a satisfactory balance between the style of acting and the increasinglyelaborate physical context is examined, and it is argued that the idea of the natural was more capable of realisation in musical drama, especially ballet.
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Jaros, Michael Perin. ""To Have Lived is Not Enough for Them" performing Irish history in the twentieth century /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307371.
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Thesis (Ph. D.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed February 6, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 207-215).