Dissertations / Theses on the topic 'Theatre and Media Studies'
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Lay, Ruth Ann. "The Memory and the Legacy: The Whittlin' Whistlin' Brigade -- The Young Company 1974-2001." BYU ScholarsArchive, 2002. https://scholarsarchive.byu.edu/etd/2838.
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The Memory and The Legacy: The Whittlin' Whistlin' Brigade - The Young Company 1974-2001, is a history of the children's theatre of Brigham Young University. The Whittlin' Whistlin' Brigade - The Young Company acts as a training ground for graduate students working in theatre for young audiences. Then directing a production for The Whittlin' Whistlin' Brigade - The Young Company, students are instructed to perform all functions required of a professional company. As the The Whittlin' Whistlin' Brigade - The Young Company (WWB-TYC) spends much of its performance time on tour, those responsibilities are relegated to the students. Developed and headed by Dr. Harold R. Oaks of Brigham Young University, WWB-TYC produced children's theatre for local, regional, national and international audiences. The history includes production photos, budgets and business plans. A survey of former company members was conducted assessing the long-term affect on participants in relationship to their personal and professional life. This thesis is also in electronic form using animation, musical and narrative audio, an interactive menu and a photo-gallery. Text is available in HTML and PDF format with 'print' capability. A tutorial is included to aid in possible navigational concerns. Working within an electronic medium has facilitated the accessibility of a considerable collection of material highly diverse in nature. Twenty-seven years of production notes, performance programs, production photos, music, scripts, budgets, permissions, required licensing, travel arrangements and itineraries, performance schedules, educational/clientele data and historical developmental notes of the children's theater program itself presented not only volumes of material but also brought specific inclusion needs. In addition, the results of a program survey of the program will be presented in graph and chart format. Determined needs include: 1. A history of children's theater both nationally and at Brigham Young University. 2. Supporting documentation of program development and implementation. 3. Survey results of WWB-TYC participants.
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Lauritzen, Chareen Hardy. "The Roberta Jones Junior Theatre : a model children's theatre /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2882.pdf.
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Fernández-Vara, Clara. "Orson Welles' intermedial versions of Shakespeare in theatre, radio and film." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/44294.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2004.Includes bibliographical references (p. 153-156). Filmography: p. 157.
In addition to being a keyfigure in the history of filmmaking, Orson Welles was an original theatre director and radio performer and producer. The aim of this thesis is to study Welles' achievements and failures in theatre, radio and film, as well as comparing his craft and techniques in each medium during his early career. Welles' adaptations of Shakespeare will provide the guiding thread of this intermedial exploration. Close reading of these texts will show the recurrence of intermediality in Welles' work, namely, the way techniques from one medium feed into the other two. Borrowing conventions and devices that are proper to other media and importing them into a target medium is his basic innovative strategy. This use of intermediality brings about innovative effects that favour agile and gripping storytelling, though it can also hamper the understanding of the piece.
by Clara Fernández-Vara.
S.M.
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Briggs, Terese C. "What You Will: An Endeavor in Adapting Shakespeare to New Media." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/778.
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These scripts are the attempt to take three of Shakespeare's plays, Coriolanus, All's Well that Ends Well, and Much Ado About Nothing, and adapt them to create a type of video game called a visual novel.
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Silva, Deleah Vaye Emery Waters. "Nothing To Be Done: The Active Function of Samuel Beckett's Text." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3261.
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Fintan O'Toole states: "Plays survive not by being carefully preserved, not by being exhibited from time to time in theatrical museums, but by being tried and tested, taken apart and reassembled" (Game Without End).One of the great misconceptions and critiques of Samuel Beckett is of his presumed unrelenting control over his works. Artists, hoping to creatively collaborate with Beckett as they move his texts to performance, feel limited by his strict enforcement of that which he has written in his texts. Traditional relationships and functions allow directors to interpret an author's text. Not so with Beckett. Beckett demands that directors follow his authorial intentions as stated by his 'direct expression,' the indissoluble link between form (the text's physical nature) and content (the ideas expressed) within his texts. Beckett's control of his 'direct expression' is not a method of forcing meanings and interpretations upon his collaborators and his audience members. Rather, his purpose in protecting his 'direct expression' throughout the production process is to ensure the text's 'lack' of meaning and to preserve its ambiguities in performance. In this thesis I will analyze and argue that by preserving this 'direct expression' in Beckett's texts, the active relationships between author and reader (audience members) will be preserved throughout the production process and ultimately in the performance. Through this relationship, the viewer of the performance has the opportunity to become what Jacques Ranciere refers to as a more "active participant," composing their own poem with elements of the poem before them (Ranciere 13).
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Hidaka, Maho. "An exploration of doubleness through Kieslowski's films and my theatre practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1017.
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This thesis explores the theme of doubleness in the fields of film and theatre. I would like to use the word, “doubleness,” to refer to the wide range of states which contain any dual or overlapping aspects, beyond the normal association of the word, “double,” as meaning, “a person who looks exactly like another.” I also use the word, “doubling,” when I would like to emphasise the act of repeating or overlapping states. I will examine the doubleness not only within or in between characters but also within relationships between the created film world and the real world in which the creators have produced the film reality. The thesis consists of two parts. Part I deals with films by a Polish film director, Krzysztof Kieslowski, in three chapters. Kieslowski is a Polish film director who was born in 1942 and died in 1996. He started his career as a documentary filmmaker and shifted to become a feature film director, which has earned him a great international acclaim. The first chapter will examine the issue of doubleness in The Double Life of Veronlque, focusing on the doubled relation between Weronika and Veronique as well as on Veronique's boyfriend, Alexandre's interaction within this doubled relationship. The significance of Alexandre's occupation as a puppeteer is considered as part of the argument. The doubleness found in the process of the production is also discussed. The second chapter will be divided into three sections in order to discuss different types of doubleness in the three works that constitute a trilogy, Three Colours: Blue, White, Red. The final chapter of Part I will consider the doubling between the creators and the created of these films, focusing on some of the film characters who are seen as doubles of the director and the musical director. His earlier works will also be discussed when relevant throughout these three chapters... Part II introduces my own theatre creations and includes some comparisons with Kieslowski’s films. My theatrical work created during the course mainly concerns the scriptwriting and staging of Cui de Sac and Requiem. Cui de Sac was written and staged and deals with the main characters self-discovery through encounters with her doubles in dream. Requiem was produced in the following year and features an integration of classical piano performance as part of a theatrical piece. Here the central issue is the double personality of her dead twin sister inside her mind. The whole thesis deals with the issue of doubleness in order to explore the significance of understanding this subject for a richer comprehension of films and theatre works; for a better understanding of one's own identity; and for acknowledging the connections between people beyond time and space through this mysterious mediation of doubles.
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Read-Fisher, Kathryn. "One Size Fits No One: The Dramatic Truth About Size Discrimination in the Performing Arts." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1023.
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American theatre and media contribute to the violent systems of thinking around size and weight and its correlation to health. The argument that correlates higher body mass to lower overall health has been continuously disproved, and yet is still used as a tool to shame and justify sizeism. Educating the general public about health and size can assist in creating new models of representation and bodies can start to reclaim the space they deserve to take up, moving beyond the societal shame they currently face. In this thesis, sizeism is explored and unpacked through careful analysis of contemporary plays, television shows, and movies.
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Haas, Tara Nicole. "Critiquing the Critic: A Case for Journalistic Criticism in the Theatre." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5512.
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This thesis suggests that journalistic theatre criticism is a necessary and vital aspect of the theatre, promoting a healthy theatre community and culture. A healthy theatre community is supported by critics and artists alike, and is one where citizens are excited about the theatre, desiring to participate and engage with it often. It is one where artists and spectators listen, respect, and trust one another, being open to opinions and suggestions that may enhance and improve the theatre community. A healthy theatre community strives to provide theatre that may be multi-faceted in purpose, but allows for opportunities to challenge, uncover, teach, or simply entertain to become magnified, creating transformative experiences within the viewers. In the most utopic state, healthy theatre causes epiphanies that provide glimpses of a better world, one where individuals and societies may know peace. These interactions, with the magic that theatre can bring, may benefit communities on a level ultimately akin to changing the world. Journalistic criticism supports such healthy theatre by increasing interest and viewership, contributing to the theatre's growth, and recognizing ways in which it can utilize its deepest potential. In this thesis, I have performed qualitative and action research in order to evaluate myself as a critic. The thesis also explores how criticism functions in our society and, further, how it should function. I have analyzed various theatrical reviews I have written, and placed them into three sections, each representing a distinct element of theatre criticism. These elements comprise the most fundamental and vital functions of a review that leads to a healthy and improved theatre community. These sections are: “Increasing Promotion,” “Honest and Specific Feedback,” and “Emphasizing Social Justice.” Grouping the reviews into these sections, I will identify how I have contributed to the field of theatre criticism, and to these three realms in particular. I will also be able to recognize and indicate how I can progress as a critic to help support the field of journalistic theatre criticism. This thesis is very insular, personal, and beholden to me, presenting distinct limitations. The value of this work lies primarily in giving aspiring critics the opportunity to learn from my experiences and insights. Above all, this thesis holds value because of the improved critic I have become from completing it, ultimately able to better serve people in my writing for years to come.
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Saxton, Brian N. "The Media Production Experience: a Phenomenological Study of Student Media Production in a Secondary Education Environment." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/1014.
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Many media education researchers have pointed out the benefits of incorporating a production element into a media literacy program. In fact, the simple use of the word “literacy" alludes to both critical analysis of (“reading") media and creative expression through (“writing") media. However, many of those same researchers have found that there are serious difficulties with student media production from a practical standpoint. The lack of equipment, the lack of class time, poor educator training, and the possibility that students may produce school-inappropriate or offensive texts create doubts about whether or not the effort is worth the reward. This qualitative, phenomenological study seeks to provide an answer to those doubts from the standpoint of secondary education (high school) students who participated in a short film production project. The students were surveyed, interviewed, observed, and asked to keep journals about their experiences. That experiential data was then analyzed for significant themes or patterns that could illuminate the essence of the students' experiences. The relative value and the difficulties of the project from the perspective of the students are then evaluated.
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Gunoe, Andrea M. "The Physical Theatre of War: Language, Memory, and Gender in Black Watch and War Horse." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3725.
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The public's perception of war is influenced by every media story they see, every account they read, and every story they hear. News telecasts and newspapers tend to lean towards a focus of the grand narratives of war such as political involvement and overarching strategy. Media such as books and film can tell a more personal narrative of the events of war and attempt to display how war "really is" through the use of written and visual language that focuses more on how things happened as opposed to simply what happened. Theatre provides a unique perspective on war as the audience and performers are in a shared space with performed events of war that are live and embodied by individual performers. Theatre's unique attributes focus the audience towards a perception of the individual and his/her experience in war through the embodiment that is happening right in front of the audience. Physically based theatre narrows that existing theatrical focus to the body specifically in a way that makes the individual physical experience of the soldier the primary narrative. The politics and strategies of war will always be a secondary focus to the human body in the theatrical context. In this thesis, I examine two productions that come out of the United Kingdom in 2007: The National Theatre of England's War Horse and The National Theatre of Scotland's Black Watch. Through a close reading of these two productions I demonstrate physical-theatre's ability to highlight the human experience and importance in war as it focuses on the individual body and its relationships with other individuals. As these works are accessed through an examination of the visual and stylized language of physical theatre, the creation and recollection of memory in war stories, and the significance of gender in war, the humanizing representations imbedded in physical-theatre become evident. This thesis comes as the United States and the United Kingdom are involved in conflicts across the globe; some in continuation of the same conflicts that existed at the time these two productions were produced. Soldiers have continued to face astonishing hardships in these endeavors. By highlighting the individual experience and human involvement in war, theatre going public perception can be drawn towards an awareness of the individuals who go to war and away from alienating images of and idealized soldier figures fighting for an overarching political cause.
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Greenwood, Timbre Janiece Newby. "Cry the Beloved Media: New Media and Student Perceptions in a World Literature Classroom." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2760.
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This qualitative action research project addressed the infusion of media literacy and new media into a standard secondary English language arts curriculum. In examining students' perceptions of South Africa as they interacted with new media texts in conjunction with the traditional literary text Cry, the Beloved Country, this study also explored the manner in which students' media interactions informed their reading of the novel. As a result of the research data, the author asserts that media literacy education can, in fact, play an effective role in teaching literature within the world literature classroom.
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Millet, Sandra Kay. "Theatre History in the Secondary Drama Classroom and Beyond." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3507.
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Current Utah State Core Standards for Theatre require that theatre history be taught at levels II (Standard 3 Objective C), III (Standard 4 Objective D), and IV (Standard 4 Objectives A and D) of high school drama classes. However, a 2011 survey of Utah high school theatre teachers indicates that only 54% include theatre history as an "important" or "very important" part of their curriculum, while another 36% say they "touch on it." This thesis is designed to be a resource for secondary drama teachers in integrating theatre history pedagogy into their drama classes, in an engaging and performance-based manner that builds on activities that are usually already present in the curriculum. It also suggests methods for crossing the curricular divide and using theatre history projects to enrich students' experiences in other core and elective classes. As continued funding for the arts in our secondary schools is threatened in the current economic climate, it unfortunately becomes increasingly important for theatre programs to demonstrate the ability to collaborate with and enhance other disciplines, as we focus on producing graduates with high-level cognitive skills.
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Moss, Bradley David. "Positioning, Spectatorship, and Teen Films: Giving Students the Power for Effective Media Education." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3108.pdf.
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Amundsen, Sarah Audine. "Lady Libertines, Female Fops, and Lady Julia Fulbank: Aphra Behn's Extraordinary Female Characters." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2653.
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Aphra Behn has, throughout her life and subsequent years, been both demonized as a writer of bawdy and licentious plays and poetry as well as being hailed as the forerunner of female writers. She was a woman writing in a man's world, and not only survived the experience, but was exceptionally successful in her efforts. While so little is known about her background, the numerous plays she has left behind demonstrate a skilled author in many forms, as well as a creative and innovative storyteller. This thesis will examine how Behn used the traditional theatrical forms of the time and created dynamic female characters that were quite unique in their own ways. Stock characters were a standard in Restoration comedies, and she used these types to make significantly stronger female characters than those portrayed by her contemporary male playwrights. I will examine and compare her female libertines to the traditional male libertines in the plays The Rover or The Banish't Cavaliers and The Feign'd Curtizans or A Night's Intrigue. Following this, I will describe how her female fop in Sir Patient Fancy is so much superior to the customary male fop. The succeeding chapter will examine Lady Julia Fulbank from The Luckey Chance or An Alderman's Bargain and demonstrates how Behn was able to move outside of the traditional types of characters expected in these plays to create an entirely new character that has no counterpart in any Restoration play. Behn used the forms and tools available to her to create much more independent and dominant female characters than those expected in the genre. She created a voice for women, and the voice strongly declared that women were as capable, if not more so, than men.
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Rice, Andrea. "Rebooting Brecht: Reimagining Epic Theatre for the 21st Century." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555688903742283.
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Hill, Erika. "Co-learning Pedagogies in the Media Literacy Education Classroom." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2809.
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This qualitative research project describes the experiences of students in BYU's Hands on a Camera Project as they were introduced to co-learning pedagogies. Hands on a Camera is a media literacy service-learning project where university students are placed in public schools to teach K-12 students documentary production and media literacy. The project consists of a preparation phase and a teaching phase. In the research project, students were required to complete peer-learning and peer-teaching assignments during the preparation phase as in order to prepare for the teaching phase. This ethnographic study describes student experiences—positive and negative—with peer learning during both phases of the project.
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Brown, Matthew Jay. "Media Meets Science: The Experience of a Media Teacher and Science Teacher as They Implement Media Literacy in a Science Classroom." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3263.
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This qualitative action research study looked at my collaboration with a science teacher as we combined a Television Production class with an Advanced Placement Environmental Science class. This cross-curricular case study explored the implementation of the principles of media literacy, defined by the National Association for Media Literacy Education, into the science classroom where media literacy has traditionally been a non-factor. The impact of media and technology on everyone's daily lives is making it necessary for us to become media literate. The use of media literacy tools and strategies in a combined media production class and an AP science class created opportunities to explore cross-curricular understandings of media literacy education that would not have existed otherwise.
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Mackenzie, Alexandra Chantal Yvette. "Pilgrimage Narrative: A Pattern for Heavenly Theatre in King Lear." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1641.pdf.
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Nelsen, Mindy M. "Digital Identity and Performance:How Student Identity Construction can be Influenced Through Digital Social Media and Expressed Through Theatrical Performance." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5566.
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Adolescents and teens are surrounded by a myriad of influences that affect how they see and present themselves. Contemporary communication for these young people frequently happens in an online forum through digital social media. The primary purpose of this master's thesis is to examine the affect of digital social media on adolescent and teen identity construction and perception of self and other. Further research was performed to identify how that identity can be expressed through theatrical performance. The first chapter is a review of current literature, theory and practice of those within the educational paradigm who are trying to incorporate media literacy skills into contemporary pedagogy. An action research project was formulated to create lesson plans that aid students in engaging critically with digital social media and then empowering them with the skills to access, analyze, evaluate and create that media. Students then use their findings in the creation of a devised theatre piece. Chapter Two discusses the methodology involved with the gathering of the data and the process of analysis using open coding. Chapter Three presents the findings and exhibits student work and Chapter Four analyzes the findings and presents a course for future study, research and use of the findings in the contemporary drama classroom.
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Gunn, Anthony C. "This Is SportsCenter: Performance and Performativity in Sports Broadcasting and Punditry." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3421.pdf.
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Hill, Jeffrey S. "Story in Technology Classrooms: Teaching "Why" to Learn "How"." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4113.
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This qualitative action research project examined the experiences of high school students in a technology education course as they were taught accepted technology education standards in conjunction with storytelling principles through writing and producing their own short films. The data from the project demonstrate that incorporating the principles of storytelling into technology education can be effective in helping students not only become skilled with the tools of technology, but also become media literate and articulate in creative expression.
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Rock, Jeana T. "Teaching Another Literacy Across the Curriculum." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1866.
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Advances in communication technology have allowed for new ways for high school teachers to incorporate these technologies into their classroom practice. However, most teachers are uninformed about media literacy pedagogy. This study investigated how using a collaborative professional development group influenced teachers' understanding and use of media literacy concepts in their current practice. A professional development group with teachers from different content areas met for five months to study the theory and methodology of media literacy. This collaborative group provided opportunities for teachers to develop and share analytical and productions skills in media literacy, as well as design lessons utilizing media literacy principles appropriate to each teacher's field of study in order to facilitate better student understanding and application of media literacy as well as discipline-specific knowledge and skills. Results indicate positive development for the participants in using media literacy in their current instruction if adequate time and technology resources are available and that professional development groups for teachers of various content areas are an effective way to introduce them to media literacy.
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Lewis, Heidi Diane. "Speaking Out of the Dust: Religious Reenactments with the Specific Iconic Identity of Place." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/505.
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Sometimes, the place where a play is performed is as important as or more important than the play itself. The first known theatrical rituals were performed in spaces which came to hold deep religious significance. Many religious traditions regard certain places as sacred because of spiritually significant events which took place there, sometimes involving the presence of Deity. In an effort to build on that sacrality, sometimes religious cultures bring theatre to these spaces, which, in turn, tend to alter the nature of the theatrical event. This seems especially true in regards to theatre which presents a re-enactment of the events which originally sacralized the performance space. Creating a theatrical performance at the same space, and recreating the same event which made the space sacred in the first place, gives the theatrical event a reflexive quality which performances in a space designated for theatre do not have. The Passion of Osiris in Ancient Egypt and the celebrations and commemorations of the early Christian Church are two examples of theatrical reenactments of sacred events in sacred spaces. Although such performances have been uncommon since those of the early Christians, the Church of Jesus Christ of Latter-day Saints offers two comparable performances today (the Hill Cumorah Pageant and the Nauvoo Pageant); they are also reenactments of sacred events framed by the sacred spaces where they originally occurred. The main commonality of my focus is the sacred physical space which frames each of the performances as a sort of ethereal proscenium arch or a silent witness of sacred events.
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Caldwell, Toebey T. "A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/588.
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ABSTRACT
My project for this Interdisciplinary Master’s Program, studying Film Theories and Media Production methods, details “A Production Process for Creating a Web Series, called SNAPtv”. This media production was designed to demonstrate my experience and knowledge I gained through this degree, by specific areas of developing and producing media, including script writing, filming and editing media content, to construct an original web series from Pre-Production to Post-Production.
SNAPtv is a hybrid, sketch comedy, talk show produced as an online web series that mimics the characteristics of a semi-scripted Reality-Television series and combines the elements of a talk show with short comedy scenes used as segues for entertainment.
This original web series SNAPtv, features the lives of four students who move into a co-ed dormitory at Cal State University, San Bernardino (CSUSB). As freshmen students, they embark on a new but similar journey to achieve their academic endeavors while experiencing diversity, social and racial inequalities and situations relevant to those of college students. These issues included, the cost of an education, pressures of studying, time management and adjusting to college life.
This web series will launch from within the CSUSB’s own media channel to produce the first pilot webisode for SNAPtv, titled “MOVING IN”. This project will provide a sample production packet in the form of a manuscript for the development of this web series.
This project will include a completed sample production packet containing the documents necessary to create SNAPtv’s pilot webisode, including essential procedures and functions of The Production Process for developing and producing media.
SNAPtv will demonstrate my current knowledge and understanding of producing media for the Entertainment Industry while outlining my production process for creating SNAPtv
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Pierce, Zechariah H. "The Actor Behind the Camera." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4113.
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Through an accidental discovery of an interest in the film making process, I decided to explore the opportunities that would come through self-education in the field. Along the way, I found that the process of working behind the camera can, in fact, help the actor’s career in front of the camera and provide a chance to train in a nontraditional way. After directing two projects (one simple and one more complicated), I decided to propose a class in which students would be required to self- produce their own video projects online. The class was vastly popular, and the students’ responses to the class work lined up with my learning objectives perfectly. The actor must take control of his/her career by constantly working on the craft, and that can easily be done through going out and shooting one’s own work. Even if it doesn’t result in being ‘discovered,’ the pursuit allows the actor’s creativity and perspective to be ever widening.
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Watson, Ian T. "The Psychology of Theatre and Film: In Theory and Practice." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4202.
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This thesis utilizes theories and ideas from the field of psychology to inform intertextual and interdisciplinary readings that compare and contrast theatre and film texts. In Chapter One, I compare Carlos Fuentes' drama Orchids in the Moonlight to Nicolas Winding Refn's film Bronson in order to investigate the extent each oscillates between Carl Jung's notion of the collective unconscious and Gilles Deleuze and Félix Guattari's schizoanalytic paradigm. I found that while these vacillating aspects helped illuminate different perspectives of each text, Orchids in the Moonlight more closely represents the collective unconscious, while Bronson more robustly embodies schizoanalysis. In Chapter Two, I examine the magnitude to which the play and film version of Jean Cocteau's Orpheus illuminate his self-portrait. By analyzing the similarity and differences between how Cocteau depicts mirrors and the female personification of Death, I discovered the film version to more profoundly evoke and depict Cocteau's self-portrait. Finally, in Chapter Three, I discuss my process of writing a new play with film elements called Flooded—before providing a sample of the text, and later analyzing the advantages and disadvantages of the film contents in the play.
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Davis, Allan N. "A Hell House Divided: Performing Identity Politics through Christian Mediums of Proselytization." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2514.
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Every year, during the month of October, hundreds of Christian churches throughout the United States open the doors of their Hell House to surrounding communities. Hell Houses are Christian haunted houses designed to literally scare the Hell out of visitors so they will accept Jesus Christ as their personal Lord and Savior. In the place of vampires or zombies, Hell Houses portray the sins Satan is mostly likely to tempt teenagers to commit. Scenes include young girls receiving abortions, young men believing lies that they were born gay, and careless individuals drinking and driving. As para-theatrical performances, Hell Houses lead guests from one vignette to the next until they reach Heaven and Hell to show the eternal consequences of one's behavior. A Hell House is a medium of proselytization. Believers within the larger USAmerican Evangelical Christian community organize these events to facilitate the conversion of others. In this thesis, I explore how the use of Hell Houses and other mediums of proselytization are justified within religious-based communities through the implementation of what I refer to as a discourse of neutrality. According to religious-based communities because mediums of proselytization simply convey spiritual truth and reality to those outside of the community, they depict "how things really are." However, I argue that the use of each medium both reflects a perception of reality and contributes to the creation of that reality. Describing and discussing the mediums as "neutral" to the processes of creating reality and meaning generates an authoritative power to legitimately define the politics and boundaries of the religious community's identity. Furthermore, it masks the role each medium plays in the creation of reality as well as the tensions within the community to authoritatively define the "Evangelical Christian" identity. In this thesis, I explore Hell Houses as mediums of proselytization where Evangelical Christians perform their identity politics. To conduct this analysis, I examine how other mediums of proselytization associated with Hell Houses (i.e., the physical body, conversation-based evangelism, and the Internet) each depend upon their own discourse of neutrality to thrive in the community. Because each medium is seen as neutral, those who champion its usage garner an authoritative legitimacy to define the community's identity and Christianity along the lines of reality as informed by the supposedly neutral medium. Here, I detail the dynamics of the tensions within a significant and complex religious group in contemporary America and how performative practices within the community inform its identity politics.
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Brewster, Shelby Elizabeth. "Resisting the Body Invasion: Critical Art Ensemble, Tactical Media, and the Audience." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437149634.
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Breedlove, Allegra B. "The Digital Soliloquies of Hamlet." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/618.
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Holm, Åsa. "Stopp! Jag har ett förslag! : - en undersökning av Forumspelets demokratiska potential -." Thesis, Uppsala University, Department of Information Science, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-6771.
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Abstract
Purpose/Aim: The aim of this essay is to examine the democratic potential of Forum Games.
The main focus of the essay is if working with forum games can help the participators to better communicate their thoughts and ideas and through this take better part in a democratic society.
Material/Method: The material to the study has been gathered through three interviews with persons using forum games in their work and one enquiry with 21 students in Teacher education at Uppsala University, who had recently tried the method for the first time.
Main results: The conclusion of the study is that forum game has a democratic potential. Ability to communicate is important for a democratic society and participating in forum games can improve the participators communication abilities. Furthermore forum games seem to have other positive effects on a democratic society, apart from helping the participators to improve their communication skills.
Keywords: Forum Games, Forum Theatre, Communication, Democracy, Drama
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Vandorpe, Dries. "The Archaeology of Liveness." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430786242.
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Berg, Kenneth Arcade. "Inger iterativ arbetsstruktur fler fördelar än nackdelar inom level design till Unreal Tournament 3? : Reflektioner kring arbetsprocessen bakom "DM-Theatre"." Thesis, University of Skövde, School of Humanities and Informatics, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-1085.
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Rapporten är en reflekterande text som behandlar arbetsprocessen och omkringliggande mål för ett examensarbete inom medier som bedrivits mot Högskolan Skövde. Syftet med examensarbetet har varit att analysera huruvida en iterativ arbetsform inger fler fördelar än nackdelar vid level design till Unreal Tournament 3. Rapporten tar i diskussionsform upp delar ur hela produktionen för att redovisa utmaningar, framsteg och lösningar författaren bemött. En inblick ges för hur en iterativ level design-produktion kan utföras och för- respektive nackdelar gällande olika delar av denna specifika process. Slutsatsen som dras hävdar att det för med sig många fördelar att lägga upp arbetet iterativt. Detta diskuteras med vissa restriktioner då inget annat jämförbart arbete med annan arbetsprocess bedrivits av författaren som denne kan jämföra med.
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Laura, Joseph. "Rachel's Madcap Theater." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1929.
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This paper will cover the making of my thesis film Rachel’s Madcap Theater. I will break down all of the interdisciplinary aspects and collaborations with other artists that formed the final film: screenwriting, production design, directing, cinematography, sound, music, and special effects. For each of these categories, when appropriate, I will compare and contrast the changes made during the main stages of filmmaking: pre-production (all decisions made before shooting begins), production (all decisions made while shooting the movie), and post-production (all decisions made after shooting ends). I will then provide self-analysis of my process in order to judge both the ultimate success of my thesis film (did I make the film that I originally intended to make?) and the strengths and weaknesses of my personal abilities.
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Bravo, Nestor Fernando. "Filming Theater: The Audiovisual Documentation as a Substitute of the Performance." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/887.
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Theatre is not a thermometer of society; it is the fever. The archive is the aftermath that recalls that fever. In this thesis I theorize about the status of audiovisual documentation, its functionality, and its ontological relation with the performance. I argue that the film of a performance does not constitute evidence per se, but it acquires such status through the concurrence of other documents and archival artifacts existentially related to the theatrical production. I also propose that the audiovisual document becomes a substitute for the performance when it has disappeared from the historical world, becoming the new referent for other documents that also speak of the original performance. In the body of my thesis I introduce the trope of the Model Performance (MP), defined as the epitome of all the shows performed throughout the cycle of a theatrical production, in order to problematize the assumed stable nature of the performance as rather an evolvable entity impossible to document in its whole process. The MP, as a construct, allows me to formulate five orientations the archivist could take into account when deciding which, among the successive shows a production performs, should be audiovisually documented. It is through all these ruminations that finally I arrive to the conclusion of creating a holistic archival model using the new digital technologies, that I think are the best present media to recall and to assess the fever.
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Dixon, Tennessee. "PROJECTION DESIGN FOR A CONTEMPORARY DANCE WORK BY IVÁN ANGELUS IN HUNGARY." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2536.
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The purpose of this thesis is to document and analyze my projection design for a new dance piece, "VŰ", directed by Angelus Iván and staged at Trafó in Budapest, Hungary. Included is an account of the design process, the concept and projection development described scene by scene, execution, performance and evaluation. The paper ends with reflections on the relatively new field of image projections, and my professional goals in scenic design.
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Bauer, Robert B. "Resisting the Resistance: The Emancipation of Students from the Hidden Curriculum of Commodified Resistant Narratives in Young Adult Dystopian Film Through Open Pedagogical Space and Culture-Jamming." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5621.
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Young Adult Dystopian Film exercises an influence over young people of which they are not aware. As part of a structure of domination these films teach students to participate in their own oppression by the capitalist system. The film industry maintains a hidden curriculum like that utilized in school classrooms to conceal the oppression from the masses. One particularly effective means is the portrayal of resistance against oppression in the narratives of the YA Dystopian Film. Young people are drawn to that narrative and end up supporting the structure of domination financially and ideologically. Modes of resistance to this oppression can be found in Media Literacy Education and Public Pedagogy (e.g. culture-jamming). Teachers can incorporate Media Literacy and culture–jamming into a form of radical pedagogy to emancipate students from that oppressive relationship.This thesis investigates the usage of this radical pedagogy though an action research project in a high school drama class in the intermountain west. The students learned the theories, critically reflected on the situation, and created a live culture-jamming performance. The results of the action research show the affordances and limitations of this approach and offer suggestions for instigating its usage by media literacy educators.
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Speight, Dana T. Ms. "Transforming the Mundane: Juxtaposing Maria Friedman’s "High Society" with George Cukor’s "The Philadelphia Story" as an Emphasis on the Importance of Theatre." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/352.
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The subjects of film and theatre belong to an extensive hierarchical debate that has remained prominent within the realm of performing arts since the introduction of cinema in the late nineteenth century. A plethora of scholars choose to argue in favor of the former, suggesting that film surpasses theatre as superior in both aesthetics and overall execution of naturalism; however, the argument is purely subjective and cannot be applied to all films and their corresponding plays. As a counterclaim, theatre continues to thrive as a prominent source of artistic entertainment globally, not only offering a contemporary twist to preexisting texts, but also impacting an audience in methods that film will never be able to do so. Maria Friedman’s High Society is a primary example that reaffirms how theatre can triumph the continual debate when compared to its preceding film – The Philadelphia Story – directed by George Cukor, both artistically and through its overall execution of the profound topics represented within the original text. This thesis will primarily juxtapose Cukor’s iconic film with Friedman’s revival of the former that was performed in 2015 at London’s Old Vic theatre, offering an innovative rebuttal to the preexisting debate as well as to affirm the argument of how theatre compellingly transforms the mundane.
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Ray, Emily Grider. "Part of Their World: Gender Identity Found in Disney Princesses, Consumerism, and Performative Play." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3320.pdf.
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Stifflemire, Brett S. "Physicians, Society, and the Science Fiction Genre in the Film Versions of Invasion of the Body Snatchers: or Doctors with a Serious Pod Complex." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2268.
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Close textual analysis of the four extant film versions of Invasion of the Body Snatchers reveals that each film modifies the original story such that it reflects changing societal attitudes toward physicians and the medical profession, as well as depictions of military and government in the science fiction genre. The changing depictions of characters and events in these films respond to changes in medical history, social history, and the science fiction genre across five decades. Each film reflects the contemporary anxieties of its time and the perceived ability of physicians to relieve those anxieties. Doctors are important semantic elements of the science fiction genre, and their position within the syntax of a film helps to determine its meaning. By focusing on the physician character, this study finds that in addition to being a metaphor for threats such as Communism, Invasion of the Body Snatchers also reflects concerns about disease and other medical threats.
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Olmos, Aline de Almeida 1987. "O Oriente imaginado no Théâtre du Soleil : um estudo sobre o espetáculo Tambours sur la digue." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285333.
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Orientador: Cassiano Sydown QuiliciDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T23:41:31Z (GMT). No. of bitstreams: 1 Olmos_AlinedeAlmeida_M.pdf: 2978523 bytes, checksum: 410b9d0b7e38a48a9003d23bf6805b13 (MD5) Previous issue date: 2015
Resumo: Este trabalho pretende analisar a maneira própria com que o grupo de teatro francês Théâtre du Soleil se relaciona e é influenciado por tradições teatrais orientais. Com esse objetivo procura-se estabelecer como a relação do grupo com diversas dessas tradições se desenvolveu a partir de um panorama que abarca todas as criações teatrais de Ariane Mnouhckine, diretora da companhia, desde antes da fundação do Théâtre du Soleil até a peça Et soudain des nuits d¿éveil, de 1997. Posteriormente analisa-se o objeto de estudo específico dessa pesquisa, o espetáculo Tambours sur la digue, criado em 1999, buscando-se identificar, em seu processo criativo, os mecanismos e abordagens próprias da companhia no que diz respeito a sua forma particular de apropriação e tratamento de suas referências teatrais orientais. Nesse ponto destaca-se a importância da relação estabelecida com tais tradições chamada de "relação imaginada" e a partir do detalhamento desse conceito evidencia-se as particularidades da companhia no tratamento dessa questão. Ao final dessa dissertação busca-se aprofundar as particularidades da companhia descobertas propondo um diálogo com outras abordagens interculturais de outros artistas, teóricos e críticos teatrais
Abstract: This study aims to examine the way in which the French theater group Théâtre du Soleil relates to and is influenced by Oriental theatrical traditions. To this end we seek to understand how the group¿s relationship with many of these traditions has developed, establishing a panorama that encompasses all theatrical creations held by the director of the company, Ariane Mnouhckine, from before the foundation of Théâtre du Soleil to the play Et soudain des nuits d'éveil, presented in 1997. Afterwards, we establish an analysis of the subject matter of the research, the play Tambours sur la digue, in which we seek to identify, within its creative process, the mechanisms and the approaches of the company regarding their particular manners of managing and handling eastern theatrical references. At this point it is emphasized the importance of the relationship with those traditions through an explanation of the concept of "Imagined Relationship", whose detailing evidences the particularities of the company¿s treatment of this issue. At the end of the dissertation, we seek to further develop the peculiarities of the company that were discovered, proposing a dialogue with other intercultural approaches held by artists, theorists and theater critics
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena
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Hao, Priscilla Ruth. "An Interpretation of Modern: Costume Designs for An Adaptation of Shakespeare's The Two Gentlemen of Verona." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1486.pdf.
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Rice, Jeremy F. "My worst ever night at the best school ball ever : creating taboo theatre for teenagers." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/849.
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My Worst Ever Night at the Best School Ball Ever (School Ball) is a new play for teenage audiences. The action takes place on the night of a ball for final year students. A prank with a goat goes horribly wrong, a photo of a girl pissing in a pot plant is widely circulated, and everyone finds out about the boy in a sexual relationship with a teacher. At the heart of the play are teenagers, armed with mobile phones, trying to find their way in a contradictory and confusing world.
The creative development of School Ball centred on practice-based artistic research into the field of theatre for young audiences (TYA) through my practice as a director. The research question was: how to produce taboo theatre for teenagers?
School Ball was conceived as a production that would tour to schools. The school ball concept was popular with teachers, parents and theatre company board members but I encountered strong resistance to the story of a male student in a sexual relationship with a female teacher. Even though such relationships were being reported weekly in the media, the content was perceived to be taboo for young audiences. Developing School Ball investigated the complex relationships between TYA and the education system, as well as artistic and production strategies to navigate School Ball past school gatekeepers and reach its target audience.
Young people are at the centre of the research practice, participating in workshops, collaborating with artists, and responding to the work. Their involvement helped make School Ball accurately reflect adolescent experiences, such as the centrality of text messaging – another taboo in the school environment.
Australian TYA is considered to be at the forefront of international practice: innovative in creative process and theatrical form, imaginative and daring in content. But TYA practice is neither homogenous nor self-contained. In artistic practice, means of production and competition for audiences, TYA intersects with Theatre in Education (TIE), Young People’s Theatre (YPT), drama education, adult and commercial theatre. Part of the research aimed to understand the TYA landscape and the place of School Ball within it.
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Kidd, Karen Marie. "Towards a Better Use: The Utah Shakespearean Festival, Teaching Artists, and Outreach Programs." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2863.
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Teaching Artists are an important component of the Utah Shakespearean Festival's Education Department's outreach touring program that visits K-12 schools throughout Utah each year. However, the Education Department could be using Teaching Artists in different and better ways to help K-12 teachers infuse theatre into their curriculum. This work looks carefully at the outreach offered by the Utah Shakespearean Festival's Education Department and then compares it to the outreach work being done by the Oregon Shakespeare Festival and Shakespeare Santa Cruz. Based on the analysis of the three festivals, assessment benchmarks are identified to aid the Education Department in evaluating their use of Teaching Artists and suggestions are made to help them strengthen their outreach programs through the creation of a Teaching Artist training program that would allow more Teaching Artists to work in Utah K-12 schools. The work concludes with ideas for lesson and unit plans for Teaching Artists of various levels to use in the K-12 classroom that align with the State Common Core Standards for Language Arts that were adopted by Utah in August, 2010.
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Edwards, Kurt Alexander. "Billy Graham, Elmer Gantry, and the Performance of a New American Revivalism." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1212785421.
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Yount, Sarah Mansell. "What's a Female Director To Do? The Women of Medea Redux and the Men of Someone Who'll Watch Over Me: A Study of the Sexes." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1765.
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My thesis will explore the role of the female director. The two plays on which I will focus, Neil LaBute’s medea redux and Frank McGuinness’s Someone Who’ll Watch Over Me, call for quite different casts. The former involves a woman in a police interrogation room; the latter involves three men in a Lebanese prison. Despite the overt masculinity of these plays, traces of femininity permeate. Indeed, my status as a female director provided one of the clearest paths into these plays when I directed them last year at Virginia Commonwealth University. My gender also greatly influenced my direction of the actors. My experiences working on these shows provided a backdrop from which to reflect on my role as a female director in a male-dominated field. In my thesis I will reference notes I took during the rehearsal process. I will also include much of my dramaturgical research. Finally, throughout my writing process, I will attempt to define “masculine” and “feminine” both with regard to theatre and to theatre direction. This document was created in Microsoft Word 2003 for Mac.
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Brown, David Cleveland. "How to be a Misanthrope: Creating the Title Role in Moliere’s The Misanthrope." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2128.
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This thesis documents my research, rehearsal, and performance of the role of Alceste in Moliere’s The Misanthrope, which includes, a biography of Moliere, character analysis, role development, a rehearsal journal, character research, acting process, evaluation of my performance, and script analysis. The Misanthrope was produced by the UNO Department of Film and Theatre, under the direction of David W. Hoover. The play was performed in the Robert E. Nims Theatre of the Performing Arts Center September 17 - 19, 24 - 26 at 7:30pm, and September 27, 2015 at 2:30pm.
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Ryan, Reilly Judd. "Where Are Those Good Old Fashioned Values? Family and Satire in Family Guy." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5583.
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This paper explores the presentation of family in the controversial FOX Network television program Family Guy. Polarizing to audiences, the Griffin family of Family Guy is at once considered sophomoric and offensive to some and smart and satiric to others. Though neither judgment of the show is necessarily mutually exclusive, the intention of this study is to reconcile those disparate viewpoints in order to measure the show's purposefulness. After all, if Family Guy succeeds in its satire, it is full of social purpose, offensiveness notwithstanding. This thesis focuses on arguably the main point of contention in Family Guy: the family. Those critical of the show denounce the Griffins for their less-than-exemplary behavior. Proponents of the show—while not exactly disagreeing with that perception of the Griffins—differ in their approach, as they consider the Griffins satiric characters meant to be models of misbehavior. Reformative in nature, satire attacks vice and folly directly and indirectly, and it is in its combined use of direct and indirect satire that Family Guy, at times, misses the mark. By directly satirizing other families in its trademark cutaway transitions, Family Guy places its own family, the Griffins, in a position of superiority, which complicates matters when the Griffins indirectly become objects of satire. Especially regarding the relationship between Griffin family patriarch Peter and his daughter Meg, Family Guy oftentimes presents an imbalanced “satire” that would best be described as “abuse.”
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Płazińska, Katarzyna. "Notes on Solace." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1891.
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Stock, Marel Angela. "Puppets, Pioneers, and Sport: The Onstage and Offstage Performance of Khmer Identity." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2944.pdf.
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Brown, Arielle B., and Arielle B. Brown. "The Effects of Politics and Media on America: Creating the Role of Lainie Wells in Lee Blessing's Two Rooms." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2130.
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Two Rooms, by Lee Blessings, was selected for performance at the University of New Orleans during the fall of 2015. I studied and portrayed the role of Lainie Wells as my thesis project. The purpose of my thesis was to research a character physically, psychologically, and emotionally as an actress and create a character through the eyes of Lainie Wells.
The following is a brief breakdown of the structure of my written thesis: biography of Lee Blessing, hostage families and their mental state as it relates to the Iranian hostage crisis, mass media effects on Syria, The Hunt for Bin Laden, the rehearsal process, and a scored script including all actions and objectives; a review of my work, my own conclusions based on my process and character arc, photographs of my performance, a professional headshot along with my resume to highlight the significance to my work as an artist.