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O'Donnell, David O'Donnell, and n/a. "Re-staging history : historiographic drama from New Zealand and Australia." University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.
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Since the 1980s, there has been an increasing emphasis on drama, in live theatre and on film, which re-addresses the ways in which the post-colonial histories of Australia and New Zealand have been written. Why is there such a focus on �historical� drama in these countries at the end of the twentieth century and what does this drama contribute to wider debates about post-colonial history? This thesis aims both to explore the connections between drama and history, and to analyse the interface between live and recorded drama.
In order to discuss these issues, I have used the work of theatre and film critics and historians, supplemented by reference to writers working in the field of post-colonial and performance theory. In particular, I have utilised the methods of Helen Gilbert and Joanne Tompkins in Post-Colonial Drama: Theory, Practice, Politics, beginning with their claim that in the post-colonial situation history has been seen to determine reality itself. I have also drawn on theorists such as Michel Foucault, Linda Hutcheon and Guy Debord who question the �truth� value of official history-writing and emphasize the role of representation in determining popular perceptions of the past. This discussion is developed through reference to contemporary performance theory, particularly the work of Richard Schechner and Marvin Carlson, in order to suggest that there is no clear separation between performance and reality, and that access to history is only possible through re-enactments of it, whether in written or performative forms.
Chapter One is a survey of the development of �historical� drama in theatre and film from New Zealand and Australia. This includes discussion of the diverse cultural and performative traditions which influence this drama, and establishment of the critical methodologies to be used in the thesis. Chapter Two examines four plays which are intercultural re-writings of canonical texts from the European dramatic tradition. In this chapter I analyse the formal and thematic strategies in each of these plays in relation to the source texts, and ask to what extent they function as canonical counter-discourse by offering a critique of the assumptions of the earlier play from a post-colonial perspective. The potential of dramatic representation in forming perceptions of reality has made it an attractive forum for Maori and Aboriginal artists, who are creating theatre which has both a political and a pedagogical function. This discussion demonstrates that much of the impetus towards historiographic drama in both countries has come from Maori and Aboriginal writers and directors working in collaboration with white practitioners. Such collaborations not only advance the project of historiographic drama, but also may form the basis of future theatre practice which departs from the Western tradition and is unique to each of New Zealand and Australia. In Chapter Three I explore the interface between live and recorded performance by comparing plays and films which dramatise similar historical material. I consider the relative effectiveness of theatre and film as media for historiographic critique. I suggest that although film often has a greater cultural impact than theatre, to date live theatre has been a more accessible form of expression for Maori and Aboriginal writers and directors. Furthermore, following theorists such as Brecht and Brook, I argue that such aspects as the presence of the live performer and the design of the physical space shared by actors and audience give theatre considerable potential for creating an immediate engagement with historiographic themes. In Chapter Four, I discuss two contrasting examples of recorded drama in order to highlight the potential of film and television as media for historiographic critique. I question the divisions between the documentary and dramatic genres, and use Derrida�s notion of play to suggest that there is a constant slippage between the dramatic and the real, between the past and the present. In Chapter Five, I summarize the arguments advanced in previous chapters, using the example of the national museum of New Zealand, Te Papa Tongarewa, to illustrate that the �performance� of history has become part of popular culture. Like the interactive displays at Te Papa, the texts studied in this thesis demonstrate that dramatic representation has the potential to re-define perceptions of historical �reality�. With its superior capacity for creating illusion, film is a dynamic medium for exploring the imaginative process of history is that in the live performance the spectator symbolically comes into the presence of the past.
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Newark, Cormac. "Staging grand opera : history and the imagination in nineteenth-century Paris." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312922.
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Newark, Cormac. "Staging grand opéra : history and the imagination in nineteenth-century Paris /." Boston Spa : British thesis service, 1999. http://catalogue.bnf.fr/ark:/12148/cb391434264.
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Schachnow, Ellionore. "The Staging of Nynäs Castle : From Private Home to Museum." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-193261.
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The thesis examines the reason behind the overtaking of Nynäs castle by the State Art Museums and how Nationalmuseum choose to stage the period rooms during 1984-2020 and how it relates to contemporary trends within museology. Furthermore, the thesis examines possible similarities in how the National Trust stages their historic houses. The thesis emanates from Emma Barker’s art historical approach to critical studies of the historic buildings owned by the Trust and discusses the possibilities and limitations of the historic house museums in the context of house museology. This thesis also discusses the differences between an ethnographic and an art museum in a historic house context and the function of the period room. The State Art Museum managed to receive funds for the acquisition of Nynäs collections through private donations and funds from the State. The original intention was to stage the interior rooms as it was found, and this approach partly resembles the staging of a house owned by the National Trust. This approach was questioned by Nationalmuseum during 2008 and they initiated a project of re-arranging the rooms which resulted in a chronological display. The display of the kitchen and service areas since the opening can relate to a rising interest in New Museology.
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Montez, Noe Wesley. "Staging post-memories commemorative Argentine theatre 1989-2003 /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3380115.
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Thesis (Ph.D.)--Indiana University, Dept. of Theatre and Drama., 2009.<br>Title from PDF t.p. (viewed on Jul 14, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4529. Adviser: Rakesh H. Solomon.
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McFrederick, Matt. "Staging Beckett : a production history of Samuel Beckett's drama in London (1955-2010)." Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/78067/.
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This study presents the first performance history of Samuel Beckett’s drama in London theatres. The study focuses on a selection of professional productions of Beckett’s dramatic canon and assesses the impact these performances had on London and British theatre cultures between 1955 and 2010. Since the British premiere of Waiting for Godot, Beckett’s oeuvre has been staged across a variety of London theatres and contexts, ranging from the Riverside Studios in Hammersmith to the Theatre Royal Stratford East. The performance histories of Beckett’s plays represent a neglected facet of Beckett studies, but through research undertaken for the Staging Beckett Database – a searchable data model for Beckett performances staged in the UK and Ireland – a broad tradition of staging Beckett in the British Isles has been discovered. Through the support of these records, performance histories, theatre historiography and performance archives, the study shows how Beckett’s drama featured in key London theatres during prominent moments in British theatre history in a series of landmark and lesser known productions and seasons. By means of a chronological structure, this account examines the factors that contributed to Beckett’s role in metropolitan theatre cultures, discussing how his theatre was created and received and the legacies or significance of his drama on the city’s theatrical landscape. Beckett’s evolving stature and the multifunctional role he played in London theatre cultures is reflected in the four chapters that investigate the history. Chapters one and two reveal the key partnerships he established in theatres such as the English Stage Company at the Royal Court and the National Theatre, and the eclectic range of performances from the international productions during the World Theatre Seasons to the multiple presentations of his drama for young theatregoers at the newly started Young Vic. Chapter three examines the development of Beckett’s practice through some of his last productions staged or rehearsed at the Royal Court, Riverside Studios and the National Theatre. The final chapter discusses performances post-Beckett, when his drama proliferated across London, from West End productions with star actors to Festivals celebrating his entire canon.
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Bailie, Lindsey Leigh. "Staging Privacy: Art and Architecture of the Palazzo Medici." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11049.
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xii, 112 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>The Palazzo Medici was a site of significant social and political representation for
the Medici. Access to much of the interior was limited, ostensibly, to the family. In
republican Florence, however, visitors were a crucial component in the maintenance of a
political faction. Consequently, the "private" spaces of the Palazzo Medici were designed
and decorated with guests in mind. Visitor accounts reveal that the path and destination of
each visitor differed according to his status and significance to the family. The common
citizen waited, sometimes for great lengths, in the courtyard, taking in the anti-tyrannical
message of the space. The privileged guest, who had more to provide the Medici, was
given access to the more private spaces of the residence. Surrounded by art and architecture
that demonstrated the faith, education, and wealth of the Medici, he was assured that his
support of the family was beneficial to his own pursuits.<br>Committee in charge: James Harper, Chairperson;
Jim Tice, Member;
Jeff Hurwit, Member
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Demetriou, P. A. "An exhibition of hidden stories : investigating methods of staging and performing oral history archives." Thesis, University of Bristol, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.701830.
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Lee, Melissa. "Staging the Actress: Dramatic Character and the Performance of Female Identity." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397823196.
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Dyson, Jessica. "Staging legal authority : ideas of law in Caroline drama." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/366.
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This thesis seeks to place drama of the Caroline commercial theatre in its contemporary political and legal context; particularly, it addresses the ways in which the struggle for supremacy between the royal prerogative, common law and local custom is constructed and negotiated in plays of the period. It argues that as the reign of Charles I progresses, the divine right and absolute power of the monarchy on stage begins to lose its authority, as playwrights, particularly Massinger and Brome, present a decline from divinity into the presentation of an arbitrary man who seeks to impose and increase his authority by enforcing obedience to selfish and wilful actions and demands. This decline from divinity, I argue, allows for the rise of a competing legitimate legal authority in the form of common law. Engaging with the contemporary discourse of custom, reason and law which pervades legal tracts of the period such as Coke’s Institutes and Reports and Davies’ ‘Preface Dedicatory’ to Le Primer Report des Cases & Matters en Ley resolues & adiudges en les Courts del Roy en Ireland, drama by Brome, Jonson, Massinger and Shirley presents arbitrary absolutism as madness, and adherence to customary common law as reason which restores order. In this climate, the drama suggests, royal manipulation of the law for personal ends, of which Charles I was often accused, destabilises law and legal authority. This destabilisation of legal authority is examined in a broader context in plays set in areas outwith London, geographically distant from central authority. The thesis places these plays in the context of Charles I’s attempts to centralise local law enforcement through such publications as the Book of Orders. When maintaining order in the provinces came into conflict with central legislation, the local officials exercised what Keith Wrightson describes as ‘two concepts of order’, turning a blind eye to certain activities when strict enforcement of law would create rather than dissolve local tensions. In both attempting to insist on unity between the centre and the provinces through tighter control of local officials, and dividing the centre from the provinces in the dissolution of Parliament, Charles’s government was, the plays suggest, in danger not only of destabilising and decentralising legal authority but of fragmenting it. This thesis argues that drama provides a medium whereby the politico-legal debates of the period may be presented to, and debated by, a wider audience than the more technical contemporary legal arguments, and, during Charles I’s personal rule, the theatre became a public forum for debate when Parliament was unavailable.
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Babaee, Tamirdash Mohamadreza. "Staging Belonging: Performance, Migration, and the Middle Eastern Diaspora in the United States." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1593024898855739.
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Schoone-Jongen, Terence G. "Tulip time, U. S. A. staging memory, identity and ethnicity in Dutch-American community festivals /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1172255860.
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Caplan, Debra Leah. "Staging Jewish Modernism: The Vilna Troupe and the Rise of a Transnational Yiddish Art Theater Movement." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10869.
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This is the first study of the avant-garde Yiddish art theater movement, which flourished across five continents during the interwar period. From Warsaw to San Francisco, Buenos Aires to Winnipeg, Mexico City to Paris, and Johannesburg to Melbourne, the Yiddish art theaters were acclaimed by critics and popular with Jewish and non-Jewish spectators alike. These theaters had a significant impact on renowned theater practitioners around the world, who credited the Yiddish art theaters with inspiring their own artistic practice. In tracing how a small group of Yiddish theater artists developed a modernist theater movement with a global impact, my project provides a key and heretofore missing chapter in the history of the modern stage. I argue that the spirit of innovation that characterized the activities of the Yiddish art theaters and enabled them to become so influential was a direct product of the transnational nature of their movement. Operating in a Jewish cultural context unbounded by national borders, the success of these companies was propelled by a steady exchange of actors, directors, scenic designers, and critics across the world. Buoyed by a global audience base and unconfined by the geographical-linguistic borders that limited the national theaters of their neighbors, Yiddish theater artists were uniquely able to develop a fully transnational modernist theater practice. The global reach of the Yiddish art theaters is best exemplified by the Vilna Troupe (1915-1935), the catalyst for this movement and the primary focus of my study. The Vilna Troupe was the epicenter of the international Yiddish art theater movement throughout the interwar period. I demonstrate how the Troupe remained itinerant throughout its history, enabling it to reach an ever-larger global audience and inspiring dozens of other Jewish actors to create Yiddish art theaters of their own. Where previous generations of Yiddish actors had been subject to the double disapproval of Jewish and non-Jewish intellectuals alike, the Vilna Troupe legitimized the Yiddish art theater movement as a key contributor to the global theatrical avant-garde.<br>Near Eastern Languages and Civilizations
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Nyberg, Madeleine. "MAKTSPEL : En studie om iscensättning av kunskap på Livrustkammaren." Thesis, Stockholms universitet, Avdelningen för teater- och dansvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-112623.
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Uppsatsen fokuserar på Livrustkammarens utställning Maktspel (13/3 2014 - 5/1 2015) och handlar om historiebruk i populärkulturen. Med utgångspunkt i den svenska renässansen görs kopplingar till Englands elisabetanska tid samt den fiktiva kontinenten Westeros i HBO:s tv-serie Game of Thrones. Intentionen från museet är att besökaren ska ifrågasätta historiebrukets olika användningsområden och samtidigt belysa historiens dramatiska inslag. Jag har intresserat mig för de parallella maktspelen som sker i utställningsrummet utöver de berättelser som Livrustkammaren presenterar. Uppsatsen syftar till att lyfta fram museer och utställningars iscensättningskaraktär och min ambition är studera den interna ordningen i iscensättningen. Uppsatsen är uppdelad i fyra tematiska huvudkapitel. Utställningens makt, Klädedräktens makt, Museets makt och sist men inte minst Uttryckets makt. Vardera kapitel behandlar makt ur olika perspektiv, både ur museets intentioner, museiverksamhetens utveckling, kläders kommunikativa egenskaper och uttrycksmedels inverkan på besökarna. Detta gör jag med hjälp av deltagande fältarbete och med föreställningsanalys. Modevetenskap och museivetenskap fördjupar förståelsen för den specifika utställningens komplement. Tillsammans kompletterar kapitlen varandra och skapar en fördjupad helhet av utställningen. Uppsatsen diskuterar hur ett museum och deras utställningsverksamhet är iscensatt kunskap. I mitt avslutande kapitel Livrustkammaren har bytt kostym kommenterar jag den utvecklingen som jag noterat på Livrustkammaren samt vilket symboliskt roll Maktspel har i den utvecklingen. De fyra rummen som utställningen består av symboliserar i mitt slutresultat hur makten inom museiväsendet succesivt förflyttats från museets kunskap till att inkludera besökarna och tolkningar.<br>The thesis focus on the exhibition Power Games presented at the Royal Armoury in Stockholm during 14th of March 2014 until 5th of January 2015. It involves the practice of history in popular culture. The exhibition incorporates stories of Swedish Renaissance with the English Elizabethan period along with Shekhar Kapur's films about Elizabeth I as well as the dramatic fictional continent of Westeros in HBO's TV series Game of Thrones. The intention of Power games is for the visitor to question the usage of history as well as emphasizing dramatic elements within history. I´ve taken an interest in the different power plays within the exhibition. The thesis discusses museums and exhibitions ways of staging knowledge. My intention is to investigate the elements of this staging. The thesis is divided into four main thematic chapters: The power of exhibition, The power of costume, The power of museums and The power of expression. The aim with this thesis is to take a closer look at these specific contexts from a different angle and combine them by applying fashion studies, fieldwork and performance analysis. In my final chapter The changed costume of the Royal Armoury I comment on the accentuated development and the symbolic role that Power games have in this progress. The four rooms of the exhibition represent a new way of staging within museums. The power has gradually shifted from only involving objects and knowledge of the museum to including a narrative of visitors and different interpretations of history. The Royal Armoury has challenged old conventions of museum and started to question their power position.
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Lee, Vanessa. "Women staging the French Caribbean : history, memory, and authorship in the plays of Ina Césaire, Maryse Condé, Gerty Dambury, and Suzanne Dracius." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:50c22b59-0d30-47f7-9325-f650904a89ae.
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This thesis analyses the themes of history, memory, and authorship in the works of four women playwrights from the French Caribbean islands of Martinique and Guadeloupe. In doing so, it aims to reveal the three levels of marginalization to which Caribbean women theatre practitioners are subjected: being a woman, being a French Caribbean woman, and being a French Caribbean woman who writes theatre. The thesis seeks to contribute to the expansion of the field of French Caribbean literary and drama studies, endeavours to redress the gender balance in studies on French Caribbean literature, and aspires to add to the existing body of work on French Caribbean women's writing. Therefore, the thesis aims to reveal and to analyse the world of French Caribbean women's theatre and to study how the playwrights address socio-political issues that affect their communities and influence their own writings and careers. The corpus consists of plays by Gerty Dambury, Ina Césaire, Maryse Condé, and Suzanne Dracius from the 1980s to the early 2000s. While focussing on a different theme, each chapter rests its analysis on theatrical works of a similar genre. The analysis of the plays deploys theories of the theatre pertaining to postcolonial drama and gender. The first chapter serves as an introduction to a group of female French Caribbean writers and their predecessors. The second chapter is a study of two historical plays, focussing on the collective experience of historical events and the role played by women in those events. The third chapter analyses plays that problematize the relationship between the collective and the individual. The fourth chapter looks at the image of the French Caribbean female artist and the multiple barriers she encounters in achieving creative independence.
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Boland, Paul William. "Morphometric analysis of data inherent in examination by magnetic resonance imaging : importance to natural history, prognosis and disease staging of squamous carcinoma of the oral cavity." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:934e1e5a-24db-40ab-ab54-5e58901a9c2a.
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Magnetic resonance imaging plays an important yet underutilized role in determining the natural history and prognosis of oral carcinoma. Depth of tumour invasion is an emergent factor in the oral cancer literature. However, problems exist with the definition of cut-points suitable for inclusion in TNM staging criteria. Statistical methodology represents a possible explanation but is underexplored. In this work, a review of the depth of invasion literature is conducted with emphasis on statistical technique. As well, statistical simulation is used to explore the implications of the of the minimum p-value method. The results demonstrate that the use of continuous variable categorization and multiple testing is widespread, and contributes to cut-point variability and false-positive tests. Depth, as a predictor of OCLNM and survival, must be questioned. The volume of tumour invasion is a promising prognostic factor that has not been fully investigated in the oral carcinoma literature. In this work, the volume of tumour invasion is measured on MRI and compared to thickness and maximum diameter in its capacity to predict 2-year all-cause, disease-related and disease-free survival, as well as occult cervical lymph node metastasis prediction. As part of a comprehensive approach, morphometric factors are incorporated into multifactor predictive models using regression, artificial neural networks and recursive partitioning. It is evident that MRI-based volume is superior all other linear measurements for both occult cervical lymph node metastasis and survival prediction. Artificial neural networks wee superior to all other techniques for survival prediction. There is a case for a unified artificial neural networks model for survival prediction that uses volume, midline invasion and N-stage to determine prognosis. This model can be used to determine individualized probabilities of 2-year survival. The lateral extrinsic muscles of the tongue lie just beneath the surface of the lateral tongue, yet their invasion is a criterion for T4 classification using the TNM staging system. In this work, the Visible Human Female is used to conduct an anatomic study of the extrinsic muscles of the tongue. Linear measurement is used to quantify the distance from the surface mucosa to the most superficial muscle fibres of the styloglossus and genioglossus. Further, the lateral extrinsic muscles are poorly demonstrated on MRI. An anatomic atlas of the tongue is fused with MRI images of oral carcinoma to demonstrate lateral muscle invasion. The results demonstrate that the styloglossus and hyoglossus lie very close to the surface of the lateral tongue, in some cases passing within 1 mm of the surface mucosa. These extrinsic muscles are readily invaded by even small tumours of the lateral tongue. Strict application of the TNM T4a criteria leads to unnecessary upstaging as these carcinomas do not warrant the prognosis and aggressive treatment of Stage IV disease. Extrinsic muscle invasion should be removed as a T4a criterion for the oral cavity. A separate category, T4a (oral tongue) specifying invasion of the genioglossus is also recommended. This work presented in this thesis is an original contribution to the field of oral cavity cancer research and has determined that there is capacity for improvement in current efforts to determine the natural history and prognosis of oral cavity squamous cell carcinoma. This thesis is the first to examine the role of statistical methodology in oral carcinoma depth of invasion cut-point variability. Further, this work presents an original approach to the prediction of regional metastasis and survival using advanced multivariate modeling techniques. No other work explored MRI-measured volume using the substantial sample size gathered in this thesis. Finally, this work is the first to demonstrate that lateral extrinsic muscle invasion is an unnecessary component of the T4a (oral cavity) classification criteria and should be reconsidered.
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Vadnais, Matthew W. "According to the Scrippe: Speeches, Speech Order, and Performance in Shakespeare's Early Printed Play Texts." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1342978643.
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Bush, Jason Alton. ""Staging lo Andino: The Scissors Dance, Spectacle, and Indigenous Citizenship in the New Peru"." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308262142.
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Sefel, John Michael. "Staging The [Disabled] Jew: The Thematic Use of Doctors, Disability, and Disease in Yiddish Plays on Modernization, 1790-1929." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618433569764629.
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Grandcamp, Gabrielle. "Enjeux de mise en scène dans les "Miracles de Nostre Dame par personnages"." Thesis, Normandie, 2017. http://www.theses.fr/2017NORMLH23/document.
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Les quarante "Miracles de Nostre Dame par personnages" constituent l'immense majorité du corpus dramatique de langue française du XIVe siècle. Malgré cette importance historique majeure, ces pièces n'ont jusqu'à aujourd'hui pas fait l'objet d'une étude littéraire spécifique. Victimes du manque de légitimité poétique que l'on prête au théâtre médiéval en général, mais aussi tributaires de leur apparente simplicité, ces drames présentent pourtant de nombreuses similarités qui témoignent de l'homogénéité stylistique du corpus. Envisageant tour à tour le corpus en tant que texte, spectacle et livre, le présent travail vise donc à rendre raison de sa concertation dramaturgique. L'étude se donne d'abord pour objet de repérer les lois implicites du recueil : tandis qu'une analyse en synchronie permet de dégager les lois structurelles et discursives du corpus, une étude en diachronie permet de comprendre ses lois de composition, élaborées au fil du temps et des expériences scéniques. C'est finalement dans le dialogue incessant entre la scène et les spectateurs que s'élabore la spécificité du Miracle dramatique, dont la dramaturgie propose une approche singulièrement subtile de son public. Cette relation étroite entre la scène et les spectateurs se poursuit lors du passage des pièces de l'espace scénique à l'espace du livre. Mises en drame, en scène et en texte, ces quarante histoires miraculeuses offrent finalement l'évidence de la profonde cohérence de leurs transpositions successives. Témoignages de la vocation éducative des confréries, elles s'avèrent être de riches et étonnants objets de théâtre, dont la portée esthétique ne s'est pas tout à fait éteinte<br>The forty "Miracles de Nostre Dame par personnages" stand for the immense majority of the dramatic French-language corpus of the fourteenth century. Despite this major historical importance, these plays have not been the subject of a specific literary study. Despised for the lack of poetic legitimacy attributed to medieval theater in general and for their apparent simplicity, these dramas present many similarities which show the evidence of the stylistic homogeneity of the corpus. Considering in turns the corpus as a text, a show and a book, this work aims to reveal the dramaturgical project behind the plays. First of all, this study intends to identify the implicit laws of the collection. A synchronic analysis allows to identify the structural and discursive laws of the corpus, while a diachronic study reveal its laws of composition, created by succesives scenic experiences. Finally, the specificity of the dramatic Miracle appears to be based on this constant dialogue between the stage and its audience. This close relationship continues as the pieces move from the stage space to the book space. Dramas, stagings and texts, these forty miraculous stories offer the evidence of the deep coherence of their successive transpositions. As these plays are proofs of the brotherhoods' educational vocation, they turn out to be amazing theater objects, whose aesthetic significance has not quite extinguished
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Cupido, Ynoma. "Waiting to die: staging of HIV positive people at the first HIV test - Region A, Nelson Mandela Metropole (January 1991-April 2000)." Thesis, University of the Western Cape, 2006. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_8832_1253846190.
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<p>This project suggested tha HIV people in Region A (Nelson Mandela Metropole, formerly Port Elizabeth) health districty of the Eastern Cape, seek HIV testing when they are already in stages three (late disease) and four (AIDS) of HIV infection. Data had been obtained from the AIDS Training Information and Counselling Centre in the Nelson Mandela Metropole in 2000. The consequences of diagnoses onlu in the advanced stages of HIV infection will have a devastating impact on case management. Therefore, this paper yielded important data for South African policy makers to write health and welfare policies that might improve the quality of life of those terminally infected with HIV.</p>
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Rodríguez, Garrido José Antonio. "El teatro cortesano en la Lima colonial: recepción y prácticas escénicas." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/122338.
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A significant group of Italian-style plays (i.e. stagings that made use of spectacular scenic resources) were performed in Lima in 1672-1747), always in connection with festivities of an imperial nature. Taking as its basis a corpus of fifteen theatrical works, this study examines the conditions of their reception as well as the material avenues that allowed for the development of this type of theater in the capital of the Peruvian viceroyalty. Topics of analysis include: the context and purpose of these representations, the place in which they were presented, their intended public, and the stage media they employed.<br>Desde 1672 hasta 1747 se documenta en Lima un significativo conjunto de representaciones teatrales «a la italiana» (es decir, montajes que hacen uso de recursos escénicos espectaculares), vinculadas siempre a celebraciones de carácter imperial. A partir de un corpus de quince obras teatrales, se estudian en este trabajo algunas de las condiciones de recepción y los medios materiales que permitieron este particular desarrollo del teatro en la sede del virreinato del Perú: el contexto y los fines de estas representaciones, el lugar donde se levantaba el escenario, el público al que se dirigían y los medios escénicos que se emplearon.
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Spedalieri, Francesca. "Seeing the Unseen, Staging the Unspoken: The Gender Politics and Political Language of Emma Dante’s Theatre in the Berlusconi Era (1994-2011)." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1480594504188268.
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Tourinho, Ligia Losada. "Dramaturgia do corpo : protocolos de criação das Artes da Cena : dialogos entre artistas." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284029.
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Orientador: Eusebio Lobo da Silva<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-14T20:22:16Z (GMT). No. of bitstreams: 1
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Previous issue date: 2009<br>Resumo: Esta pesquisa apresenta uma reflexão sobre as dramaturgias da contemporaneidade, entendendo que seus significados atuais não são sinônimos de texto dramático, mas suas acepções contemporâneas dizem respeito às estruturas artísticas que determinam a composição cênica. A primeira parte desta tese é destinada à apresentação do panorama atual das pesquisas sobre o tema e, a uma revisão histórica sobre o(s) conceito(s) de dramaturgia desde o início da civilização ocidental até os dias de hoje. Na atualidade, a dramaturgia passa a ser um campo de investigação presente nas Artes da Cena. Essas estruturas cênicas podem ser estabelecidas em diversas configurações dramatúrgicas. O texto dramático é entendido como uma das possibilidades de registro, documentação e estruturação cênica; mas, não como a única. O processo de estruturação cênica está diretamente atrelado à poética daquele que cria a obra artística, na figura do diretor, coreógrafo, de quem assina a concepção. As dramaturgias contemporâneas se manifestam como protocolos de criação dos artistas responsáveis pela autoria dos espetáculos. A segunda parte desta tese destina-se à reflexão sobre as perspectivas atuais de análise espetacular, sobre a conceituação de dramaturgia como protocolos de criação e à discussão de novas terminologias dramatúrgicas como dramaturgias do corpo, dramaturgia do ator, dramaturgias da dança, dramaturgias da forma, dramaturgia de tensões, etc.. Em uma última etapa da pesquisa, desenvolve-se uma reflexão sobre a pesquisa de campo desta tese, que envolveu a reflexão sobre um processo dramatúrgico laboratorial - Projeto Jogo Coreográfico - e, processos dramatúrgicos de quatorze artistas residentes na cidade do Rio de Janeiro. A pesquisa de campo se desenvolveu a partir de diretrizes de uma metodologia experimental qualitativa compreendendo entrevistas e observação de espetáculos.<br>Abstract: This research synthesizes the contemporary dramaturgy concepts, understanding that its current meaning is not synonymous of dramatic text, but its contemporary interpretation is about artistic structures that determine the scenic composition. The first part of this PHD research is destined to the presentation of the current panorama of research on the theme and a historical review of the dramaturgy concept since the first civilization up to now. In current days, dramaturgy starts to be a field of investigation present in all Performing Arts. These scenic structures can be established in different dramaturgy configurations, so the dramatic text is one way of record, documentation and scenic structuring, but it is not the only one. The process of scenic structuring is connected to the poetic of the one who creates the artistic work, in the role of the director, choreographer, of who signs the conception. Contemporary dramaturgies are manifested as creation protocols of the artists responsible for the authorship of the plays. The second part of this research is destined to the reflection over the current perspectives of spectacular analysis, over the concept of dramaturgy as creation protocols and to the discussion of new dramaturgy terminologies as dramaturgies of the body.<br>Doutorado<br>Artes<br>Doutor em Artes
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Guerdin, Daphnée. "Puissance et persistance du mélodrame dans le cinéma sud-coréen : se raconter pour se réinventer." Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC008.
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Ce travail a pour vocation d’interroger l’omniprésence du mélodrame dans le cinéma sud-coréen, afin de cerner les puissances du genre dans la fabrique en constante mutation d’un imaginaire commun. Il s’agit d’aborder le mélodrame selon l’espace intertextuel que tracent les œuvres pour y déceler les rapports de pouvoir – socio-historiques, politiques, transnationaux – qui se déploient au cœur des formes qu’il prend ou reprend au cours de son histoire. Nous analysons les conditions ayant favorisé son émergence dès les débuts du cinéma en Corée, interrogeons ses potentiels conformiste et subversif au contact de la censure, et sa constante réinvention dans un cinéma composite, fait de perpétuelles réappropriations exogènes. Il s’agit en outre de dégager une dialectique avec l’Histoire du pays comme du cinéma, par le recours aux métaphores, aux allégories, et par la transformation de l’Histoire en matériau filmique venant nourrir l’imaginaire national<br>This work aims to question the omnipresence of melodrama in South Korean cinema, in order to identify the powers of the genre in the constantly changing fabric of a common imagination. It is a question of approaching melodrama according to the intertextual space that the works trace in order to detect the power relations – socio-historical, political, transnational – which are deployed at the heart of the forms that it takes or resumes during its history. We analyze the conditions that favored its emergence from the beginnings of cinema in Korea, question its conformist and subversive potential in contact with censorship, and its constant reinvention in a composite cinema, made of perpetual exogenous reappropriations. It is also a question of establishing a dialectic with the History of the country as well as of cinema, through the use of metaphors and allegories, and by the transformation of History into filmic material that nourishes the national imagination
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Piqueux, Alexa. "Le corps comique. Représentations et perceptions du corps dans la comédie grecque ancienne et moyenne (étude littéraire et iconographique)." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040273.
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L’étude du corps offre un angle d’approche privilégié pour appréhender les représentations théâtrales comiques de l’époque classique à Athènes et en Grande Grèce. Seule une analyse croisée des sources textuelles et iconographiques permet de faire toute la lumière sur la manière dont le corps comique était mis en scène, perçu et imaginé. Les conclusions de la thèse reposent en particulier sur la confrontation des comédies grecques du Ve et du IVe siècle av. J.-C. et de la céramique italiote à sujet comique, entre lesquelles elle établit un lien étroit. Le premier chapitre est consacré à la présentation des corpus et à leur mise en relation. Le deuxième décrit les aspects matériels du costume comique. Les troisième et quatrième portent sur la sémiologie du costume : sont d’abord étudiés les codes propres au genre, puis les éléments qui concourent à la caractérisation sociale et morale du personnage. Le cinquième et dernier chapitre traite de la fonction dramatique du geste comique<br>Analysis of the body provides an effective means of capturing comic performances in classical Athens and Magna Graecia. Textual and iconographic sources ought to be considered together to shed light upon the staging of the comic body as it was perceived and imagined. In particular, the conclusions of this work are based upon the comparison of Greek comedies from the 5th and 4th centuries B.C. and South-Italian vase-paintings of comic subjects. The first chapter presents the two corpuses and the questions raised by their comparison. Chapter two describes the material characteristics of the comic costume. The third and fourth chapters focus on the semiotics of the costume ; the signs of the genre are treated first, followed by a discussion of the social and moral characterization of the personages. The final chapter pertains to the dramatic function of the comic gesture
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Verstraeten, Alice. "La disparition sur la scène sociale argentine : modalités de résistance à l’impunité." Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20021.
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Entre 1976 et 1983, la dictature militaire argentine orchestre la disparition d’environ trente mille personnes. Son but n’est pas seulement la mort, mais l’empêchement de toute forme de différence et de toute forme de résistance chez les vivants. Dans un parcours menant d’une esquisse de la terreur à une anthropologie des possibles résistances, cette thèse confronte la recherche à l’effacement, à la déliaison puis à la possible reconstruction. Elle apparaît comme une démarche exploratoire et impliquée, aux côtés de (sur)vivants qui sont parvenus à recréer des liens de sens et des liens sociaux et donc, à refaire émerger du politique. Leurs témoignages, déclinés autour de ceux des « Mères de la Place de Mai », ont permis une résistance par les mots, par les corps et par les images à l’indicible, l’invisible et l’irreprésentable. Au fil de l’émergence d’un réseau de lutte contre l’effacement des traces et des preuves de la disparition, avec en ligne de mire les objectifs utopiques de « mémoire, vérité et justice », les résistants développent une forme de paradigme indiciaire qui n’a de cesse de rappeler à l’anthropologie l’importance des détails et des petits liens. En comprenant le social comme un théâtre, nous parvenons à appréhender diverses modalités de mise en scène de la disparition qui, toutes, révèlent l’importance cruciale de l’articulation entre l’intime et le collectif dans la reconstruction du social.Parce que les gouvernements démocratiques ont perpétué les représentations sociales qui ont rendu possible cette extermination politique, la résistance est toujours soumise à de nouvelles défiances révisionnistes. Elle est toujours renouvelée. Les questions qu’elle soulève restent, quant à elles, toujours aussi brûlantes<br>From 1976 to 1983 the military dictatorship in Argentina engineered the “disappearance” of an estimated thirty thousand people. Its aim was not merely to put people to death but to eradicate all forms of diversity and every trace of resistance in the living.By sketching the reign of terror and by proposing an anthropological analysis of the different possible forms of resistance, this thesis confronts the research to effacement, dismemberment and then to the possibilities of reconstruction. It is an explorative and involved research by the side of survivors who succeeded in reconstruct sense and social relationships and have thus contributed to a political renaissance. Their testimonies - with those of the “Mothers of the Plaza de Mayo” as a heart - are resisting to what is unspeakable, impossible to see and to portray: they are based on words, on bodies and on images. A network, whose utopian motto was “memory, truth and justice”, gradually emerged to fight against the concealment of every trace of evidence of the “disappeared”. Its members developed a form of indicative paradigm which serves as a constant reminder to the anthropologist of the importance of details and minor connections.If we see society as theatre we may understand the different ways the forced disappearance was staged, which illustrate the crucial importance of the links between the intimate and the collective in social reconstruction.The resistance network is still constantly subject to revisionist suspicion, because democratic governments have maintained the social representations which made this political extermination possible. Resistance has to bee constantly re-invented. The questions this movement raises are, for their part, still a burning issue
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Tremblay, Donald. "Mgr Pellegrino Francesco Stagni, o.s.m. et l'Église canadienne, 1910-1918." Doctoral thesis, Université Laval, 1995. http://hdl.handle.net/20.500.11794/28397.
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Barut, Benoît. "Un Spectacle dans un fauteuil. Poétiques et pratiques didascaliques d'Axël à Zucco." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030134.
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Parce qu’elle se donne comme un discours ancillaire chargé d’actualiser le dialogue et de construire la représentation, parce qu’elle semble empiéter sur le terrain réservé du metteur en scène mais ne peut égaler la magie du spectacle, parce qu’elle n’est ni vraiment littéraire ni réellement scénique, la didascalie est longtemps restée le parent pauvre des études théâtrales. Depuis quelques années, elle fait l’objet d’un engouement relatif. D’une part, des études linguistiques décrivent le fonctionnement standard du discours didascalique en synchronie.D’autre part, des études critiques éclairent les poétiques didascaliques d’auteurs en s’intéressant particulièrement aux infractions par rapport à une pure fonctionnalité supposée.Dans cette thèse, nous cherchons à dépasser cette approche clivée en fournissant une poétique générale de la didascalie et, afin de lui donner sens, poids et nuance, nous l’ancrons résolument dans l’histoire en nous fondant sur le théâtre du XXe siècle, de Villiers à Koltès, soit un XXe siècle élargi, solidement ancré dans le XIXe et les yeux déjà tournés vers le XXIe. C’est le moment où la didascalie se redéfinit du fait de l’avènement et de la prise de pouvoir du metteur en scène, le moment où elle sort spectaculairement de son ornière sans pour autant pouvoir ou vouloir se débarrasser totalement d’un fond utilitaire. Elle apparaît alors sans conteste comme une parole boitant "un pied dans le devoir, un pied dans le désir", une parole icarienne tendue entre des catégories théoriquement exclusives. Dans une première partie, nous posons le format du discours didascalique, son territoire,son fonctionnement énonciatif (c’est-à-dire la place exacte qu’il occupe dans la communication dramatique) et ses caractéristiques graphiques (ponctuation, typographie, mise en page). Dans une seconde partie, c’est la fabrique même de l’écriture didascalique qui est étudiée, c’est-à-dire sa tension constitutive entre le pacte qui la régit (clarté, économie) et sa fondamentale aspiration à devenir (devenir-spectacle, devenir-poème, devenir-roman…)<br>Because they seemingly have to make the dialog work as well as to construct theperformance, because they seem to encroach upon the director’s grounds and yet cannot level with the magic of the actual staging, because they are not a real piece of literature nor do they belong to the show, the stage directions have long been overlooked by theater studies. In the past few years, a mild interest has arisen. On the one hand, linguists describe in a synchronic fashion the generic features of this particular type of discourse. On the other hand, critics wish to seize the specificity of each author’s stage directions, with an emphasis on the breaches of their theoretical functional purity.In this thesis, we intend to go beyond this fragmented approach by offering an overall poetics of stage directions and, in order for it to carry meaning, weight and nuance, we choose to base it on history and, specifically, on XXth century theater, from Villiers to Koltès, an enlarged century, deeply rooted in the XIXth and already glancing at the XXIst. It is then that stage directions redefine themselves as a result of the advent of the director and his coming to power ;it is then that they spectacularly travel out of joint but appear, nonetheless, incapable or unwilling to get rid altogether of their fundamental usefulness. Unequivocally, they prove to be a form of speech limping “one foot in duty, on foot in desire”, an icarian discourse reconciling what is theoretically opposed.This study starts with the format of the stage directions, their territory, their enunciation (i.e. the exact role they play in the dramatic communication), their graphic characteristics (punctuation, typography, lay-out). Then, we investigate the very fabric of stage directions writing, the perpetual tension between the pact that rules them (clarity, economy) and a fundamental drive to become something else (to become stage, to become poem, to become novel…)
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Fonseca, Marco. "Le conflit entre raison et irrationalité dans les romans et les essais d'Ernesto Sábato." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA022/document.
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Ce travail de recherche traite de la mise en scène du conflit entre raison et irrationalité qui se produit dans les romans et essais de l'écrivain argentin Ernesto Sábato (1911-2011), du point de vue de la formation, de la consolidation et de la synthèse apparente de ladite confrontation symbolique. Notre objectif est principalement d'examiner la représentation de ce conflit, dans le cadre duquel ses particularités seront analysées, ainsi que la relation qu'il établit avec des thèmes tels que la dichotomie entre connaissance scientifique et création artistique, la représentation littéraire de l'irrationnel et l’expérimentation avec les genres du roman et de l’essai que l'auteur a entreprise tout au long de sa carrière littéraire. Dans ce contexte, notre attention se porte particulièrement sur les trois romans de l'auteur El Túnel (Le Tunnel) (1948), Sobre Héroes y Tumbas (Alejandra) (1961) et Abbadón el exterminador (L’ange des ténèbres) (1973), tout comme sur ses quatre principaux essais, Uno y el universo (Un et l’univers) (1945), Hombres y engranajes (Hommes et engrenages) (1951), Heterodoxia (Hétérodoxie) (1953) et El escritor y sus fantasmas (L’écrivain et la catastrophe) (1963). Cette étude sera réalisée à travers les connexions et les liens établis entre les textes en question à partir du thème commun de la mise en scène du conflit entre raison et irrationalité, en réfléchissant aux manières particulières dont chacun d’entre eux, dans son propre discours et par rapport aux autres, génère un fil conducteur qui les relie et les unifie sous une même unité thématique. Cette analyse nous permettra d'établir que la représentation symbolique du conflit entre raison et irrationalité dans les romans et essais d'Ernesto Sábato constitue la base de son travail littéraire.Pour cette raison, il a été pertinent de réfléchir aux thèmes susmentionnés, traités dans la perspective de celui qui était considéré comme l'un des écrivains latino-américains les plus importants et les plus représentatifs de la seconde moitié du XXe siècle<br>This research work deals with the staging of the conflict between reason and irrationality that occurs in the novels and essays of the Argentine writer Ernesto Sábato (1911-2011), from the point of view of the formation, consolidation and apparent synthesis of said symbolic confrontation. Our objective is primarily to examine the representation of this conflict, within which its particularities will be analyzed, as well as the relationship it established with topics such as the dichotomy between scientific knowledge and artistic creation, the literary representation of the irrational and the experimentation with the novelistic and essayistic genres that the author undertook throughout his literary career. In this context, our attention is focused in particular on the three novels by the author El Túnel (1948), Sobre Héroes y Tumbas (1961) and Abbadón el exterminador (1973), as well as in his four main essays, Uno y el universo (1945), Hombres y engranajes (1951), Heterodoxia (1953) and El escritor y sus fantasmas (1963). This study will be carried out through the connections and links established between the texts in question based on the common theme of the staging of the conflict between reason and irrationality, reflecting on the particular ways in which each one, in his own discourse and in relation to others, generates a common thread that connects and unifies them under the same thematic unit. This analysis will establish that the symbolic staging of the conflict between reason and irrationality in the novels and essays of Ernesto Sábato is the basis of his literary work. For this reason, a reflection on the aforementioned issues has been relevant, treated under the perspective of who was considered one of the most important and representative Latin American writers of the second half of the 20th century
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Rezende, Claudinei Cássio de. "Suicídio revolucionário : a luta armada e a herança da quimérica revolução em etapas /." Marília : [s.n.], 2010. http://hdl.handle.net/11449/88781.
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Resumo: Com o objetivo de dilucidar o processo de exaurição da esquerda comunista no Brasil, esta dissertação analisa o construto acerca da teoria da revolução social na esquerda derrotada pela ditadura bonapartista, colocando em relevo a última fase do pensamento de Carlos Marighella. Perdendo pela primeira vez e definitivamente a hegemonia na esquerda comunista após a instauração, em 1964, da ditadura militar, o Partido Comunista Brasileiro (PCB) congregou a última esquerda comunista organizada - objetivando a revolução social - que ainda mantinha substantiva inserção sindical, apoio das classes subalternas e posição de centro gravitacional dos movimentos sociais. Ao entrar em processo de depleção após a exacerbação da repressão, o PCB se diluiu numa constelação de agremiações que intempestivamente se desvincularam do interlocutor racional do trabalho, provocando nos movimentos sociais uma ablação do partido. Coordenando a imersão geral da esquerda comunista na luta armada, Carlos Marighella estruturou a Ação Libertadora Nacional (ALN), a mais substantiva facção oriunda da fratura pecebista. Por influência da então recente Revolução Cubana e por imposição violenta da ditadura, a ruptura tática efetuada por Marighella teve como princípio seu descrédito diante das organizações partidárias, motivando a sua convicção de que a guerra de guerrilhas nutriria a vanguarda da revolução brasileira. A análise imanente da integralidade dos escritos de Carlos Marighella desvela que sua inflexão que rumou em oposição à matriz tática pecebista - tática que o partido seguia pelo menos desde sua Declaração de Março de 1958, ancorada na orientação soviética da revolução pacífica e do binômio proletariado-burguesia - não experimentara um rompimento de aporte estratégico, retendo intacto o núcleo teórico pecebista mais infesto: a quimérica... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: With the objective of explaining the drainage of the communist left in Brazil, this thesis analyzes the construct around the social revolution theory of defeated left by the military dictatorship, raising the last phase of Carlos Marighella's thoughts in prominence. Loosing the supremacy of the communist left for the first and final time after the instauration of Bonapartist military dictatorship in 1964, the Partido Comunista Brasileiro (PCB) rallied the last communist left members around the revolution, wich had substantially maintained for unionist insertions in support of the working classes, and the gravitational center of the social movements. At the start of process of prostration after the amplification of persecution, the PCB became diluted into a constellation of groupings, which rapidly became detached from the rational interlocutor work causing the emptying of the party in the social movements. Carlos Marighella at the head of the general immersion of the communist left in the armed struggle, formed the Ação Libertadora Nacional (ALN), the most significant branch originating from the PCB breakup. Due to the influence of the recent Cuban Revolution and due to the violent imposition of the military dictatorship the tactical rupture caused by Marighella counted as discredit within the party organizations, giving rise to the conviction that the war of guerrilla were nurturing the Brazilian revolution's vanguard. The ontological critical on the writings by Carlos Marighella reveals its breakup with the PCB's tactical matrix - tactical which the party had been following since its Declaration in March of 1958, the Soviet orientation of a pacific revolution and the binomial bourgeoisie-proletariat - does not contain a disruption of strategic contribuition, but maintain the PCB's theoretical more negative: the chimerical two stage theory<br>Orientador: Marcos Del Roio<br>Coorientador: Antonio Carlos Mazzeo<br>Banca: Antonio Rago Filho<br>Banca: Jair Pinheiro<br>Mestre
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Haouachi, Dhekra. "Les personnages féminins chez Tite-Live : idéologie et art de la mise en scène." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC019/document.
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On s’accorde à dire à propos de l’Ab Vrbe condita qu’on n’a conservé, même partiellement, aucune autre fresque aussi ample et aussi puissante de l’histoire de Rome depuis la fondation de l’Vrbs jusqu’à l’époque contemporaine de Tite-Live, mort en 17 ou 19 ap. J.-C. ; il se peut même qu’une semblable fresque n’a jamais existé. Cette œuvre monumentale comporte un nombre considérable de personnages. Peindre les grands hommes était une nécessité du genre historique. « Tite-Live lui-même était trop conscient du rôle joué par eux pour les laisser dans l’ombre » . Les Modernes ne s’y sont pas trompés en étudiant l’art du portrait chez Tite-Live, l’ouvrage fondamental en ce domaine étant sans aucun doute celui de J.-E. Bernard, qui a pour titre Le Portrait chez Tite-Live. Essai sur une écriture de l’histoire romaine, paru à Bruxelles en 2000. Seuls 2% de ces personnages sont des figures féminines, qui jusque-là, en dehors d’un certain nombre d’articles ponctuels, n’ont guère fait l’objet de travaux de synthèse. Je n’ai recensé pour ma part que deux ouvrages qui leur ont été spécifiquement consacrés ; l’un, dû à T.D. McClain, s’inscrit dans la tradition des études anglo-saxonnes des « Women’s studies » et de « Gender » et obéit donc avant tout à une approche sociologique, l’autre, qui est l’œuvre de B. Kowaleski, a pour sujet la fonction des figures féminines dans l’œuvre livienne .[...] Le travail auquel je me suis livrée repose sur une lecture et une analyse systématiques du texte livien mais fait appel à d’autres méthodes : lecture comparative (comparaison avec les textes correspondants d’autres historiens), étude sémantique (exemple : les rapports de pudicitia et pudor), étude stylistique... [...]<br>It is agreed to say that no other fresco as big and powerful as the Ab Vrbe condita has been conserved, even partially, in Roman history since the creation of the Ab Vrbe condita itself until the modern era of Livy dead in the 17th or the 19th century A.D. It might even be that such a fresco ; at least of the value of a Latin historian, has never existed. This monumental work of 142 books which only the preface and 35 books are known to have survived, contains an uncommon number of characters among which only two percent are female. These latters have never been subject of work of synthesis, apart from a certain number of brief articles. Only two overall works were dedicated to them ; one of T.D. Clain is part of the tradition of Anglo- saxon of gender studies. It first adopts therefore a sociological approach ; the other, B. Kowaleski’s work, is on the function of the female figures in Livy’s work . My work rests on a systematic reading and analysis of Livy’s text, however it uses other methods : comparative reading (comparison with corresponding texts of other historians ), semantic study (example : relations between pudicitia and pudor), stylistic study
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Rezende, Claudinei Cássio de [UNESP]. "Suicídio revolucionário: a luta armada e a herança da quimérica revolução em etapas." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/88781.
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rezende_cc_me_mar.pdf: 787310 bytes, checksum: a8059a62e91fa3b1a77e399c9ae429e6 (MD5)<br>Com o objetivo de dilucidar o processo de exaurição da esquerda comunista no Brasil, esta dissertação analisa o construto acerca da teoria da revolução social na esquerda derrotada pela ditadura bonapartista, colocando em relevo a última fase do pensamento de Carlos Marighella. Perdendo pela primeira vez e definitivamente a hegemonia na esquerda comunista após a instauração, em 1964, da ditadura militar, o Partido Comunista Brasileiro (PCB) congregou a última esquerda comunista organizada – objetivando a revolução social – que ainda mantinha substantiva inserção sindical, apoio das classes subalternas e posição de centro gravitacional dos movimentos sociais. Ao entrar em processo de depleção após a exacerbação da repressão, o PCB se diluiu numa constelação de agremiações que intempestivamente se desvincularam do interlocutor racional do trabalho, provocando nos movimentos sociais uma ablação do partido. Coordenando a imersão geral da esquerda comunista na luta armada, Carlos Marighella estruturou a Ação Libertadora Nacional (ALN), a mais substantiva facção oriunda da fratura pecebista. Por influência da então recente Revolução Cubana e por imposição violenta da ditadura, a ruptura tática efetuada por Marighella teve como princípio seu descrédito diante das organizações partidárias, motivando a sua convicção de que a guerra de guerrilhas nutriria a vanguarda da revolução brasileira. A análise imanente da integralidade dos escritos de Carlos Marighella desvela que sua inflexão que rumou em oposição à matriz tática pecebista – tática que o partido seguia pelo menos desde sua Declaração de Março de 1958, ancorada na orientação soviética da revolução pacífica e do binômio proletariado–burguesia – não experimentara um rompimento de aporte estratégico, retendo intacto o núcleo teórico pecebista mais infesto: a quimérica...<br>With the objective of explaining the drainage of the communist left in Brazil, this thesis analyzes the construct around the social revolution theory of defeated left by the military dictatorship, raising the last phase of Carlos Marighella’s thoughts in prominence. Loosing the supremacy of the communist left for the first and final time after the instauration of Bonapartist military dictatorship in 1964, the Partido Comunista Brasileiro (PCB) rallied the last communist left members around the revolution, wich had substantially maintained for unionist insertions in support of the working classes, and the gravitational center of the social movements. At the start of process of prostration after the amplification of persecution, the PCB became diluted into a constellation of groupings, which rapidly became detached from the rational interlocutor work causing the emptying of the party in the social movements. Carlos Marighella at the head of the general immersion of the communist left in the armed struggle, formed the Ação Libertadora Nacional (ALN), the most significant branch originating from the PCB breakup. Due to the influence of the recent Cuban Revolution and due to the violent imposition of the military dictatorship the tactical rupture caused by Marighella counted as discredit within the party organizations, giving rise to the conviction that the war of guerrilla were nurturing the Brazilian revolution’s vanguard. The ontological critical on the writings by Carlos Marighella reveals its breakup with the PCB’s tactical matrix – tactical which the party had been following since its Declaration in March of 1958, the Soviet orientation of a pacific revolution and the binomial bourgeoisie–proletariat – does not contain a disruption of strategic contribuition, but maintain the PCB’s theoretical more negative: the chimerical two stage theory
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Tanokuchi, Seigo. "Un théâtre de l'altérité : l'actualité politique de Jean Giraudoux, son interprétation scénique et sa réception critique sous la IIIème République." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100022.
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La thèse met en relief la dimension cosmopolite des œuvres dramatiques de Jean Giraudoux, en tenant compte de leurs mises en scène, de l’accueil que leur a réservé la critique et du contexte théâtral de l’époque, la IIIe République durant l’entre-deux-guerres. Responsable de la promotion des échanges culturels au ministère des Affaires étrangères, germaniste et amateur averti de littérature étrangère, Giraudoux considère le théâtre comme un lieu privilégié où différentes « voix » de l’humanité peuvent se faire entendre et composer un chant universel. Cette conception ouverte de l’altérité ne l’empêchera pas de se faire le défenseur des intérêts nationaux à la tête d’un Commissariat général à l'information en 1939-1940, mais aussi de faire écho à des préjugés encore tenaces dans son milieu intellectuel, comme le révèle la lecture de ses écrits politiques. Pour la concrétiser, il se consacrera à la rénovation du langage dramatique en étroite association avec Louis Jouvet à L’Athénée. L’analyse de ses personnages et des thèmes d’actualité sociale que reflètent ses pièces montre que le dramaturge a constamment esquissé des figures de l’Autre et fait référence à des cultures étrangères, au service de sa philosophie du cosmopolitisme. L’exploitation des fonds d’archives concernant les mises en scène produites par Louis Jouvet amène ensuite à penser que le monde dramatique de Giraudoux revêt une apparence à la fois exotique et hétéroclite qui a pu troubler le public parisien. Exporté hors de France lors des tournées de la troupe de Jouvet et adapté dans des langues étrangères par ses amis lettrés, le théâtre de Giraudoux sera néanmoins apprécié et reconnu par divers publics internationaux comme une tentative bien française de représenter la diversité du monde<br>The thesis highlights the cosmopolitan dimension of Jean Giraudoux’s dramatic works, taking into account their staging, critical reception and the theatrical context of the Third Republic during the interwar period. Being responsible for promoting cultural exchanges at the Ministry of Foreign Affairs, Giraudoux, who was Germanist and an enthusiast of foreign literature, considers the theatre as a privileged means to show the different ‘voices’ of humanity and compose a universal song. Certainly, as the reading of his political writings reveals, Giraudoux defended national interests as the head of General Information Commission in 1939-1940, and echoed stubborn prejudices in his intellectual milieu. But at the same time, to concretize the conception of the theatre of alterity, he devoted himself to the renovation of the dramatic language in close association with Louis Jouvet at L’Athénée. The analysis of his characters and themes shows that Giraudoux has constantly sketched figures of the Other and referred to foreign cultures to demonstrate his philosophy of cosmopolitanism. Exploiting of Louis Jouvet’s archives in the National Library of France, concerning the stages produced by Jouvet, the thesis will think that Giraudoux’s dramatic world takes on an appearance both exotic and heteroclite that could disturb the Parisian public. While, exported outside of France during the tours of Jouvet’s troupe and adapted in foreign languages by his literary friends, Giraudoux’s theatre would be appreciated and recognized by various international audiences as a French attempt to represent the diversity of the world
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Worms, Manon. "Face à la victime : émergence d’une figure et travail du regard sur les scènes contemporaines." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2059.
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La thèse étudie le rapport de la scène théâtrale à une figure devenue centrale dans les sociétés européennes contemporaines : la victime. Appartenant aux fondations de la culture occidentale, des rituels sacrificiels à la figure christique, la victime devient au cours de l’histoire moderne une catégorie juridique, et émerge en tant que subjectivité politique à part entière à la fin du XXe siècle. Elle se trouve alors au fondement d’une nouvelle reconnaissance sociale, qui ouvre des droits à la réparation de la violence subie. La décennie 1990-2000 est prise dans ce « paradigme victimaire ». Il se trouve là une mutation fondamentale de la sensibilité contemporaine quant au regard sur la souffrance, redéfinissant les codifications morales des régimes démocratiques et les perspectives des luttes contestataires et émancipatrices. Cette recherche en Études théâtrales propose d’observer ce mouvement à partir de la scène contemporaine, et de renouveler l'approche de l’histoire récente des spectacles au prisme de cette figure. A partir d’un large corpus de spectacles, textes dramatiques, et initiatives d’artistes de la scène qui marquent le paysage théâtral européen entre 1990 et 2000, la thèse dresse un état des lieux du statut de la victime sur ces scènes, pour déterminer la singularité du théâtre dans l’élaboration de ce nouveau paradigme. Elle explore également en quoi l’hyper-présence scénique de la victime travaille les corps, affecte la façon de regarder et mettre en scène les mécanismes de la violence politique, entraine la pratique du théâtre vers un nouveau rapport au réel et aux régimes du performatif. Ce phénomène génère de nouveaux partages émotionnels, sensibles, et politiques des spectacles. Pour caractériser cette mutation en l'articulant à l'histoire contemporaine, l’analyse des œuvres et la réflexion critique est complétée par des références à des travaux issus des études visuelles et des sciences humaines et sociales<br>This thesis in Performative Arts explores the theatrical representations of the victim, which has become a central figure in European contemporary societies. Rooted in the foundations of occidental culture, from images of sacrificial rites to the figure of the Christ, the victim has evolved into a judicial category throughout modern history and later on emerged as a specific political subjectivity, in the end of the XXth century. Victims then began to acquire a form of legitimacy, through the social recognition of the violence they endured, as well as the possibility of repairing the harm done. The core of this paradigm is settled in the 1990’s, with a striking shift in public sensitivity and interest regarding experiences of oppression/suffering, thereby redefining democratic regimes and opening new fields of political resistance.This research studies this movement from the point of view of contemporary performative arts. It aims at renewing the recent history of dramatic arts, through the prism of the victim, seen as a figure. Based on a corpus of plays, playwriting, and artistic events that played a significant role between 1993 et 2000 in the European scene, the thesis assesses the figure of the victim in order to define the specific role of Theater in the construction of this new paradigm. The presence of victims on stage affects bodily representation, as well as the ways to stage political violence. It also leads contemporary theater to a new sense of realness, and to an organic link with performative systems. In order to analyze this shift in relation with contemporary history, the analysis of the corpus and of the theoretical framework is put in perspective by various references to other visual studies and social science
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Özer-Chulliat, Sibel. ""Se mettre en scène" dans les adaptations contemporaines de textes classiques : un point tournant dans l'art de la mise en scène ?" Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA133.
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Depuis quelques années, certains metteurs en scènes européens prennent des initiatives particulièrement audacieuses dans leurs adaptations de textes classiques, coupant le texte, modifiant l’ordre des monologues et allant jusqu’à injecter des morceaux de textes écrits par eux ou bien issus d’autres oeuvre littéraires. Ils n’hésitent plus à "se mettre en scène", c’est-à-dire à traiter avant tout leurs propres questions existentielles par l’intermédiaire des textes classiques, se libérant ainsi de toute pression exercée sur eux par les interprétations textuelles faisant autorité ou bien par les représentations de ces textes dans l’imaginaire collectif, et emmenant les textes classiques dans un "ailleurs" très personnel. Leurs mises en scène dépassent la fragmentation et le désordre propres au théâtre postmoderne et s’attachent au contraire à raconter une histoire cohérente, centrée sur les préoccupations intimes du metteur en scène. Ce nouveau type de mises en scène s’appuie sur des influences diverses, depuis André Antoine jusqu’à Heiner Müller, en passant par Stanislavski, Artaud et Brecht, et constitue une nouvelle étape dans le processus d’autonomisation de l’art de la mise en scène à l'oeuvre depuis le XIXème siècle. Le corpus de cette thèse comprend quatre récentes adaptations (réalisées entre 2008 et 2011) de textes classiques : Hamlet de Thomas Ostermeier, Hamlet de Nikolaï Kolyada, Roméo et Juliette d’Olivier Py et Un tramway de Krzysztof Warlikowski (à partir de Un tramway nommé Désir de Tennessee Williams). Il comprend également une mise en pratique sous la forme d’une adaptation, Pygmalion - J’ai créé une femme (à partir de Pygmalion de George Bernard Shaw), réalisée par l’auteur de la thèse en 2014 au sein des Théâtres Nationaux de Turquie, et ayant permis de tester les arguments et conclusions tirés des analyses précédentes<br>In recent years, some European directors are taking particularly bold initiatives in their adaptations of classic texts, cutting the text, changing the order of monologues and even injecting pieces of texts written by them or from other literary works. They do not hesitate to "stage themselves", that is to say, to treat primarily their own existential questions through the classic texts, thus releasing any pressure exerted on them by the authoritative textual interpretations or by the representations of these texts in the collective imagination, and taking the classic texts in a very personal "elsewhere". Their stagings exceed the fragmentation and disorder specific to postmodern theater and focus instead on telling a coherent story, centered on the intimate concerns of the director. This new type of staging draws on diverse influences from André Antoine to Heiner Müller through Stanislavski, Brecht and Artaud, and represents a new stage in the empowerment process of the art of staging at work since the nineteenth century. The corpus of this thesis includes four recent adaptations (conducted between 2008 and 2011) of classic texts: Thomas Ostermeier’s Hamlet, Nikolai Kolyada’s Hamlet, Olivier Py’s Romeo and Juliet, and Krzysztof Warlikowski’s A Streetcar (from A Streetcar Named Desire by Tennessee Williams). It also includes a practical application in the form of an adaptation, Pygmalion - I Created A Woman (from Pygmalion by George Bernard Shaw), directed by the author of the thesis in 2014 in the Turkish State Theatres and having tested the arguments and conclusions from previous analyzes
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Yu, Hui-Chu, and 余慧珠. "Staging the Monarchy:Iconoclastic Representation of Kingship in Shakespeare''s History Plays." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/25560119575821453518.
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博士<br>國立中山大學<br>外國語文學系研究所<br>91<br>When investigating the connection between Shakespeare and the Reformation, many critics are concerned about the playwright’s religious stance. They rummage throughout his plays for traces that can manifest his religious inclination; however, they often fall easy preys of the theory of dichotomy. Among a great multitude of Shakespearean studies, many are devoted to the iconographical approach, but relatively few attempt to illustrate Shakespeare’s iconoclasm, particularly concerning the representation of kingship in history plays. In view of the two relatively unexplored fields, this dissertation purports to scrutinize how the egalitarian spirit of Protestantism, rather than Protestant theology, contributes to the new perception and iconoclastic representation of kingship in Shakespeare’s history plays. Based on a historical development of the idea of kingship, , this present study will elaborate from a dramatic perspective how Shakespeare manages to subvert the royal icons and spectacle that the ruling class used to rely on heavily. To assist readers with a comprehensive sense of the genre, I propose that the history play is a genre first initiated as part of the propagandistic program of the Henrician Reformation, whose impetus later changes into a driving force that facilities iconoclastic perception of the kingly image. Developed along with the public theater, the representation of kingship in Shakespeare’s history plays takes a secular turn, so the long sanctified image of monarch in royal iconography is challenged. However, the transformation does not take place simply out of political pressure, but dramatic concerns. A new system of imagery, developed on the theoretical basis of the king’s body natural, enriches the poetic language of political drama. Probing into the nature of kingship and the political issues of the Tudor reign, Shakespeare’s re-envision of the Tudor Monarchy is stripped off the allegorical signification of pageantry and then riddled with the medieval view of mutability. This present study will manifest how Shakespeare’s history plays reexamine the idealized royal image and take an aesthetic turn in representing historical events—featuring psychological complexity and rich verbal strategies. Further investigation is done to shed light on Shakespeare’s iconoclastic view of kingship to reveal the ways in which the dramatist redefines and demystifies monarchy.
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"Staging New Orleans: The contested space of Congo Square." Tulane University, 2011.
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La, Flamme Lisa Michelle. "Living, writing and staging racial hybridity." Thesis, 2006. http://hdl.handle.net/2429/18220.
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Contemporary Canadian literature and drama that features racial hybridity
represents the racially hybrid soma text as a unique form of embodiment and pays
particular attention to the power of the racialized gaze. The soma text is the central
concept I have developed in order to identify, address, and interrogate the signifying
qualities of the racially hybrid body. Throughout my dissertation, I use the concept of the
body as a text in order to draw attention to the different visual "readings" that are
stimulated by this form of embodiment. In each chapter, I identify the centrality of
racially hybrid embodiment and investigate the power of the racialized gaze involved in
the interpellation of these racially hybrid bodies.
I have chosen to divide my study into discrete chapters and to use specific texts to
illuminate my central concepts and to identify the strategies that can be used to express
agency over the process of interpellation. In Chapter One I explain my methodology,
define the terminology and outline the theories that are central to my analysis. In Chapter
Two, I consider the experiences of mixed race people expressing agency by self-defining
in the genre of autobiography. In Chapter Three, I explore the notion of racial drag as
represented in fiction. In Chapter Four, I consider the ways in which the performative
aspects of racial hybridity are represented by theatrical means and through performance.
My analysis of the soma text and racialized gaze in these three genres offers
critical terms that can be used to analyze representations of racial hybridity. By framing
my analysis by way of the construction of the autobiographical voice I suggest that
insight into the narrative uses of racial hybridity can be deepened and informed by a
thorough analysis of the representation of the lived experience of racial hybridity in a
given context. My crossgeneric and crossracial methodology implicitly asserts the
importance of the inclusion of different types of racial hybridity in order to understand
the power of the racially hybrid body as a signifier in contemporary Canadian literature
and drama.<br>Arts, Faculty of<br>English, Department of<br>Graduate
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KRUMREY, Jacob. "Staging Europe : the symbolic politics of European integration during the 1950s and 1960s." Doctoral thesis, 2013. http://hdl.handle.net/1814/29612.
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Defence date: 27 September 2013<br>Examining Board: Professor Kiran K. Patel, Maastricht University (EUI/External Supervisor); Professor Federico Romero, EUI; Dr. N. Piers Ludlow, LSE; Professor Johannes Paulmann, Leibniz Institute of European History Mainz.<br>PDF of thesis uploaded from the Library digital archive of EUI PhD theses<br>This PhD thesis explores the use of symbolism in European integration during the 1950s and 1960s. The thesis argues that political elites staged the early European Communities - the 1952 ECSC as well as the 1958 EEC and Euratom - as the representation of a united Europe and so tied them to a vision with much momentum in post-war Europe. This symbolic role of the Communities transcended their technocratic set-up and their narrow economic policies: it made them distinctive among the many post-war European organizations. Empirically, this thesis focuses, in separate parts, on three settings where the Communities were staged as the united Europe: the Communities’ parliamentary assem-blies (first part), the Communities’ diplomatic activities (second part), and the Communities’ polycentric seating arrangements (third part). This thesis deals with a wide array of actors who, for different reasons, participated, actively or tacitly, in the staging of the Communities: the news media and occasionally also civil society actors, governments and administrations, parties and parliaments across the original six member states as well as those of the Communities’ external partners, Britain and the United States. Conceptually, this thesis presents a cultural history approach to European integration. It aligns itself with a new strand of research in European integration history that aims to go beyond the much-advanced diplomatic history of the European Communities and to add to it an interest in discourses, identities, and symbols. With its study of symbolism, this thesis seeks to bring together the literature on the diplomatic history of the European Communities and the intellectual history of the European idea; it also seeks to help historians define the nature of the European Communities and assess their place in post-war European history. This thesis is based on the papers of Jean Monnet and Walter Hallstein, two key figures of the early European Communities, and archival materials from the Historical Archives of the European Union in Florence as well as the diplomatic archives of France and Germany, Britain and the United States.
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Brady, Amy. "Staging the Depression: The Federal Theatre Project's Dramas of Poverty, 1935-1939." 2013. https://scholarworks.umass.edu/dissertations/AAI3603059.
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Built on original archival research, this dissertation elucidates how the Federal Theatre Project's (FTP) dramas of Depression-era poverty functioned as proselytism for class-conscious social reform. Through a combination of unique narrative structures and mimetic depictions of class struggle, these "poverty dramas" questioned the viability of the American Dream and its related concepts of upward mobility, limitless possibility, and the idea that America functions as a meritocracy. Chapter one discusses the Federal Theatre's relation to the American workers' theatre of the early twentieth century, particularly the ways in which the transactional re-lationship between artist, worker, and artistic production evolved from the theatre of the Progressive era to the emergence of the poverty dramas in the late 1930s. Chapter two discusses two of the New York Federal Theatre's plays. Triple-A Plowed Under critiques class disparity and calls for a more class-conscious American ideology. Class of '29 is read through the work of Pierre Bourdieu to show how the play makes visible the performative aspects of economic class. Chapter three examines the Philadelphia Federal Theatre's rewrite of the famous New York production of One-Third of a Nation. This chapter shows how the Philadelphia production encouraged a more racially pluralistic view of "the people" and a more nu-anced understanding of lived poverty in America. Chapter four shows how the Los Angeles Federal Theatre's The Sun Rises in the West simultaneously represented the conservative American ideology of the nation's dust bowl farmers while allowing for the expression of the play's left-leaning playwrights. The chapter argues that the play's multiple ideological threads, which at first appear in conflict, are in fact compatibly bound through the play's engagement with and re-working of a persevering American myth structured by a Frontier Archetype. The epilogue broaches the topic of what it means to undertake archival research so as to speak directly to the complex if occasionally problematic relation a researcher has with archives. The epilogue also briefly addresses one aspect of the Federal Theatre's legacy: its redefining of the theatre as a "people's art" rather than a cultural event reserved for the cultural and economic elite.
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Osborne, Samuel. "Staging standpoint dialogue in tristate education: privileging Anangu voices." Thesis, 2016. https://vuir.vu.edu.au/32634/.
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Aboriginal education in remote areas of Australia continues to be a contested focus for policy and practice, with little debate that actively involves Aboriginal people themselves. This thesis attempts to redress this gap in a small way by in-depth conversations about education with Anangu in the tristate area of central Australia (the region where Western Australia, South Australia and the Northern Territory meet). Here Aboriginal people live in relatively small, dispersed desert communities with close language and familial connections. Contact with Europeans is relatively recent, with provision of schooling moving from centralised mission-based schooling to decentralised community schools following the 1967 referendum. Anangu children are frequently positioned as deficient in mainstream educational achievement narratives within colonial and neo-colonial educational endeavours. This study seeks to inform Anangu education policy and practice from Anangu standpoints and to explore the potential for standpoint dialogue in negotiating alternatives in tristate education (Harding, 1992).
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Rothe, Alexander Karl. "Staging the Past: Richard Wagner's Ring Cycle in Divided Germany during the 1970s and 1980s." Thesis, 2015. https://doi.org/10.7916/D86972PF.
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The staging of Richard Wagner’s Ring des Nibelungen provides an ideal site to examine representations of the German past in the opera house and the broader cultural world surrounding it, in particular how these representations reveal different conceptions of the past in the German Democratic Republic (GDR) and the Federal Republic of Germany (FRG). By looking at three different productions of the Ring cycle in divided Germany during the 1970s and 1980s, I will show how Wagner stagings both reflected and contributed to historical debates about the Nazi past and discussions about cultural and national identity.
The introduction considers why stagings of Wagner’s Ring cycle are so important for understanding national identity and the process of coming to terms with the Nazi past (Vergangenheitsbewältigung) in the two German states. Along with describing my own methodology, I give an overview of the different approaches to opera staging in recent musicological scholarship. Chapter One provides contextual information on divided Germany during the 1970s and 1980s, and it also introduces three historical debates that appear in the case studies. Chapter Two begins by looking at the Leipzig Ring (1973-1976), directed by Joachim Herz, as a parable about nineteenth-century class conflict. I then consider what the Leipzig production has to say about the relationship between the GDR and the Nazi past, particularly with respect to Herz’s depiction of the Gibichung court as a fascist state. Chapters Three and Four investigate the Bayreuth centennial Ring (1976), staged by Patrice Chéreau and conducted by Pierre Boulez, each of whom had a different vision of Wagner. In spite of their differences, both Chéreau and Boulez treat Wagner’s work as an opportunity to reflect on their own experiences of the 1968 student protest movement. Both artists articulate a sense of unease about revolutionary activity, which mirrors the growing anxiety in both West Germany and France about the radical left. Chapter Five examines the multiple views of Wagner in Ruth Berghaus’s Frankfurt Ring (1985-1987). While the director Berghaus interprets the work in terms of a tradition of epic theater and historical materialism, the dramaturge Klaus Zehelein focuses on aspects of language, textuality, and representation. I also discuss how the reception of the Frankfurt Ring in West German newspapers reflects the re-intensification of the Cold War in the 1980s.
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Falk, Andrew Justin. "Staging the Cold War negotiating American national identity in film and television, 1940-1960 /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3120292.
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Winerock, Emily Frances. "Reformation and Revelry: The Practices and Politics of Dancing in Early Modern England, c.1550-c.1640." Thesis, 2012. http://hdl.handle.net/1807/34965.
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This study examines the cultural and religious politics of dancing in late sixteenth- and early seventeenth-century England. Although theologically dance was considered morally neutral, as a physical, embodied practice, context determined whether each occurrence was deemed acceptable or immoral. Yet, judging and interpreting these contexts, and thus delineating the boundaries between appropriate and inappropriate behaviour, was contested and controversial. Advocates argued that dance enabled controlled, graceful movement and provided a harmless outlet for youthful energy. Opponents decried it as a vain, idle, and lascivious indulgence that led to illicit sexual liaisons, profanation of the sabbath, and eternal damnation.
The first chapter introduces early dance fundamentals, describing steps, genres, and sources. The chapter also discusses venues in which people danced, times of day and seasons that were most popular, and demographic details for dancers in western England. Chapter 2 demonstrates how, by varying details of their performance, dancers could influence a dance’s appropriateness, as well as express aspects of identity, such as gender and social rank. Chapter 3 examines how clergymen and religious reformers addressed and tried to undermine pro-dance arguments through their treatment of biblical dance references in sermons and treatises. Chapters 4 and 5 feature case studies of parochial clergymen and lay persons whose opinions about dancing became flashpoints for local controversies. They explain why prosecutions for dancing were so sporadic and geographically scattered: dancing practices rarely entered the historical record unless a “perfect storm” of community tensions and personal antagonisms created irreconcilable differences that led to violence or court cases. The dissertation argues that a category, such as festive traditionalist, is needed to describe those who conformed to or embraced Protestant worship but who strongly resisted attempts to “reform” their behaviour outside of the church.
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Tralongo, Stéphane. "Faiseurs de féeries : mise en scène, machinerie et pratiques cinématographiques émergentes au tournant du XXe siècle." Thèse, 2012. http://hdl.handle.net/1866/9698.
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Cette thèse se donne comme objectif de renouveler la conception historique qu’on s’est généralement faite jusqu’à présent des rapports que le monde des arts de la scène a établis avec les pratiques cinématographiques émergentes au tournant du xxe siècle, en remettant profondément en question les idées de primitivité des films, de crédulité des spectateurs et de pré-cinématographicité des formes. Notre recherche vise en particulier à replacer les féeries cinématographiques de Georges Méliès dans le cadre institutionnel du théâtre parisien de cette époque, de façon à montrer que leur histoire s’inscrit plus largement dans celle des techniques, des savoir-faire et des métiers du spectacle de scène tel qu’on le conçoit alors au Châtelet, à la Gaîté ou aux Folies-Bergère. Nous développons pour ce faire une approche historiographique qui ne part plus du principe qu’il s’agit d’étudier les relations entre deux arts concurrents – ce que laissaient entendre les travaux qui mettaient d’emblée « théâtre » et « cinématographe » sur le même plan –, mais qui propose de considérer les relations en question d’abord et avant tout comme celles qui s’engagent entre une institution culturelle ancienne et une toute nouvelle technologie. Nous cherchons ainsi à montrer que le cinématographe vient s’ajouter à la longue série culturelle des attractions lumineuses qui apparaissent avec l’avènement de l’éclairage électrique. Dans la première partie (« Le spectacle de l’électricité »), nous nous intéressons aux pratiques d’éclairage et aux habitudes de vision qui ont permis aux spectateurs de féeries de comprendre et d’apprécier le spectacle cinématographique. Dans la deuxième partie (« L’illusion de la technique »), nous examinons comment différentes formes d’intégration et d’hybridation des techniques dans les féeries vont faciliter l’appropriation précoce du cinématographe par les gens de théâtre. Dans la troisième partie (« L’art du cinématographe »), nous montrons que l’esthétique des tout premiers films a été façonnée par des règles de création et des critères d’appréciation qui relevaient de l’institution théâtrale et qui, de ce fait, pouvaient déjà donner une certaine valeur artistique à ces films. L’enjeu principal de la présente recherche est donc d’offrir une vision plus juste et plus nuancée de ce qu’a été le spectacle de scène dans son rapport aux technologies et, en particulier, à cette nouvelle machine qu’est le cinématographe.<br>The goal of this dissertation is to renew our historical view of the exchanges occurring between theatre and early film practices at the turn of the twentieth century, by questioning the ideas of primitive cinema, credulous audiences and precinematic forms. Our research aims to put more specifically Georges Méliès’ féeries back into the institutional framework of the parisian theatre, in order to show how these films are part of the history of techniques which were used at the Châtelet, the Gaîté and the Folies-Bergère. Previous studies have generally postulated that theatre and cinema were, from the very beginning, two rival art forms. However, our historiographical approach differs from this assumption, seeing the relationship instead as that between an old cultural institution and a brand new technology. We think our understanding of early cinema could be improved if we acknowledge that the kinematographic technology belonged to the broad cultural series of luminous attractions appearing with the emergence of electric lighting. In the first part (« The spectacle of electricity »), we study lighting practices and habits of vision that helped féeries’ spectators to understand and enjoy early cinema. In the second part (« The illusion of technique »), we investigate how the integration and hybridization of technologies in féeries led theatre workmen to use the kinematograph on stage. In the third part (« The art of kinematography »), we prove that early cinema aesthetics has been shaped by rules of creation and assessment criteria belonging to the institution of theatre, such that films could already be seen by spectators and critics as artistic forms. The main challenge of this research is to offer a more accurate vision of the history of theatre in its relation to technologies and, in particular, to this new machine that was, at the time, the kinematograph.<br>Réalisé en cotutelle avec l’Université Lumière Lyon 2
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Tarabulsy, Joseph. "The colonies of Andros: towards a socio-economic history of Sane, Akanthos, Stagira, and Argilos." Thesis, 1998. http://hdl.handle.net/1866/24047.
Full textAbstract:
Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.<br>The present study on the colonies of Andros is driven by the need to increase our knowledge of the northern colonies as a whole. Northern Greece is the least well documented of the regions which were reached by the 8th and 7th c. B.C. Greek colonists. Not only does the study of the Andrian colonies augment the available documentation on the northern Greeks, it also provides an opportunity to examine one mother-city's overall colonization process.
Through the sum of ancient sources and archaeological data pertaining to the four Andrian colonies, the study attempts to lay out the socio-economic history of the colonies as a whole and as separate entities. Such aspects as: 1) The foundation dates; the colonization process; 2) the relations with the indigenous populations; and 3) the economic relations with the other Greek colonies in the region, as well as the major centers of the Greek mainland, are examined.
There is first question of the colonizing enterprises undertaken by Eretria, Chalcis, and Paros so that a general understanding of the overall colonization of the northern Aegean coast can be obtained. The resulting synthesis helps fill in the gaps in the history of the Andrian colonies caused by the lack of primary sources for the latter, whether they be literary or archaeological.
The socio-economic history of the colonies from the time of their foundation to the end of the 5th c. B.C. which is based on the analysis of the preliminary study of the Parian and Euboean colonization in the north, the ancient sources, and the archaeological remnants, taken in conjunction with what is known of the indigenous population, is the end result of the study.
Though literary sources date the foundation of the colonies to 655/54, based on the archaeological evidence available, it is established that the colonies were founded within the 3rd quarter of the 7th c. B.C. An orderly pattern of colonization seems to have prevailed in that the colonies were established successively in accordance with the
previous colonization efforts by the city-states of Euboea and the pre-established sea route the geographical emplacement of Andros imposes. Therefore, Sane, situated on the isthmus of Acte, and apparently colonized with the help of the Chalcidians, was the first to be settled, then came in order, Akanthos, Stagira, Argilos, and perhaps Tragilos. It is concluded, with relative probability, That Tragilos was also an Andrian colony established in the lst half of the 6th century. It has also been deemed highly probable that the colonies, after the initial foundation of Sane, were in part settled by land and that Thracian tribes, residing at both extremities of the Andrian periphery, undoubtedly
contributed in the actual colonization process. The 6th and 5th centuries witnessed the gradual increase of commercial importance of the northern colonies reflected, in the lst half of the 6th c. by the influx of Corinthian pottery, no doubt due to the foundation of Potidaea, and of Thasian pottery. The trend of growing commercial interactions is characterized in the 2nd half of the 6th c. with the marked presence of Athenian pottery and the start of coining at three of the
four colonies. Spurred by the Persian and general eastern demand for silver, Stagira and Akanthos began to mint coins around 530 B.C. while Argilos, which never seemed to have direct access to silver mines, only began around 510 B.C. The fact that Sane seems to have remained coinless throughout its existence suggests that it was primarily a settlement of an agricultural nature and that Akanthos may actually have exerted a hegemony of sorts over it.
Strong bonds with the east meant that the Akanthian coin production was dominant in the area as of the end of the last Persian War until their production ceased in 380 B.C., ousting Stagira out of the picture during the course of this period. Argilos ceased production as of the middle of the 5th century which is to be attributed to a shift in Athenian interest in the region represented by the drop of the tribute to be paid to Athens by Argilos from 10.5 talents to 1 talent in 116/5, the increase from 3 talents to 30 talents in the Thasian tribute for the same year, the foundation of Amphipolis, and the Athenian presence at Berge which has been closely linked to the minting of coins at Tragil os.
As the Athenian empire began to dwindle following the Peloponnesian Wars, the history of the colonies becomes intertwined with that of the growing Macedonian power which, by the middle of the 4th century would control the entire region.
Overall, it would seem that Sane was commercially inactive throughout its existence, Stagira was able to exploit and profit from the nearby silver mines from the middle of the 6th c. until about 480 when it gradually started to lose importance to Akanthos, which remained a strong and independent city well into the 4th century, while Argilos, though probably more important than Akanthos for part of the 5th c., regretfully became insignificant, especially after the foundation of Amphipolis in 437 B.C.
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FRISONE, Anna. "Femminismo sindacale al di là dei confini : l’incontro tra politica sindacale e soggettività femminile, in Italia e in Francia, attraverso la ‘lunga stagione dei movimenti delle donne’ (1968-1983)." Doctoral thesis, 2017. http://hdl.handle.net/1814/45945.
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Defence date: 31 March 2017<br>Examining Board: Professor Laura Lee Downs (Supervisor EUI); Professor Lucy Riall, EUI; Professor Michelle Zancarini-Fournel, Université Lyon 1; Dr. Maud Bracke, University of Glasgow<br>Dare una definizione o trovare una collocazione precisa al cosiddetto ‘femminismo sindacale’ è tutto fuorché un’impresa semplice. Come le due citazioni mostrano efficacemente, il suo stesso nome costituisce di per sé un elemento problematico. Il femminismo sindacale, infatti, si sviluppò tra gli anni Settanta ed Ottanta come esito - complesso e nient’affatto ‘risolto’ - all’incrocio tra la critica neofemminista al patriarcato e le lotte operaie che a partire dal decennio precedente avevano tentato di imprimere una svolta in senso progressista ed egualitario ai rapport di produzione tra capitale e lavoro. Le donne che negli anni Settanta si muovevano nello spazio sindacale, come delegate e militanti o semplicemente come lavoratrici, furono profondamente attraversate e coinvolte dalle riflessioni che il neofemminismo internazionale andava allora
producendo e scelsero di utilizzarle per risignificare l’esperienza del lavoro dal punto di vista femminile. Il femminismo sindacale costituisce un oggetto di studio affascinante, collocato appunto all’incrocio tra due fenomeni internazionali di indiscussa rilevanza come il movimento delle donne ed il movimento dei lavoratori.
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Berto, Tony. "Are We There Yet? Gay Representation in Contemporary Canadian Drama." Thesis, 2013. http://hdl.handle.net/10214/7372.
Full textAbstract:
This study acknowledges that historical antipathies towards gay men have marginalised their theatrical representation in the past. However, over the last century a change has occurred in the social location of gay men in Canada (from being marginalised to being included). Given these changes, questions arise as to whether staged representations of gay men are still marginalised today. Given antipathies towards homosexuality and homophobia may contribute to the how theatres determine the riskiness of productions, my investigation sought a correlation between financial risk in theatrical production and the marginalisation of gay representations on stage. Furthermore, given that gay sex itself, and its representation on stage, have been theorised as loci of antipathies to gayness, I investigate the relationship between the visibility and overtness of gay sex in a given play and the production of that play’s proximity to the mainstream.
The study located four plays from across the spectrum of production conditions (from high to low financial risk) in BC. Analysis of these four plays shows general trends, not only in the plays’ constructions but also in the material conditions of their productions that indicate that gay representations become more overt, visible and sexually explicit when less financial risk was at stake. Various factors are identified – including the development of the script, the producing theatre, venue, and promotion of the production – that shape gay representation. The analysis reveals that historical theatrical practices, that have had the effect of marginalizing the representations of gays in the past, are still in place. These practices appear more prevalent the higher the financial risk of the production.<br>The author would like to sincerely thank Ann Wilson, Ric Knowles, Matthew Hayday, Alan Shepard, Sky Gilbert, Daniel MacIvor, Michael Lewis MacLennan, Conrad Alexandrowicz, Chris Grignard, Edward Roy, Brad Fraser, Cole J. Alvis, Jonathan Seinan, David Oiye, Clinton Walker, Sean Cummings, Darrin Hagin, and Chris Galatchian.<br>SSHRC, The Heather McCallum Scholarship, Lambda Prize for achievement in lesbian, gay, bisexual and trans-gendered studies.