Dissertations / Theses: 'Theatre arts'

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Davis, Amanda Sutton. "Delta Theatre Productions: A Start-up Theatre Company." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/aa_rpts/133.

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This report is the result of a year-long internship with a new theatre company in New Orleans, Delta Theatre Productions, currently operating under the name Delta Productions. I functioned as the Managing Director for this start-up, building organizational infrastructure from the ground up, guiding the process of its first production from idea to final product, and creating the branding of the organization in order to set it apart from its competition and establish it as a viable and healthy theatrical company for the New Orleans community. This report tells the story of how the organization began, reports on my duties as an intern, analyzes the successes and failures of the first year of operation, relates guidance from the best practices of other theatrical organizations around the nation, and finally offers practical recommendations for Delta Productions as it pursues growth and sustainability.

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Woodruff, Graham James Michael. "Community arts theatre : subversion or incorporation?" Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405025.

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Trippi, Brandi L. "Saenger Theatre: for-profit arts organization." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/aa_rpts/8.

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The following report describes the activities and outcomes of a fourteen-week internship in the fall of 2004 in the Marketing, Booking & Special Events and Group & Corporate Sales Departments of the Saenger Theatre. The first section contains an organizational profile. The second is a detailed description of the internship. The third section is an analysis of the internal and external problems within the organization. The fourth is an explanation of the Best Practices found within the organization and any recommendations for the resolution of challenges. The conclusion of the report contains a discussion of the short and long term effects of the intern's contributions to the organization.

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Zimina, Natalia. "The Journey: Theatre and Arts center." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/31267.

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Where are the boundaries between past and present, dream and reality, private and public, action and perception? Upon these opposites, we journey through our lives. If the purpose of architecture is more than the construction of a shelter, then architecture also is a reflection of these contradictions in a human mind. The goal of this project is to illustrate how the notion of life's journey is similar to the experience of theatre, and how the architecture of the theatre can answer the questions above.
Master of Architecture

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Steward, Caty. "Theatre Baton Rouge." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/197.

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This report details an internship with Theatre Baton Rouge, where I served as Marketing and Development Coordinator. In this paper I will provide an overview of the organization’s history, programming, and outreach along with a description of my 480 hour internship. This report outlines the workings of the theatre’s operations through investigation of strengths, weaknesses, opportunities and threats, and industry best practices. This analysis will lay the groundwork for recommendations to Theatre Baton Rouge that will address leveraging the strengths, as well as use opportunities to combat the issues currently hindering the company from continued growth.

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Lawver, Kimberly. "SWOT Analysis of Theatre 8:15, A Children's Community Theatre." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1336245437.

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Chamberlain-Snider, Sandra. "Arts Umbrella's Theatre Troupes : a history of theatre training for children and youth." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44203.

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Arts Umbrella is a not-for-profit arts education centre for children and youth ages two to nineteen. Its Theatre program has been providing artistic theatre training to young people in the Metro Vancouver area for almost thirty years. This study's objective is to present the history of the Theatre Troupes within a historiographical methodology that takes into account all the contributing factors towards the program's successful development. The material archive resources of Program Guides, Reports to the Board, Newsletters, Show Programs and the original Business Plan are documented in a chronological exposition of the Theatre Troupes' history along with interviews with Arts Umbrella co-founder Carol Henriquez, the influential Troupe directors Sarah Rodgers, Paul Moniz de Sa and Susanne Moniz de Sa, other artist-instructors and a summary of survey questionnaire responses from parents and alumni. The young theatre students at Arts Umbrella have experienced a rich and diverse history of theatre artists in Vancouver, in a safe and nurturing environment that has been consistently funded and stable administratively since inception of the Theatre Arts program in 1984.

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Smith, Rodger W. "Hidden theatre : corporate theatre in America /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841336.

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Iadevaia, Jennifer Sarah. "Exploratory Theatre Activism| Implementing Theatre Pedagogy in Educational Landscapes." Thesis, Prescott College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10102199.

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For the purposes of this thesis, I begin with an overview of theatre for social change in the introduction and then focus on the literature review as a way to introduce authors, ideas, theory and knowledge as background for the reader. This includes anecdotal accounts, reasoning for research and methodologies for carrying out research. I look at feminist theory, community-based theatre, education for liberation and decolonizing knowledge as a basis for my continuing ideas and theories. My emphasis is how to use expressive arts theatre as a way to connect people through dialogue in communities. One of the many ways is implementing curriculum through public school venues. I use theatre techniques that have been used successfully in a variety of global communities that help aide in focusing on certain issues a community is experiencing. I conducted a Women's Theatre Workshop that consisted of an intergenerational community of women whom embarked on a journey engaging in profound material exploring issues that women face. We found that this work was powerful in a variety of ways for them, some highlighting emotional abuse, oppression and double standards as well as theatre being a tool for non-traditional therapeutic use.

Keywords: praxis, theatre, education, freedom, decolonizing, feminist, theatre for social change

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Lawrence, Julie. "Theatre arts assessment in New Jersey high schools /." Full text available online, 2005. http://www.lib.rowan.edu/find/theses.

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Pattie, David. "Alternative theatre and the state." Thesis, University of Kent, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303246.

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Siero, Eugenia. "Studio Theatre: An Internship Report." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/196.

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The following internship report is a documentation of my work with Studio Theatre in Washington DC during the summer and fall of 2015. This report is based on my experience as an intern with the Marketing Department, where I had the opportunity to develop several large projects for the theater’s 2015--‐2016 season. Studio Theatre is a strong organization that produces excellent modern plays and strives to present the best work to its audience with every single show. This paper will discuss the different duties of the internship, as well as the organization’s history and structure, organizational strengths and weaknesses, and its future direction.

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Kazepis, Tony. "From Jackson Pollock to theatre." Thesis, Federation University Australia, 2004. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/164863.

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Schiele, Jinnie. "Post war theatre in Camden : a study of three theatre enterprises (the Bedford Theatre, the Open Space Theatre, the Round House), between 1949 and 1983." Thesis, London Metropolitan University, 1987. http://repository.londonmet.ac.uk/2943/.

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The thesis presents a study of three theatres in Camden: the Bedford Theatre, the Open Space Theatre, and the Round House. Each section contains details of the theatres' histories, their managements and their artistic achievements. The amount of detail varies according to the availability of material and in each case the emphasis is different. In all three sections particular periods have been discussed at length because they represent a significant achievement on the part of the management and artistic directors. At all times the author has stressed the importance of the repertoire which each organisation presented and casebook studies of key productions have been written to illustrate the use made of the available stage space.

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au, r. mccarron@ecu edu, and Robyn McCarron. "Performing arts in regional communities: The case of Bunbury, Western Australia." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050501.153348.

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Abstract In Australia during the 1990s increased attention was paid to regional, rural and remote communities and, in terms of arts and culture, the establishment of regional arts umbrella organisations, at both national and state levels, stimulated interest in, and development of, the arts in those communities. Discourses around the notion of the civil society and the ways in which social and cultural capital can be acquired and transferred, have led to renewed interest in the economic and social functions of the voluntary, not-for-profit sector of Australian society. This thesis aims to advance the critical study of regional cultural development. It examines the role and function of the performing arts within regional communities through a case study of the city of Bunbury, Western Australia. Regional performing arts are often trivialised or marginalised by metropolitan practitioners, critics and academics, particularly as they are almost entirely, in Australia, a volunteer/amateur pursuit. However volunteer performing arts groups provide physical and social spaces that encourage networks of civil engagement that have implications for the functioning of the broader community; and, in the case of Bunbury, a degree of independence from the bureaucratic requirements of arts funding bodies. The thesis proposes that volunteer, not-for-profit (amateur) theatre has a stronger claim on the title community theatre than the state-funded community theatre movement of the 1970s and 1980s. The thesis also examines the strong community affiliations that have been generated by the community-owned, professionally-managed Bunbury Regional Entertainment Centre. It situates this discussion in the context of the rapidly changing urban landscape in which the Entertainment Centre is placed and its affiliations with local, regional, state and national funding, networking and touring structures. It argues that considerable social and cultural capital is generated through the active involvement of citizens at many levels of the performing arts in a regional community such as Bunbury. Although for most, the involvement is voluntary and recreational, it also has direct economic outcomes in terms of the developing creative industries of the region. A major contribution of the thesis is the provision of a model for the function and impact of regional community performing arts as it theorises the tensions between governmental (funding) models and self-generated regional arts practices through case study and detailed analysis. In doing so the thesis contributes to key debates in two significant ways, firstly by providing an important historical/cultural document and secondly, by highlighting new ways of thinking and speaking about the role of the performing arts in regional communities.

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Sollish, David S. "Musical Theatre in the Mountains: An Examination of West Virginia Public Theatre's History, Mission, Practices, and Community Impact." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276802020.

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Hight, Hartwell Keith. "Professional Theatre in the Academic Theatre Setting." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/655.

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Abstract: The purpose of this study is to discuss the dynamic of continued employment for the theatre instructor. Surprisingly, very little is written about continued employment for the theatre instructor. In the present study, the terms instructor and teacher carry the same meaning. Because theatre builds successful human beings, a theatre program must allows students, graduates, and other interested candidates the opportunity to work closely with experienced professionals in their field.

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Barron, Allison Kate. "Tulane Summer Lyric Theatre: Internship Report." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/aa_rpts/143.

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The following report documents my internship with Tulane Summer Lyric Theatre (SLT) during the summer of 2012. Tulane Summer Lyric Theatre was established in 1968. It is beloved by many faithful patrons in the New Orleans community. During my internship, I worked with the administrative staff and box office manager to focus on box office operations and volunteer oordination. My primary goals were to sell tickets for the upcoming season and to obtain volunteers for purposes of ushering the shows, and keeping patrons happy. This internship report provides an overview of Tulane Summer Lyric Theatre based on observational research and thorough analysis. The report examines organizational strengths, weaknesses, opportunities, threats, internal/external issues, and provides best practices of a similar organization and recommendations for organizational improvement.

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Lazar, Peter Brooks. "Southern Rep Theatre - An Internship Report." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/177.

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This report describes the duties and responsibilities involved in a 480-hour marketing and development internship from June to December of 2014 with Southern Rep Theatre. This first-hand research, supplemented by an earlier, shorter period as a box office associate from February to April of 2014, is used to examine the marketing, development, and managerial practices of the company. This examination includes a SWOT analysis, second-hand research into best practices, and recommendations for the company’s future. Southern Rep is a three decade old 501(c)3 not-for-profit professional theatre company based in New Orleans, which places a special emphasis on producing new works by contemporary playwrights.

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Clippard, Kristin. "A director's mash-up of She Stoops to Conquer or the Mistakes of a Night by Oliver Goldsmith." Thesis, The University of Iowa, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1540338.

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Sikhafungana, Zuko Wonderfull. "Theatre formations: Rethinking theatre and its spaces in Cape Town." University of Western Cape, 2020. http://hdl.handle.net/11394/7550.

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Magister Artium - MA
Scholarship on theatre in South Africa has shown how under the Apartheid government theatrical practices were divided into different genres such as protest theatre, township theatre, black theatre, mainstream theatre etc. In many ways theatre today presents the same fractures and polarisations: community and mainstream theatre. This study investigates ways in which black theatre artists from marginalised and disadvantaged communities with and without formal training negotiate themselves within theatre spaces in Cape Town. Discussing and analyzing the works and the trajectories of two case-studies: the Ukwanda Puppet and Design Company and the Back Stage Theatre Production Company, I attempt to demonstrate how works of arts that awkwardly sits with labels such as “community” or “mainstream” theatre are emerging more and more in the Cape Town theatre scene.

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Horne, Courtney Ayana. "Developing Confidence in Late Adolescents: A New Theatre Curriculum." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1492437412092612.

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Dorotiak, Jared. "Transformative Intersections: Theatre and Adaptation in Mary Zimmerman's Metamorphoses." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1375201350.

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Bilbrough, Gordon. "Playing for keeps : an examination of arepp : Theatre for Life's applied theatre pedagogy with regards to adolescent sexuality." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/7784.

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Includes abstract.|Includes bibliographical references (leaves 152-163).
This dissertation examines the particular method developed by arepp: Theatre for Life, a South African Non Governmental Organisation, in its work of providing sexuality and social problem solving life-skills education for adolescents, towards the development of self-efficacy in school-going youth, by means of dramatic presentations. The research is broadly located in the fields of applied theatre, experiential learning and participatory action research. Social cognitive and self-efficacy theory underpin the educational goals, whilst phenomenology, the 'eventness' of theatre, narrative and diegesis are key to the conceptual framework within which arepp: Theatre for Life's use of theatre is examined. The arepp: Theatre for Life archive, including the organisation's internal monitoring and evaluation system, provide the primary data source for this investigation, which focuses on one arepp: Theatre for Life production, Look Before You Leap: Hangin' in 2007, for specific inverstigation and the provision evidence. arepp: Theatre for Life's applied theatre pedagogy combines the concepts of observational learning through a theatre show with the processes of experiential learning through a facilitated discussion to develop self-efficacy with regard to adolescent sexuality.

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Spires, Laura Ann. "Striving for Success in Times of Change: Leadership in Nonprofit Theatres." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429176930.

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McIlvaine, Colin Joseph. "PURPLE OCTOBER: A SCENIC DESIGN FOR SPRING AWAKENING." Master's thesis, Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/237914.

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Theater
M.F.A.
This thesis examines, details, and evaluates the process used while executing the scenic design for a production of Spring Awakening, produced by Temple University's Department of Theater. I will discuss each part of the design process as well as the technical rehearsal process and evaluate the choices made.
Temple University--Theses

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Middleton, Deborah Kathleen. "The theatre of affect." Thesis, University of Hull, 1993. http://hydra.hull.ac.uk/resources/hull:3554.

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There is an extensive body of work in the fields of philosophy, psychology, and sociology which identifies a specific world view based on the following criticism of modern society: that people live monocerebral existences divided from their physical, emotional, and intuitive abilities. In this state, the capacity for affect -emotional response - is believed to be atrophied, and experience nullified. Such a condition - which may be loosely termed 'mind/body split' - results in a diminished ability to relate to other people, a sense of alienation from the world, and a pathological loss of human capacities. Many psychologists believe that this state prefigures neuroses, destructiveness, and schizophrenia. This thesis is concerned with the concept of 'mind/body split' and its relation to affective communication in the theatre. The subjects of my enquiry are theatre practitioners or companies whose work has directly addressed these issues: Antonin Artaud, Jerzy Grotowski, The Living Theatre, The Performance Group, The Open Theatre, Peter Brook, and Eugenio Barba. My aim has been to re-examine the work of these seven in order to produce evidence of their concern for affect, heightened experience, and the healing of mind-body schism. I propose that an understanding of these concerns provides a major critical key to the appraisal of the practitioners in question.

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Willoughby, A. "Video Game Theatre." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2424.

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Video games are becoming the fastest growing and most lucrative form of entertainment across the globe. The goal of this project was to take gaming to the next level; to the theatre. I have devised an original piece of theatre using the CIC’s of video gaming: Creativity, Interaction, and Community and put on a production from members of the VCU community. Aside from the project, I have detailed why video games are growing in popularity at an alarming rate and why they belong in the category of ‘Art.’ With new technology and new stories being told, the gaming industry is now an entertainment force to be counted. The project was exposed to the VCU community involving gamers from many different areas of study through theatre as our medium allowing us to convey our thoughts, emotions, and message to an audience. This experimental project is an exploration into bridging the world of gaming into the laps of an awaiting audience.

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Bizub, Christopher M. "Best Marketing Practices for Building a Strong Audience-Base for Rubber City Shakespeare Company." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1492091807857684.

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Gambill, Christin N. "" A Poor Player That Struts and Frets His Hour Upon the Stage..." The English Theatre in Transition." University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1458984846.

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Bossert, Paul. "A report on an Arts Administration internship at the Theatre of the Performing Arts, Summer 1987." ScholarWorks@UNO, 1987. http://scholarworks.uno.edu/aa_rpts/62.

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From May 11, 1987, through August 14, 1987, Paul Bossert interned at the Theatre of the Performing Arts. The internship was approved by the intern's Graduate Committee and confirmed by the Arts Administration Advisory Committee. It partially fulfills the requirements for the degree of Master of Arts in Arts Administration. The internship encompassed duties involved in the management of a performing arts facility. The internship was supervised by Mr. Leonard Sobel, Stage Manager of the Theatre of the Performing Arts. The following report profiles the Theatre of the Performing Arts, describes the internship, analyzes management challenges posed by the internship, offers recommendations for the resolution of these challenges, and discusses the effects of the intern's contribution to the organization.

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Kleberg, Lars. "Theatre as action : Soviet Russian avant-garde aesthetics /." Houndsmills, Basingstoke, Hampshire : Macmillan Press, 1993. http://www.loc.gov/catdir/enhancements/fy0808/95184875-b.html.

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Myles, A. Clifton. "The Story of NADSA (The National Association of Dramatic and Speech Arts, Inc.)." Diss., Virginia Tech, 2000. http://hdl.handle.net/10919/28292.

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As the 25th president of the National Association of Dramatic and Speech Arts, Inc. (NADSA), it was my goal to develop a plan of action for NADSA in the 21st century. Not only is my responsibility to continue the legacy established by others, but also it was my desire to develop ideas based on a thorough and exhaustive historical analysis of the organization, which laid the foundation for a self study of this sort to happen. The purpose of this study is to thoroughly investigate the history of the NADSA for two reasons: 1) to determine what is the driving force behind this organizational structure that has caused it to be the oldest surviving national educational theatre organization in the country; and 2) to evaluate why this association has not taken the rank of being the "premier" theatre association among theatre practitioners. It has been sixty-four years of struggling and surviving for the oldest Black educational theatre organization in America, and that is a magnitude of history of which to be proud. Founded upon the principle that Blacks needed to be educated in both speech and theatre, NADSA has provided a vehicle for almost sixty-five years. This organization established competitions, publications, symposiums, meetings, and opportunities for minorities who had interests in speech and/or theatre on a national level. It also provided opportunities for professional development and networking when Blacks were still thought of largely as "coons". NADSA acknowledged an art form for Blacks when many thought that pursuing theatre arts was simply a waste of time. What I found is simply that this great organization was built on a strong organizational structure and has a phenomenal legacy. The downfall of the organization, as with any organization I suppose, has been with the people who make momentous decisions, based oftentimes not on thinking in terms of what is best for the organization, but possibly, on what is best for their own political agendas. This research has revealed that the organization has survived because there was a need then and there is a need now for Historically Black Colleges and Universities (HBCUs) Speech and Theatre programs to meet and compete in the areas of speech and theatre. It is these largely because of these meetings that HBCU programs receive validity, very similar to that of athletics, which is the model that Edmonds', NADSA's founder, used to develop the structure for NADSA. Also, the research determined that NADSA has not taken the rank of being the "premier" theatre association in the country primarily because that status was never NADSA's goal. NADSA serves a clientele that supports underfunded Speech and Theatre programs primarily at HBCUs. And because it has stayed true to its mission, NADSA has survived the tests of time and maintained its history, mission, and legacy as the oldest surviving educational theatre association in America -- May Its Soul Go Marching On!
Ph. D.

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Bryson, Caitlin E. "Advancing toward accessibility| Disability accommodation in the theatre." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10076449.

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This thesis discusses the need for and implementation of increased theatrical accommodation for patrons with disabilities. It begins by discussing the requirements of the Americans with Disabilities Act as they relate to theatres. Accommodations that go beyond the bare minimum required by law are discussed, including open and closed captioning, American Sign Language interpretation, audio description, and sensory-friendly performances.

The thesis gives evidence in the form of an anecdotal analysis of American Sign Language and captioned performances in the CSULB Theatre Arts Department. Each method is then evaluated for potential implementation in the Theatre Arts Department, based on its feasibility and impact given the population served by the Department. Finally, the thesis makes recommendations regarding which methods should be implemented and what the best processes would be for doing so.

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Bingham, Katy. "Theatre arts [electronic resource] : a core content area in secondary education /." Online pdf file accessible through the World Wide Web, 2010. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Bingham_KMIT2010.pdf.

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Orange, Peter J. "Educating international school students for global citizenship through theatre arts literacy." Thesis, University of Surrey, 1994. http://epubs.surrey.ac.uk/795/.

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Niederdeppe, Nicole Noelle. "The impact of a theatre arts intervention on underachieving gifted Latinos." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1723135561&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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McKay, Matthew. "The Uses of Applied Theatre." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/89.

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Applied theatre is an umbrella term describing the practice of borrowing concepts from the conventional theatre and applying them to different disciplines. This thesis focuses on the use of applied theatre in teaching effective communication skills. Using the work of the Ariel Group and personal experiences working with the VCU da Vinci Center as examples, this paper demonstrates ways that underlying theatre concepts are used to teach communication skills. Additionally, this paper argues that there are many advantages for using theatre professors to teach communication skills to non-theatre students in other disciplines through the use of applied theatre methods. To support this argument examples are taken from the Critical Communications Group and my experiences teaching Public Speaking.

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Yarnelle, David. "Conceiving American Chekhov: Nikos Psacharopoulos and the Williamstown Theatre Festival." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/291967.

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This thesis examines the work of director Nikos Psacharopoulos on the plays of Anton Chekhov while Executive Director at The Williamstown Theatre Festival in Massachusetts. Components of Psacharopoulos' productions are contextualized within an American tradition of producing Chekhov and elements identified in previous research by Laurence Senelick. Using the constituents of Senelick's analysis, Psacharopoulos' work is examined in two general areas: his teaching, directing, and rehearsal techniques with the Chekhov texts, and the qualities in production of the plays at The Williamstown Theatre Festival between 1962 and 1986. This study offers, for the first time, a scholarly examination of Psacharopoulos' work and considers the director's position as an American producer of Chekhov's plays. As one of the most prolific directors of Chekhov in North America, Nikos Psacharopoulos emerges from this study as an essential component in any future consideration of Chekhov production in the United States.

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Simonds, Sylvie. "A countercultural movement: examining Carlee Scheemann's kinetic theatre between 1963 and 1970." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121261.

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This dissertation examines Carolee Schneemann's kinetic theatre performances (1963-1970) within the specific context of the art of the 1960s and the counterculture. In 1962, Schneemann coined the term “kinetic theatre” to describe her particular form of happenings and performance art. Although this definition was recognized in the initial art criticism of the 1960s, this is a genre of art that has been lost within current forms of feminist art history, performance studies and postwar art. Indeed, there has been no critical study of kinetic theatre within art history. My research examines the emergence of Schneemann's kinetic theatre, establishes its relationship to the counterculture and provides an explanation for its disappearance in 1970. Feminist art historians and critics have almost exclusively focused on the agency and the role of Schneemann's body within her performances. However, these interpretations have failed to address the political and aesthetic use of her group choreography within her kinetic theatre. This research charts a new direction of scholarship on Schneemann and more broadly it addresses the discourse on mid-twentieth performance art and feminist art history. I demonstrate that Schneemann was working in collaboration with male artists such as Stan Brakhage and that her kinetic theatre was politically situated within the antiwar movement, the politics of antipsychiatry and the New Left. By examining Schneemann's intricate network and collaborative associations in the 1960s this research provides a more expansive and less mythic understanding of the counterculture and the particular kinds of feminist and artistic interventions that she made within the antiwar movement.
Cette thèse porte sur le théâtre cinétique de Carolee Schneemann (née en 1939) produit durant la période 1963-1970. Attestant du rôle primordial de l'artiste en tant que figure de proue de la communauté avant-gardiste d'après-guerre, cette étude offre une des premières interprétations archivistiques de ses œuvres. Ma recherche offre une perspective critique dans le champ de l'histoire de l'art en examinant comment le théâtre cinétique de Schneemann aborde la guerre du Vietnam et les développements militaires propres à la Guerre froide à travers l'exploration esthétique de procédures développées au sein des débats psychiatriques et antipsychiatriques. L'une des questions fondamentales auxquelles cette thèse tente de répondre consiste à savoir pourquoi il n'y a pas eu d'études approfondies sur le théâtre cinétique en histoire de l'art. Il est vrai que l'histoire de l'art féministe a fourni les premières études concernant le travail de Schneemann. Ces dernières se sont principalement penchées sur la présence du corps de l'artiste comme matériau d'expression de façon à révéler les sophismes asexués ayant pris racine dans l'art moderne et postmoderne. Mais en se centrant uniquement sur le rôle joué par le corps de Schneemann, ces analyses ont omis de sonder tout un pan du travail de l'artiste lié à la portée politique de ses chorégraphies de groupe. En d'autres mots, les théories existantes n'examinent pas comment les performances de l'artiste ont aussi contribué à nourrir les débats critiques sur la représentation de la guerre du Vietnam et à démystifier les violences et le militarisme grandissant à l'intérieur de la nouvelle gauche. L'utilisation des chorégraphies de groupe au sein du théâtre cinétique a mis en lumière comment l'intériorisation du genre et la différence sexuelle participaient à une forme de « violence aveugle » recouvrant les notions de soi et de collectivité, issues des années soixante. Le théâtre cinétique a ainsi fait transparaître le « corps », capturé dans un processus dialectique de visualisation qui empruntait momentanément une structure identitaire, faisant ainsi écho aux désirs de l'époque associés aux promesses de libération, de collectivité, et de changement, tout en prenant soin de maintenir ces mythes hors d'atteinte. Le fait de performer ces désirs, à partir d'une distance critique, fait en sorte que la libération n'est jamais vraiment assimilée par le corps, le groupe et ses performances. Dans cette veine, ce projet examine ultimement les parallèles entre la violence militante au sein de la communauté antiguerre et la dissolution graduelle, le désenchantement, du théâtre cinétique en 1970.

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Connick, Rob. "Rethinking Artaud's Theoretical and Practical Works." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300457063.

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Wright, Amber Michelle. "Masculinity in the Works of Neil LaBute." Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/193291.

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This study examines men's masculine performance in LaBute's major works and demonstrates how his men oppress themselves and others by trying to live up to the ideals of traditional masculinity. Using the writings of profeminist sociologist Michael Kimmel and other scholars of masculinities, as well as theoretical considerations of Laura Mulvey's gaze theory, the thesis specifically explores the attempts of LaBute's men to repudiate the femininity within themselves through homophobia and the suppression of emotions. Additionally, it examines the sexism that stems from his men's anti-femininity. Overall, the prevalence of such harmful men in LaBute's works and the mostly negative effects of their masculine performance prove that LaBute is critiquing traditional masculinity in order to promote change.

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Grothues, Nicole M. "Celebrity and the Broadway Musical: Perceptions, Practices, and Prospects for an American Art Form." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306240634.

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Fatzinger, Stefanie Abbott. "Weaving Together the Curriculum Through the Integration of Drama in the Classroom: Presenting Spoon River Anthology." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1271007280.

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White, Sullivan Canaday. "Training the Theatre Artist." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/8.

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While most undergraduate theatre programs value the concept that their students should be acquainted with all areas of theatre, (acting, directing, design, playwrighting), they implement it by asking students to take classes in each area of specialization, which can reinforce the natural division between the fields. This thesis aims to create four courses that would be a part of a larger undergraduate curriculum that focus upon training the theatre student in a holistic manner through developing knowledge and skill in all fields of the theatre simultaneously and within a single class. Significantly, this process begins with a course in collaboration that consciously draws attention to the components and abilities necessary for fruitful ensemble work. Students participate in non-hierarchical methods for creating theatre and then apply these same concepts to the elements (actor, text, light, sound, etc.) that contribute to creating theatrical moments. This type of training encourages students to view themselves not just as an actor or director or designer or playwright, but as theatre artists who have a sense of ownership of the knowledge of how these various fields work together within him or herself, but also within the theatre as a whole. My experience has been that after such courses students have an even greater sense of respect for what it means to make theatre with a group of people, and as theatre is never done in isolation, this is a step toward more empowered theatre artists.

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Grutzius, Heather L. "The Nature of Building A Public Arts Complex in Washington, DC." Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/9656.

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"Construction is the art of making a meaningful whole out of many parts. Buildings are witnesses to the human ability to construct concrete things. I believe that the real core of all architectural work lies in the art of construction. At the point in time when concrete materials are assembled and erected, the architecture we have been looking for becomes part of the real world." -Peter Zumthor The human experience of construction is the subject of this thesis. Through study of the materials, methods and tools of constructing, this work aims to reveal the nature of building through form, materials and detail.
Master of Architecture

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Jackson, Lisa Kathleen. "The Theatre That Will Be: 'Devised Theatre' Methodologies and Aesthetics in Training and Practice." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1461.

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This thesis details my process of teaching Devising Theatre, a course of my own design, in Spring of 2005 and Fall of 2005. I address my curricular development from semester to semester (readings, assignments, assessments) as well as the students' responses to the material. Additionally, I discuss my reasons for teaching the course and the place that alternative theatre can and should have in theatre training programs and in the realization of feminist pedagogy.

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Kridler, Jamie Branam, and G. Maloy. "Mentoring via Theatre Arts: Building a Supportive Network Middle School Through College." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/5865.

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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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Calhoun, Paula M. "A Marketing Analysis and Prescriptive for the Malone College Theatre." University of Akron / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=akron1170786975.

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Dissertations / Theses on the topic 'Theatre arts'

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