Dissertations / Theses on the topic 'Theater and society Australia'
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1
De, Vos Ricardo George. "Imagination, realisation and the performing of Australia." Thesis, De Vos, Ricardo George (2003) Imagination, realisation and the performing of Australia. PhD thesis, Murdoch University, 2003. https://researchrepository.murdoch.edu.au/id/eprint/37/.
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This thesis argues that performance can be seen to constitute both a critical discipline and a set of activities entailing an engagement with spatial, temporal, physical and material relations, rather than as a product of linguistic, textual and discursive relations. As such, performance is able to critique the functioning of language, text and discourse in assuming space, time, bodies and matter. Performance also suggests ways of working on and informing writing practices. The social relations of performance pertain to times and spaces which are temporary and processual, to activities which imagine other times, spaces and people, and seek to realise them for a specific time in a specific space for a specific group of people. The social relations realised in this process of contingent realities are able to inform writing, that is, to produce writing which connects theatre with other discourses, and which connects words with bodies in time and space.
It is argued that theatre and performance's process of imagination and realisation and its engagement with spatial, temporal, physical and material relations provides a valuable site for critically examining the ways in which Australia privileges and remembers specific configurations of space, time, bodies and matter, while marginalising others, in producing official representations of the Australian nation. Such representations, reflected ingovernmental programmes such as those concerning citizenship and national security, have a bearing on how Australians view their national past, present and future, and how they perceive their social connections with each other.
Just as specific performances are made subject to the textual and discursive categories of literature and social theory, official enactments of the Australian nation are able to 'contain' Australians who spatially, temporally and physically transgress national boundaries. As a material practice, performance is able to engage with official enactments of the nation in order to 're-open' the spaces, times and encounters concealed within these sites.
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De, Vos Ricardo George. "Imagination, realisation and the performing of Australia." De Vos, Ricardo George (2003) Imagination, realisation and the performing of Australia. PhD thesis, Murdoch University, 2003. http://researchrepository.murdoch.edu.au/37/.
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This thesis argues that performance can be seen to constitute both a critical discipline and a set of activities entailing an engagement with spatial, temporal, physical and material relations, rather than as a product of linguistic, textual and discursive relations. As such, performance is able to critique the functioning of language, text and discourse in assuming space, time, bodies and matter. Performance also suggests ways of working on and informing writing practices. The social relations of performance pertain to times and spaces which are temporary and processual, to activities which imagine other times, spaces and people, and seek to realise them for a specific time in a specific space for a specific group of people. The social relations realised in this process of contingent realities are able to inform writing, that is, to produce writing which connects theatre with other discourses, and which connects words with bodies in time and space.
It is argued that theatre and performance's process of imagination and realisation and its engagement with spatial, temporal, physical and material relations provides a valuable site for critically examining the ways in which Australia privileges and remembers specific configurations of space, time, bodies and matter, while marginalising others, in producing official representations of the Australian nation. Such representations, reflected ingovernmental programmes such as those concerning citizenship and national security, have a bearing on how Australians view their national past, present and future, and how they perceive their social connections with each other.
Just as specific performances are made subject to the textual and discursive categories of literature and social theory, official enactments of the Australian nation are able to 'contain' Australians who spatially, temporally and physically transgress national boundaries. As a material practice, performance is able to engage with official enactments of the nation in order to 're-open' the spaces, times and encounters concealed within these sites.
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Garlick, Barbara. "Australian travelling theatre 1890-1935 : a study in popular entertainment and national ideology /." Online version, 1994. http://bibpurl.oclc.org/web/19943.
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Sawada, Keiji. "From The floating world to The 7 stages of grieving the presentation of contemporary Australian plays in Japan /." Phd thesis, Australia : Macquarie University, 2005. http://hdl.handle.net/1959.14/13213.
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Thesis (PhD)--Macquarie University, Division of Society, Culture, Media & Philosophy, Department of Critical and Cultural Studies, 2005.Bibliography: p. 274-291.
Introduction -- The emergence of "honyakugeki" -- Shôgekijô and the quest for national identity -- "Honyakugeki" after the rise of Shôgekijô -- The presentation of Australian plays as "honyakugeki" -- Representations of Aborigines in Japan -- Minorities in Japan and theatre -- The Japanese productions of translated Aboriginal plays -- Significance of the productions of Aboriginal plays in Japan -- Conclusion.
Many Australian plays have been presented in Japan since the middle of the 1990s. This thesis demonstrates that in presenting Australian plays the Japanese Theatre has not only attempted to represent an aspect of Australian culture, but has also necessarily revealed aspects of Japanese culture. This thesis demonstrates that understanding this process is only fully possible when the particular cultural function of 'translated plays' in the Japanese cultural context is established. In order to demonstrate this point the thesis surveys the history of so-called 'honyakugeki' (translated plays) in the Japanese Theatre and relates them to the production of Western plays to ideas and processes of modernisation in Japan. -- Part one of the thesis demonstrates in particular that it was the alternative Theatre movement of the 1960s and 1970s which liberated 'honyakugeki' from the issue of 'authenticity'. The thesis also demonstrates that in this respect the Japanese alternative theatre and the Australian alternative theatre of the same period have important connections to the quest for 'national identity'. Part one of the thesis also demonstrates that the Japanese productions of Australian plays such as The Floating World, Diving for Pearls and Honour reflected in specific ways this history and controversy over 'honyakugeki'. Furthermore, these productions can be analysed to reveal peculiarly Japanese issues especially concerning the lack of understanding of Australian culture in Japan and the absence of politics from the Japanese contemporary theatre. -- Part two of the thesis concentrates on the production of translations of the Australian Aboriginal plays Stolen and The 7 Stages of Grieving. 'This part of the thesis demonstrates that the presentation of these texts opened a new chapter in the history of presenting 'honyakugeki' in Japan. It demonstrates that the Japanese theatre had to confront the issue of 'authenticity' once more, but in a radically new way. The thesis also demonstrates that the impact of these productions in Japan had a particular Japanese cultural and social impact, reflecting large issues about the issue of minorities and indigenous people in Japan and about the possibilities of theatre for minorities. In particular the thesis demonstrates that these representations of Aborigines introduced a new image of Australian Aborigines to that which was dominant amongst Japanese anthropologists.
Mode of access: World Wide Web.
291 p
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Rups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual /." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031222.160235/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2002.A thesis submitted in full requirements for the degree of Doctor of Philosophy, School of Social Ecology and Lifelong Learning, University of Western Sydney, May 2002. Bibliography : p. [369]- 395.
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Comans, Christine Anne Wilmington. "La Boite Theatre 1925 to 2003: an historical survey of its transformation from an amateur repertory society to an established professional company." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16306/1/Christine_Comans_Thesis.pdf.
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This study addresses the central question of how Brisbane's La Boite Theatre negotiated its transformation from an amateur repertory society to an established professional company and, despite set-backs and crises, survived, changed and developed in an unbroken line of theatrical activity from its genesis in1925 to 2003. To answer the question, La Boite's history is surveyed within its three status modes of amateur, 'pro-am', and professional. Effective artistic and organizational leadership and a set of key manifestations of effective leadership are identified as crucial to the company's successful transformational journey. Such a transformation is a distinctive achievement in Australian repertory theatre history and, in exploring it, this study makes an original and important contribution to the history of Australian theatre organizations, very few of which have been the subject of scholarly research.
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Comans, Christine Anne Wilmington. "La Boite Theatre 1925 to 2003: an historical survey of its transformation from an amateur repertory society to an established professional company." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16306/.
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This study addresses the central question of how Brisbane's La Boite Theatre negotiated its transformation from an amateur repertory society to an established professional company and, despite set-backs and crises, survived, changed and developed in an unbroken line of theatrical activity from its genesis in1925 to 2003. To answer the question, La Boite's history is surveyed within its three status modes of amateur, 'pro-am', and professional. Effective artistic and organizational leadership and a set of key manifestations of effective leadership are identified as crucial to the company's successful transformational journey. Such a transformation is a distinctive achievement in Australian repertory theatre history and, in exploring it, this study makes an original and important contribution to the history of Australian theatre organizations, very few of which have been the subject of scholarly research.
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Turnbull, Olivia. "Bringing down the house : the inevitable crisis in England's regional theatres, 1979-1997 /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2004.
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Thesis (Ph.D.)--Tufts University, 2004.Adviser: Barbara Grossman. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 385-393). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Deal, Claire Elizabeth. "Collaborative theater of testimony performance as critical performance pedagogy implications for theater artists, community members, audiences, and performance studies scholars /." Fairfax, VA : George Mason University, 2008. http://hdl.handle.net/1920/3356.
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Thesis (Ph.D.)--George Mason University, 2008.Vita: p. 244. Thesis director: Lorraine A. Brown. Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Studies. Title from PDF t.p. (viewed Jan. 11, 2009). Includes bibliographical references (p. 228-243). Also issued in print.
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Enders, Michael Leonard. "Gettin' acquainted : film, ethnicity and Australian society." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36279/1/36279_Enders_1996.pdf.
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This thesis uses a cultural studies- based social- cultural- historical methodology to
compare changes in depictions of ethnicity in selected Australian feature films
produced from 1930 to 1995 to changes in Australian immigration policy over the
same period. The aim is to identify the relationship between feature film
depictions and the societies which produced them. The study will show that
depictions of ethnicity in Australian feature films have progressed through three
phases in line with the changes in Australian immigration policy from 'white
Australia' (1930-1946) to assimilation (194 7 -1971) to multiculturalism (1972-
present) .
The study also proposes a model of 'cultural absorption' as better alternative than
'reflection' to explain the means by which social-cultural beliefs and values are
transferred from society to feature films. The results of this study confirm that
the myths and social cultural beliefs and values of a society can be identified by
analysing the cultural artefacts, such as feature films, produced by that society.
This means that it is possible to identify the myths, beliefs and values of past
moments in Australian social history by analysing feature films produced by that
society. Identifying changes in society and culture and the mechanisms which
brought them about provides a means of better understanding contemporary
society and culture and how future changes may affect social and cultural
evolution.
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Taub, Lora E. "Enterprising drama : the rise of commercial theater in early modern London /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9835408.
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Graham, Catherine (Catherine Elizabeth). "Dramaturgy and community-building in Canadian popular theatre : English Canadian, Québécois, and native approaches." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42044.
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The Canadian popular theatre movement's refusal to accept one of the key binary oppositions that organizes Euroamerican theatre practice, the split between community-based and professional theatre, makes it a particularly interesting subject of inquiry for theatre scholars. This dissertation develops a methodology for analyzing this movement by approaching theatre, not as a unified institution or a series of texts, but as a mode of cognition that can overcome another of the basic binary oppositions of modern Euroamerican thought, the opposition between mind and body. Following an introductory chapter that situates the Canadian popular theatre movement in the context of recent Canadian theatre history and of other popular theatre movements around the world, a theoretical chapter lays the foundation for this methodology by exploring such key terms as "community," "professional," and "theatrical." It suggests that theatre is a particularly appropriate cognitive tool for building participatory community in heterogeneous social milieus. Chapters 3, 4, and 5 analyze three stages in the popular theatre process in these terms. Chapter 3 looks at how methods of organizing community workshops put in place particular forms of community. Chapter 4 explores the ways in which the dramaturgic structures of plays created by Headlines Theatre, the Theatre Parminou, and Red Roots Community Theatre are formed both by their creation processes and by their analyses of the problems in the dominant public spheres of the larger society. Chapter 5 looks at the specific contribution professional theatre workers make in focusing audience attention on key elements in community participants' stories. The dissertation concludes by suggesting that popular theatre events can be most fairly evaluated by looking at their contribution to the creation of new categories of thought through which we might publicly discuss and enact truly participatory communities.
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Melo, Carla Beatriz. "Squatting dystopia performative invasions of real and imagined spaces in contemporary Brazil /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467889861&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Andrews, Alfred. "Catholics in a Protestant society : South Australia, 1900-1926 /." Title page, contents and introduction only, 1996. http://web4.library.adelaide.edu.au/theses/09AR/09ara565.pdf.
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Toure, Jean-Marie. "Théâtre et liberté en Afrique noire francophone de 1930-1985." Villeneuve d'Ascq : Presses universitaires du Septentrion, 1999. http://books.google.com/books?id=2l1cAAAAMAAJ.
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Young, Clinton David. "Zarzuela or lyric theatre as consumer nationalism in Spain, 1874-1930 /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3211378.
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Thesis (Ph. D.)--University of California, San Diego, 2006.Title from first page of PDF file (viewed June 14, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 392-417).
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Bastani, Nava Corinne. "A project proposal for the formation of People's Theatre : a community drama project for the moral development and empowerment of the youth in Hout Bay /." Link to the online version, 2007. http://hdl.handle.net/10019/1670.
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Hamilton, Margaret School of Media Film & Theatre UNSW. "From the 'New Wave' to the 'Unnameable': post-dramatic theatre & Australia in the 1980s & 1990s." Awarded by:University of New South Wales. School of Media, Film & Theatre, 2005. http://handle.unsw.edu.au/1959.4/24266.
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The object of this dissertation is to re-assess Australian examples of ???performance??? in light of discourses and directions in dramaturgy that have emerged since the 1970s internationally. The thesis applies Hans-Thies Lehmann???s comprehensive theory of post-dramatic theatre to explicate examples of departures from dramatic theatre in view of the expansive field of inquiry implied by the description ???performance??? or ???new media arts??? and general cultural-political theory. To examine the de-centralisation of text specific to post-dramatic theatre the dissertation analyses firstly, material devised collaboratively at all stages of creative development in its case studies of the Sydney based companies The Sydney Front (1986-1993) and Open City (1987 -); and secondly, Heiner M??ller???s concept of ???literature??? written for the theatre and in opposition to its convention. In addition, the analysis of M??ller serves as an introduction to a comparative analysis of a dramatic (literary) theatre project by a group of Aboriginal artists based on a post-dramatic text by M??ller. This dissertation endeavours to contribute to documentation on post-dramatic theatre in Australia and more broadly, to conceptions of contemporary forms of dramaturgy. More specifically, the thesis argues that dramaturgy no longer necessarily concerns the identification of an aesthetic locus that explicitly explicates the audience???s relation to a known macrocosm. Instead, the thesis conceives of dramaturgy as a compositional strategy that can be thought of within the bounds of Aristotle???s perfunctory visual dimension ???opsis??? and elaborated upon in terms of Kristeva???s theory of the ???thetic??? as regulating ???semiotic??? incursions into the ???symbolic??? order. In doing so, the thesis proposes the concept of a ???televisual??? and an ???abject??? dramaturgy, the latter on the basis of a relation to the older tradition of carnival and identifies a link between intertextuality (transposition) and dramaturgical strategies that engage the spectator in the theatre situation and the dissolution of logocentric hierarchy.
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Regele, Thomas R. "Constructing the present by recasting the past : perceptions and expressions of las dos Españas in the refundición /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181123.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 191-197). Also available for download via the World Wide Web; free to University of Oregon users.
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Tasker, Elizabeth. "Low brows and high profiles rhetoric and gender in the Restoration and early eighteenth century theater /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04232007-012327/.
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Thesis (Ph. D.)--Georgia State University, 2007.Title from file title page. Lynee Lewis Gaillet, committee chair; Beth Burmester,Tanya Caldwell, committee members. Electronic text (189 p. : ill.) : digital, PDF file. Description based on contents viewed Oct. 15, 2007. Includes bibliographical references.
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Amato, Danielle Anna. "Collage corporeality : body and technology in contemporary American performance /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099913.
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Collins, Jennifer Rebecca. "Essential Functions: American Delsartism and Its Influence on Women’s Roles in Society." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492699298734188.
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Maher, Simon. "The 'citizens' and 'citizenship' debates 'vernacular citizenship' and contemporary Australian politics and society /." Access electronically, 2006. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20070821.160030/index.html.
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Scollen, Rebecca. "Building new theatre audiences: Post performance audience reception in action." Thesis, Queensland University of Technology, 2002. https://eprints.qut.edu.au/36428/1/36428_Digitised%20Thesis.pdf.
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The aim of this research is to arrive at an effective method for gathering and analysing nontheatregoers' reception of theatrical performance. It is anticipated that this method will provide insight into non-theatregoers' reasons for non-attendance, their reactions to theatre productions, and the likelihood that they might change their attitudes towards theatregoing and become theatre attenders in the future.
A combined methodical approach to audience reception is created by adapting and combining the methods of Sauter (1986), Lidstone (1996), Knodel (1993) and Krueger (1994), and the model of Miles and Huberman (1984). This approach consists of a collection of questionnaires, a series of post performance group discussions, and analytical methods designed for examining qualitative data. This approach is tested and refined across three studies: a 1997 Pilot Study, a 1998 La Boite Theatre Study, and a 2000 Queensland Theatre Company Study.
The primary result of this research is the emergence of the Scollen Post Performance Audience Reception (SPP AR) method for audience development. This method is the refined final version of the rigorously tested combined approach. Other results include the formation of a non-theatregoer profile; an understanding of how non-theatregoers perceive performances; the discovery that gender, age, and income have no direct impact on theatre attendance or reception of theatrical performance; confirmation that exposure to performance and an arts education increases interest and confidence in theatregoing; and that self and peer education is an effective way for non-theatregoers to learn about theatre.
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Parsons, Rosemary Frances. "Group devised theatre a theoretical and practical examination of devising processes /." Master's thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/71211.
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Thesis (MPhil)--Macquarie University, Division of Society, Culture, Media and Philosophy, Department of Critical and Cultural Studies, 2007.Bibliography: leaves 241-251.
Introduction -- Re-devising theatre: towards a genealogy of devising practice -- Pre-devising: group formation, development and games -- Devising theatre: This is not an exit -- Conclusion.
This non-traditional thesis explores the practical and theoretical processes of group-devised theatre. The research informing this thesis is derived from two interrelated components - a practical project in group devising, and a theoretical study of alternative theatre, devising methodologies, and performance theory. -- Chapter One defines "devising" before tracing its origins through the development of experimental practices from the historical avant-garde to the present day. These practices include radical disruptions to discursive language and structure, increased multimedia, reconsiderations of the performer's function and the use of improvisation. This genealogy is argued to be a "literature of practice" capable of informing contemporary devising projects, as well as helping to establish the position of devising within contemporary performance theory. -- Chapter Two examines how creative collaborators begin to form and function as a devising group, a period I theoretically term "pre-devising". By examining the experiences of my group, gaps in devising literature concerning group formation and composition are identified, complemented by an investigation into the role of theatre games in building ensemble. -- Chapter Three draws upon the genealogy of devising, devising literature and performance theory to interrogate the process of devising our production, This Is Not An Exit. The theoretical and practical problems of our methods are explored. These methods include organising the group as an artistic democracy, developing naturalistic characters, and establishing a "postmodern aesthetic". By analysing our experiences, this chapter attempts to illustrate the complex tangle of influences informing contemporary performance practitioners, and highlight areas ripe for future critical research.
Mode of access: World Wide Web.
251 leaves
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Hood, David. "Conservatism and change : the RSL and Australian society, 1916-1932 /." Title page, contents and abstract only, 1994. http://web4.library.adelaide.edu.au/theses/09PH/09phh776.pdf.
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Farrelly, Michael. "State, society and water management in late imperial Southeast China." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=123264.
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This thesis is a study of water management systems in the late imperial (1368-‐1912) Minnan region (southern Fujian), China. Based on stone inscriptions and local gazetteers, I present case histories of several well-‐documented water management systems. I explore trends in social organization and state-‐society issues relevant to water management systems, with particular emphasis placed upon the means by which lineages came to control water management structures. I then consider the causes and characteristics of water management-‐related conflict, as well as trends in government intervention in related disputes, and the principles upon which local officials adjudicated these disputes. I argue that property rights status was important to adjudication, particularly the concepts of "official," "communal" and "private" land and resources. Finally, I contextualize Minnan water management systems among systems in other parts of China.Cette thèse étudie les systèmes de gestion de l'eau pendant les dernières années de la période impériale dans la région de Minnan (dans le sud du Fujian) en Chine. L'histoire de plusieurs systèmes bien documentés de gestion de l'eau est présentée, à partir de l'étude de pierres avec des inscriptions et de registres locaux. Les tendances dans l'organisation sociale liée aux systèmes de gestion de l'eau et les problèmes politico-‐sociaux associés sont analysés, avec une attention toute particulière sur les moyens employés par les groupes pour contrôler les organisations qui gèrent l'eau. Les causes et les caractéristiques des conflits relatifs à la gestion de l'eau sont étudiées, ainsi que l'intervention des gouvernements et les principes suivis par les instances locales dans la résolution de ces disputes. Les auteurs soutiennent que le statut de la propriété importe dans l'attribution des ressources, en particulier les concepts de ressources « gouvernementales », « communales » et « privées ». En dernière partie, les systèmes de gestion de l'eau dans la région de Minnan sont mis en perspective avec les systèmes d'autres régions de la Chine.
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Mda, Zanemvula K. G. "The utilization of theatre as a medium for development communication : an examination of the Lesotho experience." Doctoral thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/15862.
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Includes bibliography.This thesis undertakes to investigate the nature and function of theatre-for-development. The objectives are to place theatre-for-development in the context of development communication theory, and to examine how theatre functions as communication. In the process of this examination a new model of theatrical communication in theatre-for-development, and a new paradigm of intervention, are evolved. The thesis begins by exploring the reasons for the failure of existing media systems to serve the needs of development in Africa. The failures are mostly due to the fact that the majority of the people have minimal or no participation in information generation and dissemination. Theatre is identified as one medium that could be utilized towards the realization of democratizing communication systems, and of giving the periphery access to the production and distribution of messages. The thesis then proceeds to review crucial literature in theatre-for-development and on development communication. The literature that has been selected has particular relevance in that while it treats current perspectives in these disciplines, it gives an historical account of theatre in Africa, and an account of the various perspectives and orthodoxies in the history of mass communication in general, and development communication in particular. The major case study of the thesis is a theatre-for-development cooperative society in Lesotho called Marotholi Travelling Theatre. The thesis therefore discusses the problems of underdevelopment in Lesotho. Since this study deals with-development communication, and attempts a structural examination of the context of theatre-for-development, the reader is introduced to the conditions that engender the theatre that is analyzed in the study. An account of the communication environment is also given. Because the communication environment of the rural areas in Lesotho is characterized by the predominant use of oral and traditional methods, popular and traditional media in Lesotho are also examined. After setting a theoretical framework by examining theatrical communication in theatre-for-development, and the rules underlying it, the thesis proceeds to analyze five plays created by Marotholi Travelling Theatre. First, a brief history of each play is given, and this is followed by an analysis of how the play functions as a vehicle for conscientization, and as communication. The plays are discussed in the context of five different methodologies of theatre-for-development: agitprop, participatory agitprop, simultaneous dramaturgy, forum theatre, and comgen theatre. It is in the process of this analysis that a new model of theatrical communication in theatre-for-development is evolved. The new paradigm of intervention that is posited also emanates from the analysis of the plays. It illustrates the extent to which the various methodologies of theatre-for-development can be utilized either for development (and, therefore, liberation), or for dissemination. The thesis concludes by focussing on the salient points that have emerged in the analysis. Crucial points are summarized, and recommendations for an effective utilization of theatre as a medium for development communication are posited.
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Underiner, Tamara L. "Cultures enacted/cultures in action : (intercultural) theatre in Mayan Mexico /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/10218.
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Tampalini, Serge. "Affective space (looking back)." Thesis, Tampalini, Serge (2006) Affective space (looking back). PhD thesis, Murdoch University, 2006. https://researchrepository.murdoch.edu.au/id/eprint/331/.
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It may be argued that a historically accepted model of an academic career begins with having completed a PhD and in so doing identifying a body of theory that will inform and constitute one's practical academic work. While it may be an accepted model it does not necessarily take precedence as the only model. The relationship between theory and practice is symbiotic and as such it is possible, and indeed at times desirable, that practice inform theory. It is not advisable to be solely operating from a position of theory when making creative work; the risk is far too great.
The gravitational force of theory can all too easily disturb the fragile innocence of creativity. Pulled and constrained by the logic of theory the work risks becoming too didactic and its creativity sacrificed for the sake of rationalism...a symptom almost diagnostic of our culture.
I appreciate that the term creative is open to a plethora of readings, each with their own cogent claim to usage. When I employ the term I am referring to a particular type of decision-making process involved in the solution of problems. I will argue that a creative decision differs from other types of decisions [such as, practical or scientific] in the way the resultant solution of the problem remains open to a greater number of potential readings. I will also argue that it is precisely in those heuristic moments of potential impasse, often associated with a problem's resolution, where creativity hangs out.
In any creative venture, I have always been guided by the importance and significance of doing...in the doing is the theory. This is not meant to dismiss theory but simply to see it in much the same way as when we see objects in our peripheral vision. Just as objects in our peripheral vision do not take their place in our visual field, theory [for me] participates in creative processes by subconsciously serving as an early guiding system that helps monitor the work. In this age of information we are no longer innocent of theory -it is ineluctable. What is crucial is that we have a command of theory in order that we may go through it and regain our creative innocence. If we do not, we only achieve an artificial innocence born of enthusiasm, exuberance and imprecision. Creative innocence is re-found in doing. This assertion conceives of theory as participating as part of a creative subconscious and goes someway towards explaining the sudden epiphany of understanding that is frequently associated with prolonged and intense work, or the immense pleasure at retrospectively recognising the theory that seemed to have informed one's work without being conscious of it -as if the theoretical component had always been there. This phenomenon is of fundamental concern to my thesis, especially when considering the theatre productions that constitute my creative oeuvre. Upon close inspection, my works ultimately reveal that the defining distance between a visceral creative decision [one whose manifestation is immediately felt as apposite] and one that is conceptualised as the illustration of a theory, is not that great...I just happen to begin working outside of the brackets of theoretical narration.
Throughout my thesis I will refer to all visuals as images but I will argue that there are specific types of images, namely signs, symbols and metaphors.
In language the term image can imply more than a verbal description of a purely visual experience; it can also mean the metaphoric, ornamental, rhetorical figurative use of language as opposed to its literal use.
For the surrealists image meant more than the representation of an external thing in the material world, it also meant the revelation of an internal mental state, a psychological verity occluded from consciousness.
Images [of this kind] were incandescent flashes linking two elements belonging to categories that are so far removed from each other that reason would fail to connect them and that require a momentary suspension of the critical attitude in order for them to be brought together.
Having already built a body of practical work [spanning thirty years] the challenge was to see if it was possible to identify a coherent theory that consistently functioned as the catalyst of the work - albeit disparate in its nature. The analytical process proved to be the reverse of that which may be observed in the historically accepted model of academic discourse...where the process is cumulative. In this instance the process was deductive -a forensic assignment akin to tracing the diverse creative elements to their creative source or motivation. The venture proved illuminating in much the same way as when one is asked to crystallise a complex theoretical argument; you have to reinvent the argument in a way that helps to simplify its complexity without attenuating its integrity -a complexity that is well known to you but that eludes the uninitiated reader.
Whenever I try and think about my theatre practice I am vexed -particularly when I filter my own experiences and try and extract the meanings that seem genuinely inherent in them. At first glance it is satisfying because of a sense of coherence or pattern in a whole host of discrete events. However a closer inspection quickly reveals the fractal complexity of the pattern and demands a reappraisal of how we see and decipher it. Any attempt to understand its disparate nature by investigating one part in isolation from the whole proves initially unsatisfying and finally futile, for each part seems to be informed by and refer to other parts, as if participating in a greater organising principle; a principle that resists traditional cartography; one that is best seen as one sees the earth from outer space. When the earth is seen from outer space one becomes aware of the greater organising principle [the universe] within which it functions. Similarly it is only when the topology of my work is seen from a distance that its coherence is apparent...the further away one is, the more clearly one recognises its constituent parts.
Despite our desire to lose ourselves in the living depths of a work, we are constrained to distance ourselves from it in order to speak of it. Why, then not deliberately establish a distance that will reveal to us, in a panoramic perspective, the surroundings with which the work is organically linked?
When I am in the middle of a theatre production, I have only the slightest idea of how it will end; I trust in the doing, and at the end I am always surprised by what I have created. Ambiguity and paradox and consequently indeterminacy ultimately emerge as the common features of my work; they appear as sign posts that mark a way of finally mapping it. Each individual piece of work remains coherently intact despite its seemingly obscure coalescence with others, but it is when the works intersect at these points of commonality that one may observe the greater organising matrix.
The phenomenological world is not a pure being, but the sense which is revealed where the paths of my various experiences intersect, and also where my own and other people's intersect and engage each other like gears.
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Tampalini, Serge. "Affective space (looking back) /." Access via Murdoch University Digital Theses Project, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20071116.144247.
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au, tsummerf@law uwa edu, and Tracey Lee Summerfield. "Families of Meaning: Dismantling the Boundaries Between Law and Society." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050810.115925.
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Legal positivism insists upon a distinction between the inside and outside of law. The common law and statutory rules of interpretation assist in maintaining this distinction, establishing the myth that legal decision-making is a purely objective and rational process, giving rise to internal truths. While critical theorists have illustrated the ways in which the lines between the inside and outside are always blurred, there remains a perceived distinction, in law, between the interpretation of concepts that occurs in the law and that which occurs outside the law. Only the former have legal legitimacy. The idea of the legal family is a case in point, where the law defines family according to its own prescriptions irrespective of how family is constituted by non-legal communities. In this thesis, I consider the meanings of family in different spheres to show how the lines between the social, the political and the legal consistently overlap. I then develop a mechanism by which the law can acknowledge and affirm that which is outside. This requires, firstly, a conception of law as communication and of legal interpretation as a constructive process. Secondly, the task demands that jurists engage with the semiotic processes of the everyday and that legal concepts, at least those that exist independently of the law (family for example) be framed with an open indexicality. This might enable such concepts to be interpreted according to a range of contexts, other than (or in addition to) the legal one. Finally, using the family as an example, I illustrate how a semiotic approach can assist legal interpretation, reform and analysis.
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Gibbs, Jenna Marie. "Performing the temple of liberty slavery, rights, and revolution in transatlantic theatricality (1760s-1830s) /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1554940031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Bosnak, Judith Ernestine. "Shaping the Javanese play improvisation of the script in theatre performance /." [S.l. : s.n.], 2006. http://catalog.hathitrust.org/api/volumes/oclc/150381068.html.
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Walsh, Alwyn Mae. "Performing (for) survival : performance tactics of incarcerated women." Thesis, University of Northampton, 2014. http://nectar.northampton.ac.uk/8889/.
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In an era characterised by impacts of cuts and austerity in the UK, this study is positioned at the interface between two socio-cultural institutions against which societies are judged: the arts and criminal justice. Within this field, the thesis investigates the ways women in prison are positioned in a carceral performance that is cyclical and inevitably ‘tragic’. The argument considers the tactics women use in order to firstly, survive their incarceration, and sometimes, resist, the institution. The theoretical frame is drawn from feminist criminology and Bourdieu’s ‘habitus’ to examine everyday performances as well as theatrical works by and about incarcerated women. This project adds to the field by locating performance practices in and of prison within wider social contexts of the politics of carceral spaces. The main questions posed by this project were ‘what does theatre/ performance offer to challenge stereotypes of ‘the cage’?; and to what extent and in what ways does performance in (and of) prison challenge/ subvert/ augment/ transform the site itself’? The research sought to understand to what extent women’s articulations of subjectivity could be a radical alternative to the logocentric and discursive prisons of sentences and prison records. The study was developed as an ethnographic examination of performance in and of prison, alongside exploring how contemporary performance modes are implicated in defining, containing, and correcting (criminal) women’s everyday performances. The thesis is primarily concerned with a critical reflection on theatre practices in prison, with particular emphasis on the political implications of the effects of prison as/and performance. The study makes claims for a radical practice in and about prisons that is distanced from current applied theatre practices, and as such points towards a more troubled rehearsal of how punishment is performed.
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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." University of Sydney, 1996. http://hdl.handle.net/2123/1617.
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Doctor of Philosophy'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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Robertson, Christie Social Science & Policy UNSW. "Social capital, women's agency and the VIEW clubs of Australia." Awarded by:University of New South Wales. Social Science and Policy, 2007. http://handle.unsw.edu.au/1959.4/31919.
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Contemporary debates about collective action in civil society have given prominent place to the connections between voluntary associations and social capital. Social capital research, however, commonly over-emphasises the role of associations in generating societal-level outcomes, to the neglect of the specific contexts in which associations reside and the different opportunities individuals and groups have to access resources for and through collective action. Also largely ignored are considerations of gender. This thesis addresses these issues, presenting evidence from a case study of a large women???s service organisation ??? the VIEW Clubs of Australia ??? to examine how social capital and women???s agency intersect. The thesis adopts a social-structural approach to social capital, highlighting its role as a resource brokered through networks that both enable and constrain action. This approach attends to the inter-relations of particular types of social capital, such as bonding and bridging; specific elements of social capital, such as reciprocity, trust, and shared values, identities and purposes; and addresses the broader socio-historical context in which social capital networks are located. The thesis employs a model of agency that encompasses three core fields of agency ??? individual, social and political. These fields of agency encapsulate the capacity for women to ???act??? and exercise choice and change in their own lives, in the community, and in the polity, and to do this through collective action. The thesis applies these ideas using an embedded case study model combining documentary analysis, participant observation and in-depth interviews. The findings reveal agency and social capital to be in tension. Activities that feed the agential capacity of the organisation and its members are more successfully realised in areas closest to women???s past experiences than in those addressing the public sphere. The research nevertheless shows that a voluntary association such as VIEW can foster women???s agency. Indeed, building women???s capacities in society as a whole may well rely on organisational contexts where women are empowered to self-develop and connect their activities to broader society. This is impacted by the nature, purpose, and social location of the social capital networks of women and others, and has implications for how we understand the ongoing role of voluntary associations in civil society. By revealing how different dimensions of social capital operate and intersect with women???s agency, the thesis shows the dynamic role of voluntary associations in civil society.
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Reeves, Noelene. "The development of a literate society: A case study: Western Australia 1850-1910." Thesis, Reeves, Noelene (1993) The development of a literate society: A case study: Western Australia 1850-1910. PhD thesis, Murdoch University, 1993. https://researchrepository.murdoch.edu.au/id/eprint/50588/.
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Literacy, the ability to read and write, is now considered an essential social skill and the right of individuals. Yet, this was not always so. A ‘literate society’, where the expectation that essential day-to-day communications between its members can be conducted solely through print, belongs to the twentieth century. It is a very different environment from a society where literacy is significant yet it is socially acceptable, indeed socially demanded, for elements of the society to remain illiterate. Such was the historical experience when to be literate meant to possess power and high social status. A contemporary society which has become print-dependent expects its members to be literate and makes literacy acquisition by children compulsory. Negative social judgements are made about those who are not functional in literacy. More importantly, social disadvantage accrues to those who cannot adequately participate in activity requiring literacy. So how, when and why did such a fundamental change in attitudes and experience occur?
The thesis explores the experience of one small, isolated English-speaking colonial settlement mapping the intrusion of literacy into all levels of that society and the responses of people traditionally non-literate. It seeks to explain why reading and writing tuition was given to the ‘lower orders’ and why literacy was ultimately accepted universally by Western Australians. It seeks to understand what value was placed on literacy by the illiterate and less literate, how well these people could read and write and the degree of their participation in literacy exchanges. It hypothesises that social acceptance and participation depended on the recipients of instruction recognising that a personal need could be met, not the perceptions or stated reasons of the providers who endeavoured to instruct through a range of institutions throughout the period. It concludes that, in Western Australia, those needs were not religious, not political or judicial, not educational as may have been the case elsewhere, but primarily commercial and functional. When shopping in expanded and flourishing communities stimulated by the discovery of gold, adults needed to respond to the print (and associated graphics) identifying essential and desirable commodities and services. Adult awareness and skill development led to wider commercial usage and encouraged parents to ensure children attended school regularly and stayed longer, thus providing the context for greater social usage as reflected in advertising and the environment. Western Australia became a literate society between 1895 and 1905 when the social barriers erected on both sides that had prevented earlier participation finally gave way. The thesis recognises, however, that in a literate society literacy and its uses are still social markers that lead to inequality and disadvantage.
A detailed examination of data uses accepted literacy measures, such as statistical registers, education reports and signatures, explores the less frequently utilised measure of environmental print and draws on the researcher’s experience as a reading educator and researcher to make assessments about nineteenth century literacy and literacy education.
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Glenn, Antonia Nakano. "Racing and e-racing the stage : the politics of mixed race performance /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3149286.
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Gourlay, Jennifer Eowyn. "Negotiating spaces : women and agency in English Renaissance society, plays and masques." Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/3465/.
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This thesis provides new and alternative readings of women’s opportunities for agency in sixteenth and early seventeenth century society, and of the ways in which this was represented in plays and masques of the time. The relationship between history and theatre is a two-way process. In light of this, the depiction of proactive female characters in public plays is examined alongside the appearance of proactive women in society and on stage in Jacobean court masques, through the different but complementary lenses of marriage and female alliances. After the Introduction (Chapter One), Part One (Chapters Two and Three) looks at female agency in marriage and the ways in which this was depicted in drama, from the perspective of two neglected social practices, spousals and wife sales. The spousal law offered women as well as men an opportunity to regulate their marriage without recourse to the church or parents and is a common, but under-studied, plot in Renaissance drama. Three of the most interesting and complex uses appear in George Chapman’s The Gentlemen Usher (1602-4), John Webster’s The Duchess of Malfi (1612-14) and Thomas Middleton’s The Widow (c. 1616). The spousal plot provides an alternative angle for the playwrights to explore and endorse female characters’ decision to rebel against male family members and marry men of their choice. Part Two (Chapters Four, Five and Six) analyses the opportunities for female agency at the Jacobean court from the perspective of female homosocial bonding, looking at Anna of Denmark (Queen consort of James I), her court women, and the masques in which they danced. Anna’s women were, like the Queen, trying to control their lives. Chapter Four shows that the Queen’s retinue provided a separate space for these women to gather, interact and create alliances and further, that this mutual support facilitated their agency at the Jacobean court, agency which often involved opposing the king.
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Albertyn, Maria Adriana. "“Griekeland” to “Platteland”: appropriating the Euripidean Medea for the contemporary Afrikaans stage." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96747.
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Thesis (MA)--Stellenbosch University, 2015.ENGLISH ABSTRACT: Euripides’s Medea have been staged a number of times in the new South Africa. This study’s purpose is to provide a practical example of a rewritten Medea set in a contemporary Afrikaner community. The political climate and gender views employed in the Euripidean Medea are analysed and compared to that of the new text. The themes in the Euripidean Medea are analysed as well as possible themes in the Afrikaner community to provide the new text with contemporary social trends in the white Afrikaner community. The style of the Euripidean Medea is analysed and adapted in the new play to create a style that can be accommodated in contemporary South African theatre. Appropriating Medea in an Afrikaner community will hopefully provide future theatre-makers with a narrative of the practical process of appropriation from which more universal principles on the practice can be derived as the play has never been fully rewritten in Afrikaans to create an authentic play.
AFRIKAANSE OPSOMMING: ’n Aantal produksies van Euripides se Medea is in die nuwe Suid-Afrika gedoen. Die doel van hierdie studie is om ’n praktiese voorbeeld te skep van ’n nuutgeskrewe Medea wat verplaas is na ’n kontemporêre Afrikaner gemeenskap. Die politieke klimaat en geslagsrolle in die Euripidese Medea word ontleed en vergelyk met dié van die nuwe teks. Die temas in die Euripedese Medea word ontleed, asook moontlike temas in die Afrikaner gemeenskap om kontemporêre sosiale tendense vir die nuwe teks te vind. Die styl van die Euripedese Medea is ontleed en in die nuwe teks aangepas tot ’n styl wat in die kontemporêre Suid Afrikaanse teater haalbaar is. Deur Medea te verplaas na ’n Afrikaner gemeenskap, kan ʼn moontlike voorbeeld geskep word wat as narratief vir toekomstige teatermakers kan dien vir die praktiese proses van verplasing waaruit universele beginsels gevorm kan word aangesien die drama nog nie vantevore volkome herskryf is tot ’n outentieke drama in Afrikaans nie.
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Chambers, Zoe. "A study of the representation of marriage and the family in the film Muriel's wedding." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2003. https://ro.ecu.edu.au/theses/1298.
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Representations of the family in the Australian popular media in recent years appear to have shifted from a traditional nuclear family form to more diverse constructions, and the family has become an institution that is more often associated with dysfunction rather than the idealised notions of caring and support. This study will examine this re-evaluation of the nuclear family through a close analysis of the film Muriel's Wedding (1994). How the discourses of gender and nationalism intersect with those of marriage and family will be studied, in an attempt to understand this reappraisal of the Australian family.
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Jang, Ren-Hui. "Traditional Chinese theatre for modernized society a study of one "new" Chinese opera script in Taiwan /." online access from Digital Dissertation Consortium access full-text, 1989. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?8913981.
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Cameron, Nicholas W. "Reclaimed territory : the plays of John McGrath and the 7:84 theatre company considered as a continuum of twentieth-century theories concerning theatrical form." Doctoral thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/15983.
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Bibliography: pages 617-630.This dissertation proposes to examine the work of John McGrath and the 7:84 Theatre Company as part of a continuum of theatrical experimentation culminating in postmodernism. To clarify the relationship between aesthetic form and social praxis the inquiry proceeds in two salient lines of direction: the first tracing the withdrawal from "realism" of major theorists of modernist ideology, the second defining the political and social milieu which provided the matrix for the development and staging of McGrath's plays. Recognising the partisan disposition of the 7:84 Theatre Company, the focus is on not only the division between political commitment and aesthetic experimentation, but also their potential for conciliation. At stake here is the socio-political nature of dramatic form itself and the contradictions implicit in political theatre's inherent structure. Tested against actual modes of procedure in the staging of McGrath's plays, and against the plays themselves, are the modernist propositions on aesthetics and politics argued within the context of German Marxism by Bloch, Lukacs, Benjamin, Adorno, and Brecht. The inquiry into problematising representational modes is then extended to include the postmodernist resistance to both realism and modernism, seeking precisely where and how McGrath's theatre supports this opposition. Following a critical dissection of representative texts, the conclusion attempts to establish their validity as postmodernist art, wordlessly disclosing within the parameters of their own language structure what cannot be asserted effectively by the practice of politics itself.
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Lee, William James. "Genroku kabuki : cultural production and ideology in early modern Japan." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119316.
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Note:Scholars are in agreement that the kabuki theatre did not attain its first flowering as a complex dramatic art until the Genroku period (16881704). The Genroku period is also the earliest for which detailed study of the plays has been possible, due to the large number of playbooks that have survived. For these reasons, Genroku kabuki has long been an object of scholarly attention among Japanese theatre historians. This scholarship, however, has for the most part been shaped by the same ideological concerns that underlie other forms of Japanese intellectual discourse in the modern period. In the Meiji period (1868-1912), for example, efforts were made to find in kabuki a Japanese equivalent to the Western theatre; while in the postwar era, in light of the critique of feudalism following the national defeat, the trend has been to see kabuki as an example of popular culture, one with roots in older indigenous cultural traditions and which not only enjoyed a special relationship with the urban commoner class, but which functioned as a form of resistance to feudal authority.[...]
Ne au debut du dix-septieme siecle, Ie theAtre kabuki n'a connu sa premiere floraison comme art dramatique complexe que pendant I'epoque Genroku(1688-1704). Grace a la survivance de nombreux textes-scenarios, l'epoque Genroku est aussi la premiere periode dans l'histoire du kabuki dont l'analyse detaillee est possible. Pour ces raisons, le Genroku kabuki est depuis toujours un objet d'etude prefere parmis les specialistes de l'histoire du theAtre au Japon. Mais ces etudes, quoiqu'elles soient souvent basees sur des recherches historiques considerables, ont ete, pour la plupart, determinees par les mames projets ideologiques qui ont soutenu les autres formes du discours intellectuel dans le Japon moderne.[...]
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Dlamini, Betty Sibongile. "Women and theatre for development in Swaziland." Thesis, SOAS, University of London, 2008. http://eprints.soas.ac.uk/28833/.
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This thesis explores women and theatre for development in Swaziland. It focuses on how theatre for development is used as a tool in the development of women. Firstly, I examine the key concepts used throughout the thesis and I pay special attention to Theatre for Development. In the second chapter, I give an account of the country's history and pay special attention to the social status of women. In chapter 3, I examine the various forms of performance found in Swaziland and how they impact on the development of Swazi women. In the fourth chapter, I consider the evolution of literary practice in Swaziland and discuss two play-texts in English by H.I.E Dhlomo, a key literary figure and pioneer playwright of modem black drama in South Africa. I explore A Witch in My Heart by Hilda Kuper, a white anthropologist who lived in Swaziland in the mid twentieth century, and lastly. The Paper Bride by Zodwa Motsa, a contemporary Swazi writer. Next, in chapter 5, 1 investigate the first phase of Theatre for Development in Swaziland where non-governmental organizations, the Swazi Government and independent individuals worked together using Theatre for Development in Swazi communities. I consider first the workshops initiated by the youth. In chapter 6, I give an account of workshops involving whole communities and the kudliwa inhloko ebandla, a workshop that involved men only. In all these workshops 1 examine how they impacted on the development of women. I then conclude with a discussion of the findings of the study and their implications for the development of women.
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Readman, Geoffrey. "What does the Applied Theatre Director do? : directorial intervention in theatre-making for social change." Thesis, University of Northampton, 2013. http://nectar.northampton.ac.uk/7848/.
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This thesis critically interrogates the practice of artistic directors within applied theatre companies in the United Kingdom. ‘Applied theatre’ describes the process of theatre-making in which commitment to ethical, pedagogical, philosophical and social priorities are integral dimensions of theatre-making designed for specified participants, communities and locations. The research views the term director as encompassing any individuals with designated responsibility for the artistic coherence of theatre in both community and rehearsal room contexts. It argues that directorial processes in applied theatre have rarely been the focus of systematic research and that a theoretical framework to conceptualise practise will contribute new knowledge. The research design gathers evidence of directorial contributions, examining ‘why’ and ‘how’ interventions are constructed. The various theories, techniques and methods used by directors to shape and effect positive interventions are observed and interrogated, through a systematic research approach, in five director case studies. The case studies reflect discrete areas of theatre practice. Published research is sparse and literary evidence is occasionally drawn from historical, cultural and mainstream theatre contexts, from developments in Alternative and Political theatre and from Drama in Education praxis. The thesis concludes with a theoretical framework that articulates applied theatre directing as a process that shares some common ground with mainstream theatre directing, but which retains discrete alternative practices and philosophies that define an alternative directorial model.
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Nadeau, Martin. "Theatre et esprit public : le role du Theatre-Italien dans la culture politique parisienne a l'ere des revolutions (1770-1799)." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37795.
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Taking as a case study the Theatre-Italien, here considered both as a particular theatrical practice and as a specific stage in Paris---one of the most popular at the time---this dissertation asks what role this theatre played in the novel competition of discourses which characterized political culture in the era of Revolutions. All too often, historians have overestimated print culture as the main medium through which discourses were produced in the eighteenth century, and this despite the fact that theatre played a fundamental role in the public life of this period. Furthermore, when theatre is studied, historians emphasize too often the written form of the plays.The dissertation's structure seeks to underline the specificity of the cultural practice represented by the theatre. The discrepancies between the meaning of a play written by a particular author and the same play as it is performed on stage are emphasized. Political messages emerge out of the language of the actors and actresses without any possibility to control them, so that the players become, in effect, co-authors of the play. Similarly, the variety of the nature of the audience and the way in which it becomes at once judge, co-author and co-actor make the public, neither intangible nor invisible, but simply gathered, a crucial feature of this cultural practice which allows us to argue that theatre was actually a very bad instrument of propaganda. Instead, theatre can be seen at the time to be a public scene of immediate political debate. The conflicting opinions expressed there turn theatre not into the minor of political reality intended by various regimes confronted to the diversity of the polity---what some people have called "a school for the people"---but rather as the mirror of the reality experienced by a large number of Parisians at the time. It is in this sense that we relate the theatrical practices studied with the concept of public spirit, expressing the people's understanding of the general interest, instead of that of public opinion, expressing the unified message imposed by a dominant political group.
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House, Melanie J. "Their Place on the South African Stage:The Peninsula Dramatic Society and the Trafalgar Players." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1291211511.
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Cummins, Philip S. A. School of History UNSW. "The digger myth and Australian society : genesis, operation and review." Awarded by:University of New South Wales. School of History, 2004. http://handle.unsw.edu.au/1959.4/20672.
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Through a theoretical framework of myth in genesis, operation and review, this thesis evaluates the relationship between Australian society and the myth of the digger, a tradition of Australian military manhood which originated in the First World War. The digger in genesis was a product of early twentieth century Australia???s need to establish for itself a distinct national identity. Deriving strongly from existing mythology of the bushman/pioneer and foster by the work of CEW Bean, it was quickly adopted by both governments and citizens anxious to promote the contributions of the Australian soldiers and to understand the relationships that these had with the emerging Australian society. The digger in operation from the First World War to the end of the Second World War to the early 1960s demonstrates the way in which Australian (enamoured of its simple and seemingly enduring qualities) Embedded the myth at the core of orthodox thinking about national Identity, despite its exclusivity and prescriptive, authoritarian control by conservative institutions. The era of the Vietnam War acted as a key review phase for the myth as its relevance was questioned significantly. Despite temporary rejection from many and fragmentation into a variety of icons, Australia???s brief flirtation with radical thinking did not last beyond the mid-1970s. A return to conservative values in the 1980s-1990s coincided with political reconciliation over the Vietnam War ??? by the mid-1990s, the digger myth had retained its position of relevance and importance within Australian culture, demonstrating its capacity to become adapted and appropriated to reflect an increasingly democratic and pluralistic society. The current prevailing version of the digger, the "new professional", demonstrates the parallel transition of Australian military culture. It co-exist with other representations, providing a scaffold through which individuals interact with it to develop their own understanding of the application of the digger myth to both their own lives and Australian society.