Dissertations / Theses on the topic 'Renaissance theatre'
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Kubalcik, Stan. "Renaissance and baroque stage technology and its meaning for today's theatre." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/792.
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This thesis seeks to address the understanding of the concept of old stage machinery. In addition, the research will determine the practical applications and meaning of old stage machinery for today's theatre. The approach to this topic will be more historical and practical than theoretical. A thorough examination of the history of theatre and stage technology is initially discussed. This is followed by an in-depth discussion of the practical component of this research and finally, the implications of this for today's theatre. Knowledge of traditional stage technology is a prerequisite for understanding the mechanics of stage technology today. A key finding from the research suggests that the ability for students and directors to have access to old machinery provides inspiration for future productions. More importantly, old machinery can provide students and directors with basic knowledge of the fundamental concepts involved with stage machinery, on which much of today's stage technology is based.
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Levitas, J. B. A. "Irish theatre and cultural nationalism 1890-1916." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389781.
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Dragnea, Horvath Gabriela [Verfasser]. "Theatre and magic in the Elisabethan Renaissance / Gabriela Dragnea Horvath." Berlin : Freie Universität Berlin, 2012. http://d-nb.info/1027498558/34.
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Mitens, Karina. "The Roman Theatre and its 'reappearance' in the Italian Renaissance." Thesis, Royal Holloway, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299462.
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Dragnea, Gabriela [Verfasser]. "Theatre and magic in the Elisabethan Renaissance / Gabriela Dragnea Horvath." Berlin : Freie Universität Berlin, 2012. http://nbn-resolving.de/urn:nbn:de:kobv:188-fudissthesis000000037483-4.
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Barber, Clair. "Shakespeare and cyberspace." Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288165.
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Marshall, Tristan Scott. "The idea of the British Empire in the Jacobean public theatre, 1603-c1614." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307910.
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Lovelock, John David. "The function of music in Greek drama, and its influence on Italian theatre and theatre music in the Renaissance." Thesis, Open University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277300.
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Edelstein, Gabriella. "Censorship, Collaboration, and the Construction of Authorship in Early Modern Theatre." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20174.
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This thesis argues that censorship is central to early modern authorial self-construction and that the regulation of drama should be part of an understanding of dramatic collaboration. Over the last twenty years, literary scholarship has paid increasing attention to the collaborative processes involved in early modern theatrical production. Despite this interest, there has yet to be an account of how dramatic censorship operates as part of the collaborative model, or how censorship affected authorship. This thesis explores the relationship between authorship and political authority, so as to reconsider who is an author and why. By engaging with textual and literary analysis, this thesis reveals how plays were shaped by a culture of collaborative censorship. I have chosen four collaboratively written and censored plays so as to consider the relationship between writing and regulation. From this starting point, I examine the ways that authorship is constructed both within plays and outside of them in early modern as well as our own contemporary culture. I begin with a survey of censorship and collaboration criticism in my Introduction and offer a way of reading early modern drama through collaborative censorship. In Chapter One, I consider the role of credit in Ben Jonson, George Chapman, and John Marston’s Eastward Ho! and how this system of social and financial exchange produced the playwrights’ collaborative and singular modes of authorship. In Chapter Two, I examine the role of scribes and censors as collaborative agents, if not authorial figures, in John Fletcher and Philip Massinger’s The Tragedy of Sir John Van Olden Barnavelt. In Chapter Three, I suggest that service relations are central to dramatic collaboration, and are what prompted the censorial revision of Fletcher, Massinger, and Nathan Field’s The Honest Man’s Fortune. Finally, in Chapter Four, I consider how several models of collaborative authorship have constructed different editions of Sir Thomas More. Each chapter demonstrates how reading a ii collaborative play through censorship, or a censored play through collaboration, can reveal the workings of dramatic production, the relationships between playwrights, and the construction of the authorial self. By being attentive to the relationship between censorship and collaboration, I argue that the regulation of drama was fundamental to dramatic production and the authorship of dramatic texts.
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Frampton, Saul. "The concept of discovery in witchcraft and the theatre in early modern England." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319065.
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Hattori, Natsu. "Performing cures : practice and interplay in theatre and medicine of the English Renaissance." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284234.
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Sidden, Jean. "Amas Repertory Theatre: Passing as Black While Becoming White." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18353.
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Amas Repertory Theatre was founded in 1969 by Rosetta LeNoire, an African American actress who pursued a mission of developing original musicals while practicing interracial casting. The company's most successful show was Bubbling Brown Sugar (1975). Throughout Amas's history LeNoire's complicated perspective on what constituted discrimination sometimes caused her casting choices to be questioned. LeNoire believed in a colorblind theatre and society, however, as the decades passed, her colorblind perspective was challenged by neo-conservative philosophy which states that in a colorblind society no particular group should receive any more privilege than another. This definition of colorblind is used to justify conservative efforts to eliminate affirmative action and undermine race conscious legislation. In the late 1990s, at her retirement, LeNoire, who always believed that color did not matter, turned her theatre over to white leadership, who still operate Amas today. At that point, Amas changed from a company that had, from its founding, been considered to be a black theatre to one that is now white.
As the history of Amas unfolds, my study examines the complex politics surrounding the concept of colorblindness. Efforts by Actors' Equity to promote interracial or, as it is often called, nontraditional casting are also investigated as well as the conservative backlash against race conscious policies, particularly during and after the administration of Ronald Reagan. In the present day Amas practices a multicultural mission, however, as my dissertation examines the company's programming decisions as well as its perspective on race, Amas is revealed to be an example of how white operated theatres, even if unintentionally, through the agency of white power and privilege, are affected by the same institutional racism that permeates American society. My dissertation then challenges Amas and other theatres to take responsibility for staying fully aware of the racially charged issues and tensions that exist in America today. When theatre professionals seek out and are committed to engaging in open dialogue on race they are in a stronger position to make knowledgeable decisions regarding the representation of race on stage.
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Gambill, Christin N. "" A Poor Player That Struts and Frets His Hour Upon the Stage..." The English Theatre in Transition." University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1458984846.
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Orman, S. "Nathan Field's theatre of excess : youth culture and bodily excess on the early modern stage." Thesis, Canterbury Christ Church University, 2014. http://create.canterbury.ac.uk/13427/.
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This dissertation argues for the reappraisal of Jacobean boy actors by acknowledging their status as youths. Focussing on the repertory of The Children of the Queen’s Revels and using the acting and playwriting career of Nathan Field as an extensive case-study, it argues, via an investigation into cultural and theatrical bodily excess, that the theatre was a profoundly significant space in which youth culture was shaped and problematised. In defining youth culture as a space for the assertion of an identity that is inherently performative, the theatre stages young men’s social lives to reflect the performativity of masculinity in early modern culture. Chapters One to Three focus on the body of Nathan Field by investigating the roles that he performed in the theatre to claim that the staging of bodily excess amounted to an effort to inculcate correct paths of masculinity. Chapters Four and Five offer detailed analysis of the plays written by Nathan Field, finding that Field was keen to champion positive aspects of youth culture and identity by reforming bodily excess on stage. Chapter One asserts that George Chapman’s Bussy D’Ambois (1603) identifies the protagonist’s excessive violence as a failure to adhere to humanist teachings; a sign that youth culture is dependent upon the lessons learnt in school, whereas Chapter Two finds that Eastward Ho (1605) condemns the monstrous youthful drunken body before encouraging the audience to value apprenticeship as a positive site of youth identity. Chapter Three argues that John Fletcher’s Faithful Shepherdess (1607) reveals a range of polluted young bodies to demonstrate the importance of moderating the humoral fluctuations of youth before Chapter Four finds Field to be a conservative dramatist who ridicules excess with explicit didactic intentions in his Woman is a Weathercock (1610) and Amends for Ladies (1611). Finally Chapter Five locates aspects of excessive service in Field and Fletcher’s The Honest Man’s Fortune (1613) to problematise aspects of youth culture, friendship and eroticism. The dissertation concludes with a retrospective appraisal of Field’s multifarious identities that championed youth culture, morality and celebrity.
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Reed, Delanna Kay. "Readers Theatre in Performance: The Analysis and Compilation of Period Literature for a Modern Renaissance Faire." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500784/.
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The thrust of this study was twofold: to research and compile a script of English Medieval and Renaissance literature and to direct a group performance of the script in the oral interpretation mode at Scarborough Faire in Waxahachie, Texas. The study sought to show that a Readers Theatre script compiled of literature from the oral tradition of England was a suitable art form for a twentieth-century audience and that Readers Theatre benefited participants in the Scarborough Faire workshop program. This study concluded that the performed script appealed to a modern audience and that workshop training was enhanced by Readers Theatre in rehearsal and performance.
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Ying-Chih, Liao. "The renaissance of Taiwaneseness : Taiwanese alternative cinema and Avant-garde theatre in the post martial law era." Thesis, Lancaster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515014.
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Buccheri, Alessandra. "The architecture of clouds in art and theatre : a lost path from the Florentine Renaissance to the Roman Baroque." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508753.
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Di, Ponio Amanda Nina. "The Elizabethan Theatre of cruelty and its double." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/836.
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This thesis is an examination of the theoretical concepts of Antonin Artaud (1896-1948) and their relation to the Elizabethan theatre. I propose that the dramas of the age of Shakespeare and the environment in which they were produced should be seen as an integral part of the Theatre of Cruelty and essential to its very understanding. The development of the English Renaissance public theatre was at the mercy of periods of outbreaks and abatements of plague, a powerful force that Artaud considers to be the double of the theatre. The claim for regeneration as an outcome of the plague, a phenomenon causing intense destruction, is very specific to Artaud. The cruel and violent images associated with the plague also feature in the theatre, as do its destructive and regenerative powers. The plague and its surrounding atmosphere contain both the grotesque and sublime elements of life Artaud wished to capture in his theatre. His theory of cruelty is part of a larger investigation into the connection between spectacle, violence, and sacrifice explored by Mikhail Bakhtin, René Girard, and Georges Bataille.
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Lublin, Robert I. "Costuming the Shakespearean stage visual codes of representation in early modern theatre and culture /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060614385.
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Thesis (Ph. D.)--Ohio State University, 2004.Document formatted into pages; contains x, 256 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2005 Aug. 11.
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Loeb, Andrew. "Subjectivity and Music in Early Modern English Drama." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32129.
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Music in the early modern world was an art form fraught with tensions. Writers from a wide variety of backgrounds and disciplines engaged in a vibrant debate about the value of hearing and playing music, which could be seen as a useful tool for the refinement of the individual or a dangerous liability, capable of compelling inappropriate thoughts, feelings, and behaviours.
This study analyzes music on the early modern stage and its relation to emerging ideas about subjectivity. Early modern philosophies of music, I demonstrate, are concerned with the stability of the body, the soul, and the humours and spirits that unite them, along with the individual’s capacity for autonomy and agency. In the theatre, I argue, music is frequently deployed as a strategy for experimenting with ways of imagining and performing selfhood. On one hand, it can facilitate self-fashioning, acting as a marker for such characteristics as class and spiritual condition; on the other, it can be disruptive to identity and the capacity for agency and autonomy, since music was understood as both penetrative and transformative, facilitating the disruption of one self by an other.
Chapter 1, “Meanings of Music in Early Modern England,” surveys a range of early modern texts on music to demonstrate their concerns with both the performance of the self and the threat of its dissolution. Chapter 2, “Many Sorts of Music in Twelfth Night and The Roaring Girl,” examines music’s role as an imaginative strategy for improvising an unstable, hybrid gender identity, an alternative subject-position from which to speak and act in ways ordinarily denied to women. Chapter 3, “Music, Magic, and Community in Early Modern Witchcraft Plays,” explores witches’ uses of music to establish a sense of communal identity and to magically disrupt the communities from which they have been excluded. Finally, Chapter 4, “Noise, the City, and the Subject in Epicoene” makes a case for understanding Morose’s fear of noise in terms of early modern ideas about music, reading noise as a radical instability representative of new ways of fashioning selves in a rapidly expanding urban environment.
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McGillivray, Glen James. "Theatricality: A critical genealogy." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/1428.
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ABSTRACT The notion of theatricality has, in recent years, emerged as a key term in the fields of Theatre and Performance Studies. Unlike most writings dealing with theatricality, this thesis presents theatricality as a rubric for a particular discourse. Beginning with a case-study of a theatre review, I read an anti-theatricalist bias in the writer’s genre distinctions of “theatre” and “performance”. I do not, however, test the truth of these claims; rather, by deploying Foucauldian discourse analysis, I interpret the review as a “statement” and analyse how the reviewer activates notions of “theatricality” and “performance” as objects created by an already existing discourse. Following this introduction, the body of thesis is divided into two parts. The first, “Mapping the Discursive Field”, begins by surveying a body of literature in which a struggle for interpretive dominance between contesting stakeholders in the fields of Theatre and Performance Studies is fought. Using Samuel Weber’s reframing of Derrida’s analysis of interpretation of interpretation, in Chapter 2, I argue that the discourse of the field is marked by the struggle between “nostalgic” and “affirmative” interpretation, and that in the discourse that emerges, certain inconsistencies arise. The disciplines of Theatre, and later, Performance Studies in the twentieth century are characterised, as Alan Woods (1989) notes, by a fetishisation of avant-gardist practices. It is not surprising, therefore, that the values and concerns of the avant-garde emerge in the discourse of Theatre and Performance Studies. In Chapter 3, I analyse how key avant-gardist themes—theatricality as “essence”, loss of faith in language and a valorisation of corporeality, theatricality as personally and politically emancipatory—are themselves imbricated in the wider discourse of modernism. In Chapter 4, I discuss the single English-language book, published to date, which critically engages with theatricality as a concept: Elizabeth Burns’s Theatricality: A Study of Convention in the Theatre and Social Life (1972). As I have demonstrated with my analysis of the discursive field and genealogy of avant-gardist thematics, I argue that implicit theories of theatricality inform contemporary discourses; theories that, in fact, deny this genealogy. Approaching her topic through the two instruments of sociology and theatre history, Burns explores how social and theatrical conventions of behaviour, and the interpretations of that behaviour, interact. Burns’s key insight is that theatricality is a spectator operation: it depends upon a spectator, who is both culturally competent to interpret and who chooses to do so, thereby deciding (or not) that something in the world is like something in the theatre. Part Two, “The Heritage of Theatricality”, delves further, chronologically, into the genealogy of the term. This part explores Burns’s association of theatricality with an idea of theatre by paraphrasing a question asked by Joseph Roach (after Foucault): what did people in the sixteenth century mean by “theatre” if it did not exist as we define today? This question threads through Chapters 5 to 7 which each explore various interpretations of theatricality not necessarily related to the art form understood by us as theatre. I begin by examining the genealogy of the theatrical metaphor, a key trope of the Renaissance, and one that has been consistently invoked in a range of circumstances ever since. In Chapter 5 explore the structural and thematic elements of the theatrical metaphor, including its foundations, primarily, in Stoic and Satiric philosophies, and this provides the ground for the final two chapters. In Chapter 6 I examine certain aspects of Renaissance theories of the self and how these, then, related to public magnificence—the spectacular stagings of royal and civic power that reached new heights during the Renaissance. Finally, in Chapter 7, I show how the paradigm shift from a medieval sense of being to a modern sense of being, captured through the metaphor of a world view, manifested in a theatricalised epistemology that emphasised a relationship between knowing and seeing. The human spectator thus came to occupy the dual positions of being on the stage of the world and, through his or her spectatorship, making the world a stage.
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Holmes, Rachel E. "Casos de honra : honouring clandestine contracts and Italian novelle in early modern English and Spanish drama." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6318.
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This thesis argues that the popularity of the clandestine marriage plot in English and Spanish drama following the Reformation corresponds closely to developments and emerging conflicts in European matrimonial law. My title, ‘casos de honra,' or ‘honour cases', unites law and drama in a way that captures this argument. Taken from the Spanish playwright Lope de Vega's El arte nuevo (1609), a treatise on his dramatic practice, the phrase has been understood as a description of the honour plots so common in Spanish Golden Age drama, but ‘casos' [cases] has a further, and related, legal meaning. Casos de honra are cases touching honour, whether portrayed on stage or at law, a European rather than a strictly Spanish phenomenon, and clandestine marriages are one such example. I trace the genealogy of three casos de honra from their recognisable origins in Italian novelle, through Italian, French, Spanish, and English adaptations, until their final early modern manifestations on the English and Spanish stage. Their seeming differences, and often radical divergences in plot can be explained with reference to their distinct, but related, legal concerns.
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Hill, Caroline. "Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555276218786986.
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Hugot, Nina. "« Une femme peut bien s’armer de hardiesse ». La tragédie française et le féminin entre 1537 et 1583." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL154.
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Ce travail a pour vocation d’interroger, dans un corpus de pièces françaises compris entre 1537 et 1583, la spécificité de la présence féminine en tragédie et son rôle dans l’élaboration de l’esthétique tragique, supposée entre autres à partir du constat de la préférence des premiers dramaturges pour les héroïnes. Nous examinons la place du féminin et ses enjeux à trois niveaux différents. Tout d’abord, nous étudions les textes théoriques et paratextes qui définissent la tragédie. Dans ce cadre, nous ne trouvons aucune association explicite du tragique et du féminin, néanmoins le féminin y est défini de manière problématique, entre nécessité de la norme (la convenance) et constat de la transgression (Electra qui émerveille par sa virilité). Ensuite, dans les textes eux-mêmes, nous observons une profusion de discours des personnages portant sur la question du féminin. Bien souvent, les lieux communs sont convoqués pour mieux marquer le décalage de l’héroïne avec les femmes du commun ; parfois, le cas de l’héroïne est même utilisé pour contester le lieu commun. Dès lors, nous étudions enfin l’action des femmes sur la scène tragique en la comparant à celle des hommes : l’étude de la spécificité des rôles féminins dans l’intrigue, du type de jeu et de spectacle qu’elles mettent en place, celle de leur effet moral et idéologique sur le spectateur enfin, nous permettent de redéfinir l’héroïsme féminin dans le corpus. Étant donné que la tragédie se construit, d’après nous, sur la recherche de l’action extraordinaire, les héroïnes, plus admirables justement parce qu’elles appartiennent au sexe faible, paraîtraient d’abord plus favorables à la renaissance de la tragédie à l’antique de langue française et lui conféreraient ainsi ses premiers traitsFrom a study of a corpus of French plays written 1537-1583, this dissertation examines in detail the female presence in tragedy and its role in the development of the aesthetics of tragic drama. The place of the feminine and the issues arising from it are analyzed on three different levels. First, the theoretical and paratextual works that define tragedy were studied. In this corpus of work, no explicit association between the tragic and the feminine is found. However, the feminine is defined throughout in a problematic way, between the necessity to conform to the norm (the decorum) and the evidence of departures from this norm (Electra will amaze because of her virility). Secondly, within the plays themselves, there are many speeches made by the characters pertaining to the question of femininity. Frequently, the common norms are referenced in order to better differentiate between the heroine and ordinary women; on occasion, the case of the heroine herself is used to contest more strongly the common norms. Finally, the action of the women in the tragic dramas is compared to that of the men. This entails the study of the roles of females in the plot, of the style of acting and performance required of them, of their moral and ideological effect on the audience, all of which allows for a redefinition of female heroism in the corpus. Given that tragic drama is constructed, in this author’s view, from the quest for extraordinary action, these heroines, all the more admirable precisely because they belong to the weaker sex, would primarily appear to be highly favorable for the successful revival of French classical tragedy, thus conferring upon it its first characteristics
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Lee, Shantell. "The Unheard New Negro Woman: History through Literature." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2046.
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Many of the Harlem Renaissance anthologies and histories of the movement marginalize and omit women writers who played a significant role in it. They neglect to include them because these women worked outside of socially determined domestic roles and wrote texts that portrayed women as main characters rather than as muses for men or supporting characters. The distorted representation of women of the Renaissance will become clearer through the exploration of the following texts: Jessie Fauset’s Plum Bun, Caroline Bond Day’s “Pink Hat,” Dorothy West’s “Mammy,” Angelina Grimke’s Rachel and “Goldie,” and Georgia Douglas Johnson’s A Sunday Morning in the South. In these texts, the themes of passing, motherhood, and lynching are narrated from the consciousness of women, a consciousness that was largely neglected by male writers.
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Gauthier, Élise. "Entre vita activa et vita contemplativa, la "vita poeticia" de Nicolas Barthélémy de Loches, un moine-poète du début de la Renaissance française." Thesis, Tours, 2018. http://www.theses.fr/2018TOUR2010.
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Bien qu’il ait inspiré des contemporains plus célèbres, tels François Rabelais et Clément Marot, et fréquenté des humanistes de premier plan, bien qu’il soit l’auteur d’une forme de tragédie latine inédite et maintes fois rééditée, et d’une chronique du règne de Louis XII connue des historiens, le poète néo-latin Nicolas Barthélemy de Loches est resté parfaitement méconnu. Il est ainsi nécessaire de rassembler, corriger et compléter les données dont on peut disposer sur ce personnage et ses oeuvres, mais aussi de reconstituer le cadre social, littéraire et historique dans lequel il a vécu et composé, afin de réévaluer la diversité et la richesse poétique de ses oeuvres. Ces données suffisent à montrer que les écrits de Barthélemy ne sont pas ceux d’un moine cloîtré, mais bien plutôt ceux d’un véritable humaniste engagé dans les réformes de son temps, qu’elles soient pédagogiques, monastiques ou évangéliques. L’édition d’un des recueils poétiques de Barthélemy les plus représentatifs de sa production littéraire (le recueil varié paru à Paris en 1520) vient nourrir et confirmer cette lectureAlthough he inspired famous contemporaries like François Rabelais or Clément Marot, and spent time with leading humanists, although he wrote a new Latin tragedy form many times reprinted and a chronicle about the reign of Louis XII familiar to historians, very little is known about the Neo-Latin poet Nicolas Barthélemy de Loches. Collecting, correcting and completing existing data about the man and his writings is necessary, as well as the reconstruction of the social, literary and historical environment in which he lived and wrote, in order to reevaluate the poetic diversity and richness of his work. Such data are enough to show that Barthélemy’s works were not written by a cloistered monk, but rather by a true humanist involved in the pedagogical, monastic and evangelical reforms of his time. The edition of one of the most representative poetic collections written by Barthélemy (a varied collection printed in 1520 in Paris) supports and confirms this interpretation
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Warnock, Jeanie E. "Kind tyranny: Brother-sister relationships in Renaissance drama." Thesis, University of Ottawa (Canada), 2000. http://hdl.handle.net/10393/9116.
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The study focuses on the social, literary, and psychological significance of the brother-sister relationship to a broad range of Renaissance tragedy and tragicomedy. After a brief historical analysis of siblings, the thesis considers the brother-sister relationship as an important means for dramatists to explore questions of identity, of gender conflict, and of differing understandings of family. It also examines the relationship as a developing literary tradition in the drama of the Stuart period, a tradition which culminates in the works of John Ford. The first half of the study surveys a large range of non-Shakespearean revenge tragedy and tragicomedy. In revenge tragedy, violent brother-sister strife serves as a symbol of the self in turmoil, as an image of a disordered family and society, and as a focal point for tension over the nature of women. Brothers also subvert traditional family roles in their relationships with their sisters. The avenging brother and sister, joined in shared loyalty to their house, mount a legitimate challenge to the authority of husband and king; pandar brothers become diabolical inversions of father and husband. Proceeding to tragicomedy, the thesis analyzes the brother as a figure of illegitimate authority and considers the privileged position gained by royal sisters, whose noble blood renders them the equal of their brothers. The latter half of the dissertation reinterprets the plays of John Webster and John Ford. In The Duchess of Malfi, the royal siblings' similarity, close blood tie, and high rank overturn gender difference and affirm the intimate connection between the sexes. The study considers the importance of blood family to the Duchess' self-conception and examines Ferdinand's attempts to create identity by usurping the place of his sister's husband. Ford's two plays 'Tis Pity She's A Whore and The Fancies Chaste and Noble stand as the culmination of dramatic treatments of idealized and antagonistic brother-sister relationships alike. Both works contrast the opposing nature of physical and familial love and elevate asexual love above sexual passion, presenting a sibling tie which undermines the bond between husband and wife.
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Sobeck, Janine Michelle. "Arlecchino's Journey: Crossing Boundaries Through La Commedia Dell'arte." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2075.pdf.
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Weber, Minon. "Rediscovering Beatrice and Bianca: A Study of Oscar Wilde’s Tragedies The Duchess of Padua (1883) and A Florentine Tragedy (1894)." Thesis, Stockholms universitet, Engelska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184574.
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Towards the end of the 19th century Oscar Wilde wrote the four society plays that would become his most famous dramatical works: Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895). The plays combined characteristic Wildean witticisms with cunning social criticism of Victorian society, using stereotypical characters such as the dandy, the fallen woman and the “ideal” woman to mock the double moral and strict social expectations of Victorian society. These plays, and to an extent also Wilde’s symbolist drama Salomé (1891), have been the object of a great deal of scholarly interest, with countless studies conducted on them from various angles and theoretical perspectives. Widely under-discussed, however, are Wilde’s two Elizabethan-Jacobean tragedies, The Duchess of Padua (1883) and A Florentine Tragedy (1894). This thesis therefore sets out to explore The Duchess of Padua and A Florentine Tragedy in order to gain a broader understanding of Wilde’s forgotten dramatical works, while also rediscovering two of Wilde’s most transgressive female characters—Beatrice and Bianca. Challenging traditional ideas of gender and female sexuality, Beatrice and Bianca can be read as proto-feminist figures who continually act transgressively, using their voice and agency to stand up against patriarchy and asserting their rights to experience their lives on their own terms. Through an in-depth study of these plays, this thesis will demonstrate that Wilde’s Elizabethan-Jacobean tragedies, with their strong, modern female characters Beatrice and Bianca deserve greater critical attention on a par with the extensive scholarship on Wilde’s well-known dramatical works.
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Davies, Callan John. "Strange devices on the Jacobean stage : image, spectacle, and the materialisation of morality." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/19236.
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Concentrating on six plays in the 1610s, this thesis explores the ways theatrical visual effects described as “strange” channel the period’s moral anxieties about rhetoric, technology, and scepticism. It contributes to debates in repertory studies, textual and material culture, intellectual history, theatre history, and to recent revisionist considerations of spectacle. I argue that “strange” spectacle has its roots in the materialisation of morality: the presentation of moral ideas not as abstract concepts but in physical things. The first part of my PhD is a detailed study of early modern moral philosophy, scepticism, and material and textual culture. The second part of my thesis concentrates on Shakespeare’s Cymbeline (1609-10) and The Tempest (1611), John Webster’s The White Devil (1612), and Thomas Heywood’s first three Age plays (1611-13). These spectacular plays are all written and performed within the years 1610-13, a period in which the changes, challenges, and developments in both stage technology and moral philosophy are at their peak. I set these plays in the context of the wider historical moment, showing that the idiosyncrasy of their “strange” stagecraft reflects the period’s interest in materialisation and its attendant moral anxieties. This thesis implicitly challenges some of the conclusions of repertory studies, which sometimes threatens to hierarchise early modern theatre companies by seeing repertories as indications of audience taste and making too strong a divide between, say, “elite” indoor and “citizen” outdoor playhouses. It is also aligned with recent revisionist considerations of spectacle, and I elide divisions in criticism between interest in original performance conditions, close textual analysis, or historical-contextual readings. I present “strangeness” as a model for appreciating the distinct aesthetic of these plays, by reading them as part of their cultural milieu and the material conditions of their original performance.
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Keller, Michelle Margo 1954. "A study of pathological narcissism in Renaissance English tragic drama." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289178.
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The central conviction of this dissertation is that the tenets of the psychiatric medical category, pathological narcissism, explain, in a way other psychological interpretations have not adequately addressed, why the main characters in several important English Renaissance tragic dramas become enmeshed in difficulty and come to ruin. Evidence in the plays themselves invites the use of this particular interpretive category. William Shakespeare's Coriolanus in Coriolanus, Vindice in Cyril Tourneur's The Revenger's Tragedy, Edward in Christopher Marlowe's Edward II, and John Frankford in Thomas Heywood's A Woman Killed with Kindness are representative of tragic characters who suffer from a lack of a psychologically integrated self--the least common denominator of narcissistic disturbance. Pathological narcissism is not a hedonistic orientation toward self-gratification, nor is it self-love, but rather, it refers to an impoverished state of being that is self-misconstrued in a special way. Lacking a stable self-configuration--a mental state that is experienced painfully and fearfully, narcissists engage in patterns of defensive, compensatory behaviors which include grandiose acting out, masochistic and sadistic functioning, aggressive and vengeful conduct, mental splitting, and inappropriate psychological mirroring. The terrible irony of these defensive strategies is that, because they are so offensive and alienating to others, they isolate the narcissist from relational contact and impel him back toward the sense of self-incohesion that he seeks to avoid. In each chapter, I examine how pathological narcissism manifests itself in the four tragic protagonists under consideration. Coriolanus's exaggerated focus on himself renders him a completely unsuitable candidate for the office of consul. Vindice revives himself from mental paralysis through narcissistic defensive activities which cause him self-destructively to collapse back onto himself. Edward II possesses a self that is so narrowly conceived that it cannot survive the rigors of monarchical office. John Frankford lives in the narcissistic psychological prison of perfectionism that will be his undoing. Also in each chapter, I suggest how Ovid's treatment of Narcissus in the Metamorphoses, for whom the psychological condition of pathological narcissism is named, provides a gloss on the disastrous course each protagonist's life takes.
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Sen, Shiladitya. "Metatheatricality on the Renaissance Stage, the Audience and the Material Space." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/165652.
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EnglishPh.D.
My dissertation examines how early modern metatheater enabled the Renaissance stage and its original audience to develop a complex and symbiotic relationship. Metatheater--by which I mean a particular mode of theatre, in which actors, playwrights, dramatic characters and/or (in particular) audiences express or share a perception of drama as a fictional and theatrical construct--pervaded Renaissance drama, not by simple happenstance but arising almost inevitably from the complex context within which it functioned. The early modern stage was a particularly conflicted forum, which monarchs and playwrights, town fathers and actors, censors and audiences, impresarios and anti-theatricalists, all strove to influence and control. The use of the metatheatrical mode allowed playwrights and players to better navigate this difficult, sometimes dangerous, space. In particular, the development of Renaissance metatheater derived from (and, simultaneously, affected) the unique nature of its original spectators, who practiced a much more actively engaged participation in the theater than is often recognized. Performers and playwrights regularly used metatheatricality to adapt to the needs and desires of their audience, and to elicit the intellectual and emotional responses they desired. My study utilizes a historically contextualized approach that emphasizes the material conditions under which Renaissance drama arose and functioned. It begins by examining the influence of the surrounding milieu on the Renaissance stage and its spectators, especially its facilitation of the development and use of metatheater. Then, via close readings of four plays--Kyd's The Spanish Tragedy, Shakespeare's Henry V and Antony and Cleopatra, and Beaumont's The Knight of the Burning Pestle--the dissertation indicates how varied and versatile early modern metatheater was, and how it responded to and influenced the nature of its audiences. My study demonstrates the centrality of metatheater to early modern theatrical practice, delineates its pervasive influence on the stage-audience relationship in Renaissance theaters, and underlines the influence of material conditions on the creation and dissemination of Elizabethan and Jacobean drama.
Temple University--Theses
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Coffey, Alexandra. "Höllischer Ehrgeiz und himmlische Macht Herrschafts- und Magiediskurse im Theater der englischen Renaissance." München Utz, 2007. http://d-nb.info/988230267/04.
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Coffey, Alexandra. "Höllischer Ehrgeiz und himmlische Macht : Herrschafts- und Magiediskurse im Theater der englischen Renaissance /." München : Utz, 2009. http://d-nb.info/988230267/04.
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Coston, Micah Keith. "The dramatic role of astronomy in early modern drama." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:09da8bf1-cf3e-4df6-816b-be7fb13f1753.
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By examining five types of astronomical and celestial phenomenaâcomets, constellations, the zodiac, planets, and the music of the spheresâthis thesis posits not only that early modern dramatists were influenced by established and emerging natural philosophy as habits of thought that manifested in their writing, but also that astronomical phenomena operate within the drama, performance, and in the theatre as elements for creating and developing a distinctly spatial dramaturgy. Using theories from the spatial turn, this thesis maps the positions, edges, disturbances, and motions of celestial properties within the imaginary and physical space of early modern drama and theatre. It argues that the case study plays examined within this thesis demonstrate a period-wide engagement, rather than an authorial-, company-, theatre-, or even genre-specific practice. Dramatists developed techniques using astronomical phenomena as dramatic methods that occasionally underscored early modern astronomical thought. However, in many cases constructed plots, characters, visual and sound effects, and movements transgressed astronomical expectations. Dramatists broke down constellations, inserted new stars in the heavens, created zodiacal females, launched pyrotechnical comets, moved planets unexpectedly across the stage, and played (and refrained from playing) celestial "music" for the audience. Recognising composite and often contradictory astronomical constructions within the drama, this thesis moves the critical discussion away from an intellectual history of natural philosophy and gravitates toward an active astronomical dramaturgy.
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CAVALLERI, ALBERTO. "Il teatro di Rabelais : la poetica del genere totale nel "Gargantua et Pantagruel"." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1290.
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La tesi affronta il problema della teatralità presente nel romanzo di François Rabelais (1483-1553). La scrittura dell’umanista contamina i generi letterari attivi tra tardo Medioevo e Rinascimento, recupera le forme dei generi classici greco-latini e sfrutta la forza vivente delle pièces teatrali francesi. La mescolanza di tutti questi materiali produce una poetica coerente, volta al potenziamento della visione del mondo, che trova nella teatralità la sua evidenza più forte. Ribaltando la prospettiva degli studi critici precedenti, il lavoro analizza l’opera secondo un "découpage" delle categorie teatrali principali: il tempo, lo spazio, il pubblico, il testo e l’attore. Il risultato finale è l’emersione di una teatralità strutturale, diffusa nell’intero romanzo tramite diversi meccanismi: l’ambiguità tra diegesi/mimesi e tra lettura/ascolto, il dialogo tra narratore e lettori, la compresenza di pubblico e personaggi recitanti, le indicazioni di una spazialità performativa, l’importanza della gestualità e della vocalità, la musicalità teatrale della lingua, il lessico specialistico della messinscena, i temi del travestimento, del "théâtre du monde" e del "théâtre anatomique".The dissertation focuses on the connection between François Rabelais’s Gargantua et Pantagruel and the theatre. Rabelais’s writing possesses generic characteristics, typical of the late Middle Ages and early Renaissance periods; it also presents generic forms derived from Greek and Latin literature, and is endowed with the vitality of French medieval theatre. The mingling of these materials results in a coherent poetics expressed through pervasive theatrical elements, and aimed at amplifying the reader’s worldview. Previous scholarly perspectives are here “overturned”, for analysis is built on fundamentally theatrical categories: time, space, audience, text and actor. Theatricality proves to inform the very structure of Rabelais’s work and manifests itself in the alternation of diegesis and mimesis; in the ongoing dialogue between narrator and readers/listeners; in the co-presence of audience and characters/players; in the indications of performative spaces; in the emphasis on gesture and voice; in the theatrical musicality of language; in the specialist vocabulary of the mise-en-scène and the themes of disguise, théâtre du monde and théâtre anatomique.
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Markijohn, Andie Carole. ""Wet, dirty women" and "men without pants" the performance of gender at the American Renaissance festival /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1248822087.
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Sharrett, Elizabeth. "Beds as stage properties in English Renaissance drama : materializing the lifecycle." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5153/.
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This thesis examines beds as stage properties in English Renaissance drama. It argues that their indissoluble associations with the major rites of passage in the early modern lifecycle – birth, marriage, and death – created particular dramatic effects in performance not immediately obvious to audiences today. Chapter one identifies the theoretical and methodological frameworks informing the thesis, and addresses assumptions about the physical structure of beds from the period and their appearance as props. The succeeding chapters each explore different rites of passage. Chapter two considers childbirth rituals in A Chaste Maid in Cheapside and other plays depicting the lying-in ritual, and the bed’s function in these plays as a mockery of the religious and cultural ideals it was intended to represent. Chapter three focuses on marriage, exploring how the bed becomes a subversive emblem of female marital control through a comparison of the manuscript and Folio editions of The Woman’s Prize. Chapter four analyzes the death ritual in relation to Humphrey’s murder in Henry VI Part II, comparing the uses of the bed in the Quarto and Folio versions in order to consider the extent to which Humphrey ‘dies well’. Chapter five explores the inherent interconnectedness of all three rites in A Woman Killed With Kindness, and establishes the ways in which they converge upon the bed. As these case studies demonstrate, the use of the bed by playwrights as a prop in performance on the Renaissance stage was a not an incidental inclusion, but a considered choice intended to exploit the dramatic potential of the object’s multivalency to affect the scene in which it appeared, due to its rich symbolic association with the three major rites of passage.
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Schramm, Helmar. "Karneval des Denkens : Theatralität im Spiegel philosophischer Texte des 16. und 17. Jahrhunderts /." Berlin : Akademie Verlag, 1996. http://catalogue.bnf.fr/ark:/12148/cb37539660h.
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Pop-Curşeu, Ştefana. "La théâtralité de la peinture murale post-byzantine : XVe - XVIIe siècles." Paris 3, 2008. http://www.theses.fr/2008PA030163.
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En s’appuyant sur une méthode comparatiste spécifique de l’iconographie théâtrale, la présente thèse se propose de circonscrire la théâtralité de la peinture murale post-byzantine. Les exemples choisis se situent entre les XVe-XVIIe siècles et proviennent surtout de la principauté roumaine de Moldavie. La matière est divisée en deux parties (L’Église et le théâtre, Byzance et ses héritiers européens ; Le monde post-byzantin sous le signe de la théâtralité : personnages peints – personnages de théâtre). La première partie, historique, analyse la relation parallèle de l’Église au théâtre et à l’image, afin de dégager des positions idéologiques convergentes. La deuxième partie du travail, analytique et conçue en écho à la première, prend des échantillons typiques du vécu de la foi, qui appartiennent au patrimoine commun de la chrétienté occidentale et orientale (et cela justifie la visée comparatiste dans laquelle ils sont abordés) et qui ont donné naissance à de riches cycles artistiques (picturaux, dramatiques, narratifs) : il y a tout d’abord trois saints représentatifs (St Jean-Baptiste, St Georges, St Nicolas), ensuite c’est la vie de la Vierge qui est abordée, et le parcours herméneutique s’achève avec la Passion du Christ, extrême de la tension dramatique et point de non-retour de l’analyse. Un même principe d’analyse est respecté tout au long de la thèse : identification des sources (Bible, écrits apocryphes) qui ont nourri les récits de vie des saints personnages ; incursion dans l’histoire de leur traitement plastique et scénique ; présentation des cycles de fresques moldaves, toujours mis en miroir avec des représentations de théâtre médiéval occidentalUsing a comparative method, specific in theatrical iconography, this thesis aims at showing the theatricality of the mural painting during the post-Byzantine period. The chosen examples are situated between the 15th and the 17th centuries and come mostly from the Romanian principality of Moldavia. The matter is divided in two parts (The Church and Theatre, Byzantium and its Europeans inheritors; The post-Byzantine world under the sign of theatricality: painted characters – dramatic characters). The first part, historical, analyses the parallel relationship of the Church with the theatre and the image, in order to show similar ideological positions. The second part, analytic and constructed as a mirror of the first one, takes some typical samples of the Christian faith, which belong to the common patrimony of Orthodox and Catholics (and this aspect justifies the comparative perspective) and which gave birth to some rich artistic cycles (plastic, dramatic, narrative): first, we focus on three representative saints (John the Baptist, George, Nicholas), then on the life and death of the Virgin, and the interpretative circle closes on Jesus’ Passion, extreme of the dramatic tension and point of no return for the analysis. The same principle is respected all over our text: identification of the sources (Bible, apocryphal writings) which inspired the saints’ stories; incursion in the history of their plastic and scenic treatment; presentation of the Moldavian fresco cycles, always compared to the theatrical representations of the occidental middle ages
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Miller, Jennifer Helga. ""She comes in a shirt of mail...or a male shirt": costume and the construction of gender in renaissance England, 1550-1630." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407404624.
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Rogers, Mark Christopher. "Art and public festival in Renaissance Florence studies in relationships /." Full text available online (restricted access), 1996. http://images.lib.monash.edu.au/ts/theses/Rogers.pdf.
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Gourlay, Jennifer Eowyn. "Negotiating spaces : women and agency in English Renaissance society, plays and masques." Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/3465/.
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This thesis provides new and alternative readings of women’s opportunities for agency in sixteenth and early seventeenth century society, and of the ways in which this was represented in plays and masques of the time. The relationship between history and theatre is a two-way process. In light of this, the depiction of proactive female characters in public plays is examined alongside the appearance of proactive women in society and on stage in Jacobean court masques, through the different but complementary lenses of marriage and female alliances. After the Introduction (Chapter One), Part One (Chapters Two and Three) looks at female agency in marriage and the ways in which this was depicted in drama, from the perspective of two neglected social practices, spousals and wife sales. The spousal law offered women as well as men an opportunity to regulate their marriage without recourse to the church or parents and is a common, but under-studied, plot in Renaissance drama. Three of the most interesting and complex uses appear in George Chapman’s The Gentlemen Usher (1602-4), John Webster’s The Duchess of Malfi (1612-14) and Thomas Middleton’s The Widow (c. 1616). The spousal plot provides an alternative angle for the playwrights to explore and endorse female characters’ decision to rebel against male family members and marry men of their choice. Part Two (Chapters Four, Five and Six) analyses the opportunities for female agency at the Jacobean court from the perspective of female homosocial bonding, looking at Anna of Denmark (Queen consort of James I), her court women, and the masques in which they danced. Anna’s women were, like the Queen, trying to control their lives. Chapter Four shows that the Queen’s retinue provided a separate space for these women to gather, interact and create alliances and further, that this mutual support facilitated their agency at the Jacobean court, agency which often involved opposing the king.
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Hénin, Emmanuelle. "Ut pictura theatrum : théâtre et peinture de la Renaissance italienne au classicisme français." Paris 4, 2000. http://www.theses.fr/2000PA040263.
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Cette thèse entend prouver l'antériorité et le primat de l'Ut pictura theatrum sur l'ut pictura poesis, tandis que la première de ces deux comparaisons a toujours été considérée comme un phénomène secondaire, une conséquence seconde de la première. Il s'agit de montrer la cohérence et la continuité de cette comparaison durant deux siècles, depuis la renaissance italienne jusqu'à la « doctrine classique française », suivant une perspective à la fois théorique et historique. La comparaison entre les deux arts se fonde principalement sur une série de topoi sans cesse commentés, tant dans les exégèses d’Aristote que dans les traités de théâtre et ceux de peinture. Cette étude procède en quatre moments, dont les trois premiers suivent la division de la rhétorique entre l'inventio, la dispositio et l'elocutio. La première partie concerne la définition de la mimesis comme « représentation d'hommes en action », toujours évoquée à travers la métaphore du portrait. La seconde traite de l'unité de l'image (à la fois théâtrale et picturale), et montre que la règle des trois unités vient entièrement des traités de la contre-réforme sur la peinture. La troisième est consacrée à l'expression, définie comme un langage figuratif donnant à chaque passion ses traits particuliers. Enfin, la dernière partie a pour thème les limites de la représentation : que peuvent respectivement montrer la scène et le tableau ?
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Hénin, Emmanuelle. "Ut pictura theatrum : théâtre et peinture de la Renaissance italienne au classicisme français /." Genève : Droz, 2003. http://catalogue.bnf.fr/ark:/12148/cb39150794x.
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Lucas, Georgina Mary. "The meaning of massacre in English Renaissance drama, 1572-1642." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6993/.
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The PhD examines the web of meanings elicited by and constructed around the act and concept of massacre in English Renaissance drama. The study is underpinned by two contentions. The first is that the enactment of massacre, both on and off-stage, is often predicated upon the same kinds of fictive and imaginative processes inherent to dramatic practice. The second is that the 1572 St Bartholomew’s Day Massacre in Paris was instrumental to conceptualisations of Renaissance massacre. Bartholomew, along with its most flagrant dramatic depiction, Christopher Marlowe’s The Massacre at Paris (1593), anchors every part of the study. The thesis is split thematically into three sections, each of which contains two chapters. The first part explores the language of massacre. Chapter 1 examines the denotations and connotations of the word massacre in French and English. Chapter 2 looks at the means through which the rhetoric of massacre reports prompt emotional responses in readers and spectators. Part two investigates the relationship between massacre and the state. Chapter 3 explores massacres committed from ‘above’ by ruling or de facto powers. Chapter 4 considers inverse phenomena – massacres committed from ‘below’ – by usurpers, lesser magistrates, and private individuals. The final part examines the relationship between massacre and warfare. Chapter 5 explores massacres committed by external forces – from ‘without’ – and explores the contribution of massacre to wars of conquest, sieges, and sacks. Chapter 6 addresses massacres committed ‘within’, examining inter-state conflicts and the internal logic of battle. The thesis concludes by gesturing to the continuation of key theorisations of massacres after the closure of the theatres in 1642.
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Knott, Sue Marilyn. "Competing discourses of love and sexuality in the relationships between men and women in Renaissance drama." Thesis, University of Birmingham, 1998. http://etheses.bham.ac.uk//id/eprint/3629/.
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This thesis is an examination of the ways in which competing discourses of love and sexuality, ranging from the literary and philosophical to the religious, have influenced the portrayal of men and women in the drama of the late sixteenth and early seventeenth centuries. The structure of the thesis is in two parts: the first concerns what might be termed normative relationships, underlying which is the ideal of mutual affection in marriage, and the second, relationships which undermine, or challenge that ideal. My central proposition is that the conflict between the demands of the body and the spirit, rooted in the ascetic heritage of the Middle Ages, lies at the heart of all discourse on love and sexuality. This is demonstrated in the tension between the Petrarchan idealisation of love and women, and their denigration; between sublimation and sexual fulfilment. Underlying the idealism associated with love is the fear of disillusionment and betrayal, arising out of a deep-rooted association of sexuality with sin, which finds expression in anxiety about female sexuality. The playwrights dramatise these tensions, placing them in a context of changing values in which traditional views of morality come into conflict with a cynical acceptance of human frailty.
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Gilmore, Nicola Anne. "The whole play of parts : a study of cued parts in English Renaissance drama, 1590-1620." Thesis, University of Gloucestershire, 2012. http://eprints.glos.ac.uk/1249/.
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The chief objective of this doctoral thesis is to identify the feasibility of interpreting non-Shakespearean plays written during the English Renaissance period in terms of their integral actors’ cued parts. The cued part is defined herein as the prevalent type of theatrical script received by an early modern professional actor. Unlike the familiarly linear, holistic guide to a play typically received by a twenty-first century actor, such a unique text consisted solely of the lines to be spoken by the player on behalf of the individual character he was to represent. Each moment of speech was prefaced by a short cue to facilitate effective timing on the stage. An actor’s cues, visually indicated on the part by ‘cue-tails’, the long horizontal lines which preceded them, would themselves be crucially distinguished from the speaking part, thus forming a detached peripheral ‘cue-text’ of their own (Palfrey and Stern, 2005). This thesis is situated in the context of seminal work by Simon Palfrey and Tiffany Stern (2005, 2007). Although the authors’ ground-breaking publications currently saturate the newly-emerging discipline, their content is almost exclusively confined to the plays of Shakespeare despite the non-Shakespearean provenance of extant early modern cued parts. Originality is demonstrated herein through extension of the field’s existing sphere of influence. The current study thus seeks to resolve whether the practice of performing from cued parts was unique to Shakespeare or common to a cross-section of Renaissance playwrights, united for analysis within the following chapters by one of two factors: the theatrical association of the dramatists’ plays with the Lord Admiral’s Men, the playing company for whom the known part-conversant actor Edward Alleyn performed and/or the existence of their plays in bibliographically inferior yet dramatically enlightening ‘bad’ quarto (Pollard, 1909) or ‘minimal text’ (Gurr, 1999) form. Whilst it has been largely critically overlooked, the cued part is hypothesised within this study to be an all-encompassing complete unit of text, performance and meta-performance. Although the original rationale for its production was firmly rooted in the practical, the revised agenda set by this thesis is predominantly interpretative. Adopting an actor-centred methodology, the present investigation represents an active contribution to understanding within the field, its most innovative inputs centring upon selected key areas. In terms of the dramatic, the study proposes an archetypal technical composition for the early modern professional actor’s customised text, venturing to assert a series of original classifications of cue type with far-reaching semantic repercussions, reinforced by supporting literary and cultural analysis. Establishing new terminology for the analysis of cued parts, the vast editorial potential inherent in the form begins to emerge. The comparative relationship between cued parts and ‘minimal text’ editions of plays written and performed during the period 1590 to 1620 is elucidated, the latter bibliographic grouping critically neglected on account of its compromised literary value. The surprising influence of the actor in shaping the composition, performance and direction of Renaissance plays is subsequently promoted. Finally, in the realm of the meta-dramatic, the thesis recommends the multi-dimensional self-reflexive potential of the cued part form. New evidence is provided for the existence of alternative texts within both play and part, tendering shifting perspectives on the whole play and simultaneously boasting immeasurable creative potential to contemporary directors, actors and scholars alike. Orienteering far beyond the accepted segmentation of the whole play into parts, the cued part itself is dissolved into interior and exterior meta-parts. The reader is ultimately presented with a selection of avant-garde reflections upon the broad interpretative facility of the small and quirky Renaissance theatrical text.
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Ennis, Elizabeth Susan. "Don't Fall in Love: Designing Costumes for Shakespeare's Romeo and Juliet." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/488826.
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TheaterM.F.A.
The purpose of this thesis is to recount the creative process used when designing the costumes for Temple University’s Spring 2018 production of Romeo and Juliet. This process begins with a thorough reading of the play and moves through the phases of research, planning, and implementation of the author’s designs. Subjects discussed include historical fashion of the early Italian Renaissance, the challenges of working with costume rental companies, and the collaborative nature of costume construction. The author will reflect on the struggles and successes of her contribution to the production.
Temple University--Theses
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Mattos, Rogério Reis Carvalho. "O risco do século XVI: a corte manoelina e o teatro de Gil Vicente." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=9007.
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Trabalho de pesquisa que pretende retirar o teatro de Gil Vicente de um possível período mais obscurantista, tardo-gótico, para colocá-lo em meio às grandes transformações ocorridas na Europa durante o século XVI, mais propriamente o Renascimento artístico e cultural. A partir de uma crítica textual de autores contemporâneos como Nicolau de Cusa e Martinho Lutero, ou da literatura da Grécia clássica como Platão e Ésquilo, aproximamos o teatro vicentino das fontes clássicas da literatura, ao mesmo tempo em que, por uma crítica de determinadas correntes hegemônicas na análise da literatura como as que vêm do existencialismo e da psicanálise, afastamos seu teatro dessa crítica que antes obscurece do que propriamente o coloca à plena luz. Posto na luz correta, vemos um Gil Vicente em meio aos grandes movimentos de transformação da civilização mediterrânica do século XVI.Research that want to remove Gil Vicentes theater from a more obscurantist period, "late Gothic", to put it among the great changes occurred in Europe during the sixteenth century, more specifically, the artistic and cultural Renaissance. From a textual criticism of contemporary authors such as Nicholas of Cusa and Martin Luther, or literature of classical Greece as Plato and Aeschylus, we can approache the Vincentian theater and the classical sources of literature at the same time, for a review of certain currents hegemonic analysis in literature, as the current existentialism and psychoanalysis. This move away his theater from the obscur criticism actually and puts it on light. With the correct approach, we can see Gil Vicente in the midst of the great movements of change in the Mediterranean civilization in the sixteenth century.