To see the other types of publications on this topic, follow the link: Theatre festival.
Dissertations / Theses on the topic 'Theatre festival'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Theatre festival.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Le, Grange Rene. "Effective planning and organisation of a student theatre festival." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-08112004-100939.
Full text
2
Batchelder, Xela. "The world's largest arts festival, The Edinburgh Festival Fringe: mechanics, myth and management." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1149104422.
Full text
3
Piola, Catherine. "Le "Dublin Theatre Festival", analyse, rôle et impact, de 1957 à 1992." Paris 3, 1994. http://www.theses.fr/1994PA030192.
Full textAbstract:
L'objectif de cette thèse est d'analyser le rôle et l'impact du festival de théâtre de Dublin depuis sa création en 1957. Une période de trente-cinq années est étudiée, soit, en fait, trente-deux festivals, le dernier pris en considération étant celui de 1992. Pour cela, trois aspects sont successivement abordés : d'une part, l'analyse s'articule autour de la genèse de la manifestation, en rappelant le contexte culturel de l'Irlande des années cinquante et en s'attachant à définir la forme festivalière, dans différentes disciplines artistiques et dans le cas spécifique des festivals d'art dramatique. D'autre part, l'évaluation de l'impact est effectuée autour des quatre points suivants : la structure de l'organisation du festival de théâtre de Dublin, son déroulement dans la capitale irlandaise, l'aspect économique de la manifestation et son impact artistique. Enfin, l'analyse se tourne vers une étude sur les publics de la manifestation. Grâce à trois enquêtes réalisées au cours des trois derniers festivals étudiés, un profil des spectateurs est établi en termes d'identité et de perception de l'acte théâtral notammentThe aim of this thesis is the analysis of the role and the impact of the Dublin Theatre festival since its inception in 1957. A period of thirty five years is studied up to 1992, covering thirty two festivals. Three aspects of the festival are considered in this analysis : firstly, the genesis of the event in its cultural dimension in Ireland during the fifties is leading to the study of the form of festivals, in different art disciplines as well as from a drama point of view. Secondly, the impact of the festival is assessed on four levels : the structure of the organisation, the place of the event in the city, the importance of the economic aspects of the event and the artistic impact of the festival. Finally, the analysis provides an opportunity to define the audience of the festival. The three surveys carried out during the last three festivals studied reveal a profile of its audience and outline their identity and their perception of the festival
4
Yarnelle, David. "Conceiving American Chekhov: Nikos Psacharopoulos and the Williamstown Theatre Festival." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/291967.
Full textAbstract:
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.
5
Cabanilla, Galuszka Shannon Rhae. "REDLANDS THEATRE FESTIVAL: DIRECTING IN REPERTORY -- THE HOT L BALTIMORE." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/114.
Full textAbstract:
The purpose of this project was to broaden my skill set and responsibilities within a well-established theatre company by transitioning from performer to director. I would accomplish this goal by using my extensive knowledge of the inner-workings of the Redlands Theatre Festival, while applying my own set of techniques, philosophies, and judgments.
The project was based around the Redlands Theatre Festival’s (RTF) production of The Hot L Baltimore, written by Lanford Wilson, performed by resident actors and the acting company of RTF. I was given the opportunity to direct the play under the supervision of the Artistic Producing Director and founder of the then 40-year-old theatre company.
The assignment had one main component: directing a successful production in an already-established company of experienced theatre artists. This main task was riddled with myriad complications in its production methodology.
Contributing factors to the success of this project included thorough research of the period and material, a strong background in acting, creativity and the willing suspension of disbelief amongst performers and audience, trial and error, and the drive to share my passion of theatre. Many opinions and critiques were available upon the opening of the production and I am confident that this project was a success, in many ways. The play was well-received by audiences, as well as a positive and educational experience for the performers.
Upon the completion of the project, I have a deeper understanding of the specialized techniques that are required, and necessary, for me to amass future successes in similar endeavors with the Redlands Theatre Festival.
6
Blasenak, Andrew Michael. "Six Companies in Search of Shakespeare: Rehearsal, Performance, and Management Practices by The Oregon Shakespeare Festival, The Stratford Shakespeare Festival, The Royal Shakespeare Company, Shakespeare and Company, Shakespeare’s Globe and The Ame." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354047834.
Full text
7
Asagba, O. A. "Festival drama : Aspects of continuity and change in contemporary Nigerian theatre." Thesis, University of Leeds, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372955.
Full text
8
Vávrová, Anna. "Vizuální styl studentského divadelního festivalu." Master's thesis, Vysoké učení technické v Brně. Fakulta strojního inženýrství, 2012. http://www.nusl.cz/ntk/nusl-230434.
Full textAbstract:
The thesis deals with the creation of corporate indentity of student festival Salon původní tvorby at the Theatre Department of Janacek Academy of Brno. The objective of the thseis is to assess the theoretical rules of creating corporate identity and then to apply them on creating the logo and logotype of the festival that could be used for any theme of the festival. Furthermore the thesis creates the design of the actual year, Salon [si ty]. There it attemps mainly for the increase of presentation of the festival and the orientation of the participants. The design follows the ergonomic, constrictional and other rules set up in the theoretical research.
9
Nicholas, Larraine. "The lion and the unicorn : festival of Britain themes and choreography in the postwar decade." Thesis, University of Surrey, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298898.
Full text
10
Mouton, Pierre Le Fras. "Developing a potential youth festival model to aid and develop the theatre for young people industry in South Africa." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95840.
Full textAbstract:
Thesis (MDram)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This study aims to investigate the phenomena of theatrical events and festivalisations, specifically aimed at young people. Various methodologies on theatrical events and festivalisation are integrated into a devised model. The devised model offers a clear and comprehensive understanding of the numerous processes and structures that play significant roles in the production and experience of a theatrical event or festival. The devised model is utilised to investigate and analyse the trends and practices of Theatre for Young People internationally (specifically Australia) and locally. The devised model allows the study to highlight certain strengths, opportunities, challenges and shortcomings of the different industries. Through comparing the local trends and practices with those of the international Theatre for Young People industries, areas of development are identified. Finally, the study develops a model that can be implemented into the South African environment, and highlights specific challenges and areas that should be developed in order to create a thriving and sustainable Theatre for Young People industry in South Africa. It is evident that South Africa’s support structures differ significantly from those of other countries where Theatre for Young People industries flourish. This has caused Theatre for Young People practitioners to adopt a predominantly didactic approach to producing events for young people. The study found that, in order to create a thriving Theatre for Young People industry, a balance between the educational and entertainment values of Theatre for Young People should be maintained.
AFRIKAANSE OPSOMMING: Hierdie studie het ten doel om die verskynsel van die teatrale gebeurtenisse (theatrical events) en verfeesteliking (festivalisations) wat spesifiek op jong mense gemik is, te ondersoek. Verskeie metodes van teaterale beurtenisse en verfeesteliking word in 'n ontwerpmodel geïntegreer. Die ontwerpmodel bied 'n duidelike en omvattende begrip van die talle prosesse en strukture wat 'n belangrike rol speel in die produksie en ervaring van 'n teatergebeurtenis of fees. Die ontwerpmodel is gebruik om die tendense en praktyke van Teater vir Jongmense op sowel internasionale (spesifiek Australië) as plaaslike vlak te ondersoek en te ontleed. Die ontwerpmodel laat die studie toe om sekere sterkpunte, geleenthede, uitdagings en tekortkominge van die onderskeie bedrywe te belig. Areas van ontwikkeling vir die plaaslike bedryf word geïdentifiseer deur plaaslike tendense en praktyke met dié van die internasionale Teater vir Jongmense-bedryf te vergelyk. Ten slotte; ontwikkel die studie 'n model wat in die Suid-Afrikaanse omgewing geïmplementeer kan word. Die model beklemtoon spesifieke uitdagings en gebiede wat verder ontwikkel moet word om ten einde 'n vooruitstrewende en volhoubare Teater vir Jongmense in Suid-Afrika te skep. Dit is duidelik dat Suid-Afrika se ondersteuningstrukture aansienlik verskil van dié van ander lande met ‘n bloeiende Teater vir Jongmense-bedryf. Die verskil veroorsaak dat Teater vir Jongmense-praktisyns 'n oorwegend didaktiese benadering tot die daarstel van gebeurlikhede vir jong mense volg. Die studie het bevind dat, ten einde 'n vooruitstrewende Teater vir Jongmensebedryf te produseer 'n balans tussen die opvoedkundige- en vermaaklikheids waardes van Teater vir Jongmense moet gehandhaaf word.
11
Leadley, Allison. "Repetition with revision : Suzan-Lori Parks' 365 days/365 plays and the new theatre festival." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/29492.
Full textAbstract:
In November of 2002, Pulitzer-prize winning playwright Suzan-Lori Parks began her largest writing project to date: writing a play a day for a full year. Four years later, with the assistance of producer Bonnie Metzgar, Parks’ plays were divided into individual weeklong cycles and distributed between nearly eight hundred theatre artists and companies across North America. The international panoptic premiere of Parks’ 365 Days/365 Plays was the largest theatrical premiere to date and nearly two years after the cycle has come to a close, its expansive temporal and geographical scope remains unparalleled. Like many of her other works, Parks’ 365 creates opportunity for discourse and with the cycle’s completion, theatre scholars have written extensive literary and dramaturgical analyses of the project. Still, scholars continue to contest exactly what constitutes Parks’ unique project and identify its implications for American stages.
In reviewing the relevant literature surrounding the project, the term “festival” is continually applied to 365 by both artists (including the playwright) and scholars alike. In working to define 365 however, these respective scholars and practitioners have evoked a complex theatrical framework with its own criteria and inferences. Largely missing from their respective analysis of the project however is a detailed performative and theoretical evaluation of the festival itself. Thus, lingering questions regarding this specific performative framework and whether Parks’ project can and does indeed function within its parameters remain. Are scholars correct in their assumption of 365 as a festival? What are the respective limitations in evoking this term (if any) to describe Parks’ project? Through a detailed literary analysis of the scholarship surrounding Parks’ project I aim to interrogate both the performative and theoretical significance of this term as it is applied to 365 Days/365 Plays to determine not only whether we can rightly refer to Parks’ project as such, but to also recognize the efficacy of the term as scholars move forward in their analysis of the cycle.
12
Vančáková, Klára. "Mezinárodní studentské divadelní festivaly v zemích Visegrádské skupiny." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-150355.
Full textAbstract:
Diploma thesis deals with international student festivals in the Visegrad Group. The thesis describes higher education systems in Visegrad countries and explores in detail higher education students' theatre festivals. The main aim of the thesis is to find out whether the cooperation of higher education students from the field of theatre acting in Visegrad countries is sufficient, to analyze the support system for their cultural activities and suggest a suitable solution. To achieve the main objective of the paper the survey method and the method of semi-structured dialogue were used.
13
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.
Full textAbstract:
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.
14
Perez, Falconi Jorge. "Festivalscapes in Latin America : the unfolding of local, national and transnational forces at the festival of Mexico (2010) and the international theatre festival of Havana (2011)." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590817.
Full textAbstract:
The thesis deals with international festivals 'and the ways in which they are organised and delivered in their host communities. By taking two case studies, the fmx•Festival de Mexico 2010 (fmx) and the Festival Internacional de Teatro de la Habana 2011 (FITH), I propose to analyse festivals in the light of local, national and transnational forces and show how these forces and the agendas that attend them become visible in festival practices. I argue that those agendas unfold and materialise at festivals through strategically employed symbols, content programming and particular uses of space. My objective is to uncover the ways in which local, national and transnational forces operate, embody artistic trajectories and structure social relationships. The dissertation works from the global to the national and the local and includes the hybrid processes and outcomes resulting from the realisation of the FITH and the fmx. The theoretical approach is eclectic, drawing from fields such as performance studies, cultural geography, sociology, psychology, anthropology and tourism studies. The combination of theories allows me to propose the term 'festivalscapes' as a tool to explore the materialisation of the various agendas at international festivals. I approach both festivals as multi-layered events that unfold in a dynamic relationship with social and political forces that are manifested in particular spatial, visual, organisational and symbolic elements at each event.
15
Arthur, Michael Dry. "Think differently : South Africa theatre of/in transition and the Standard Bank National Arts Festival 1992-1996 /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Full text
16
Vedralová, Hana. "Papírové divadlo jako specifická součást české loutkářské tradice." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-198428.
Full textAbstract:
The aim of the diploma thesis is to describe foreign tradition of paper theatre, history and presence of its Czech counterpart and to set this theatrical genre in the context of Czech puppetry. First part is dedicated to the history of the foreign paper theatre, its festivals and current trends. Second part focuses on the history of Czech family theatre and a paper theatre as its element. The last part introduces Czech puppet players and theatre companies who reflect this tradition in their art.
17
何詠思 and Wing-see Ho. "Amusing the gods and the people: the bamboo shed theatre of the Taiping Qingjiao festival in Sheung Shui Wai." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B42181884.
Full text
18
Ho, Wing-see. "Amusing the gods and the people the bamboo shed theatre of the Taiping Qingjiao festival in Sheung Shui Wai /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B42181884.
Full text
19
Freeman, Jennie R. "An Actor's Method to Creating the Roles of Harriet and Kate In Shelagh Stephenson's An Experiment With an Air Pump." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1311.
Full textAbstract:
This thesis is documentation of my efforts to define my process as actor in creating the roles of Harriet and Kate in An Experiment With an Air Pump. The document includes research, character analysis, development of the roles, rehearsal journal, and an evaluation of my performance. An Experiment With an Air Pump was produced by the University of New Orleans Department of Film, Theatre, and Communication Arts. The play was performed in the Robert E. Nims Theatre of the Performing Arts Center at 7:30 pm on November 4 through 6 and November 11 through 13, and at 2:30 pm on November 14. The play was also submitted as the University of New Orleans entry in the Kennedy Center American College Theatre Festival. It was performed at the Louisiana State Theatre Festival on November 17 at 1 p.m.
20
Caldognetto, Samuele Francesco. "STRANGESPACES : Studies and structure for an itinerant transcultural performing art festival." Thesis, Stockholms konstnärliga högskola, Institutionen för scenkonst, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-993.
Full textAbstract:
The purpose of this study is to explain the process of designing the architecture of StrangeSpaces, an itinerant festival for transcultural performing arts groups or artists which starts from the original idea and terminates with the description of a possible structure. The process of designing StrangeSpaces is based on an investigation on the transcultural performing art’s field and on conversations with experts, which together transformed the original general idea of a festival, into the specific architecture of the StrangeSpaces festival. The investigation resulted in a personal definition of ”transcultural performing arts”, that subsequently led to the identifications of three elements of transculturalism which define the festival’s goals as ”encounter with the other” in multiples and different yet equal levels. Another result of this investigation is the contextualization of StrangeSpaces in the contemporary international cultural politics. In fact, the transcultural encounter and exchange can be viewed as a possible response to the increasing need of sustainable international performing art in local, national and European cultural communities. The conversations with experts in the field of international performing arts complemented the investigation, contributing to the ideological principles of StrangeSpaces, such as anti-racism and anti-colonialism, as well as to a model of democratic and sustainable design, in which multilingualism and cosmopolitan aspects of the society are essential cues. The result of the study is a design of the architecture of three versions of StrangeSpaces, an itinerant transcultural performing arts festival that is born to be a space, a free place where people play, exchange roles, art, experience starting from their own culture, but reaching and reflecting into the other, mirroring a society of sustainable diversity.
21
Widener, Charlene. "The changing face of American theatre colorblind and uni-racial casting at the New York Shakespeare Festival under the direction of Joseph Papp /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4410.
Full textAbstract:
Thesis (Ph. D.) University of Missouri-Columbia, 2006.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 9, 2007) Vita. Includes bibliographical references.
22
Hunsaker, Carrie Elizabeth. "Deconstructing the Fourth Wall: Immediacy in Performative Architecture." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212100640.
Full textAbstract:
Thesis (Master of Architecture)--University of Cincinnati, 2008.Advisors: Michael McInturf (Committee Chair), Tom Bible (Committee Co-Chair). Title from electronic theses title page (viewed Sept. 7, 2008.). Includes abstract. Keywords: Chatauqua; Boulder; Colorado; performative architecture; immediacy; event; performing arts; festival grounds; mountain architecture; fourth wall; theatre. Includes bibliographical references.
23
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.
Full text
24
Ritter, Christina. "On hallowed ground the significance of geographic location and architectural space in the indenties [sic] of the Royal Shakespeare Company and Shakespeare's Globe /." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1188510799.
Full text
25
Batchelder, Xela Ann Pollock. "The world's largest arts festival, The Edinburgh Festival Fringe mechanics, myth and management /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149104422.
Full text
26
Markijohn, Andie Carole. ""Wet, dirty women" and "men without pants" the performance of gender at the American Renaissance festival /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1248822087.
Full text
27
Junior, José Maria Rodrigues. "Festival estudantil Sesi Sorocaba de teatro." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-10112010-112929/.
Full textAbstract:
A pesquisa tem por objetivo mostrar como o Festival Estudantil fecunda as artes cênicas e instaura a participação no processo educacional, juntamente com o que ocorre no trabalho desenvolvido no Núcleo de Artes Cênicas do Sesi Sorocaba-SP. A intenção é refletir sobre a importância do teatro feito nos palcos escolares e estimular a reflexão de artistas, professoresartistas e indivíduos comprometidos com a arte, tendo como foco principal o teatro e a sua repercussão nos festivais estudantis. Para tal, foi usada a metodologia de pesquisa de campo, por meio de entrevistas a alguns grupos que participaram dos festivais de 2002 a 2008. O desenrolar da pesquisa revela que os Festivais Estudantis realizados em Sorocaba têm fornecido meios aos estudantes para agir e acreditar que são as pequenas coisas que os tornam únicos e interessantes. Eles estimulam a participação e promovem, por meio de práticas motivadoras, atitudes de alteridade, de cooperação e de conhecimento, permitindo aos jovens participar ativamente de suas responsabilidades com a escola e com a sociedade.The survey has the aim of showing how the Student Festivals nurture scenic arts, creating participation in the educational process, along with what is happening in the work carried out at the Núcleo de Artes Cênicas do SESI Sorocaba-SP (Scenic Arts Center from the SESI in Sorocaba). The intention is to reflect upon the importance of theater staged by school groups and to stimulate reflection on the part of artists, teacher-artists and individuals who are committed with art, with the main focus being the theater and its repercussion on student festivals. For this purpose, the field research methodology was used, by means of interviews carried out among some of the groups taking part in the 2002 to 2008 festivals. The outcome of such a survey shows that the Student Festivals held in Sorocaba have enabled students to act and to believe in the fact that small things are what make them unique and interesting. They motivate participation and foster, through motivating practices, attitudes of otherness, of cooperation and knowledge, allowing youngsters to actively participate in their responsibilities towards schools and society at large.
28
Rowley, Ben. "Festival or carnival? : the 2002 Adelaide Festival of the Arts and cultural activism /." Title page/ table of contents only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arr8838.pdf.
Full text
29
Groome, Margaret E. "Canada's Stratford Festival 1953--1967 : Hegemony, commodity, institution." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75704.
Full textAbstract:
This thesis undertakes a critique of Canada's Stratford Festival as an institutional site of theatre production in the years 1953 through 1967. I propose to identify the major recurring "statements" of the institutional discourse; those statements which were circulated through various printed documents, including commentaries on the Festival and its work and the Festival's public relations material. The exercise of critique reveals that the Festival discourse became a hegemonic discourse, circulating a set of normative and prescriptive understandings as to what should constitute theatre and culture for Canada. The ideology dominating the discourse was that identified by Max Horkheimer and Theodor Adorno by the term the "culture industry." This ideology allowed for the autonomy of the Festival's productions to be eliminated, such that they functioned as commodities in which all capacity for critique has been abrogated.It will be shown that the Festival discourse privileged an aesthetic of spectacle and effect throughout these years, an aesthetic which implied a concept of cultural experiences as passive spectatorship and the easy consumption of effects; in short as commodity. In conjunction with this aesthetic, the discourse registered a concept of culture as affirmative--as an experience which affirms existing social relations in offering an apparent, if false, resolution or catharsis of conflict and of social inequality. When the Festival was identified as proof of Canada's cultural maturity and the focus of the nation's "life of the mind" these values were established as the nation's dominant cultural values. Moreover, this discursive portrayal of the Festival established it as Canada's foremost cultural commodity. And so the discourse simultaneously conveyed a concept of culture and of the Festival as commodities.
By the 1960's the Festival was being identified as not simply a leading voice in Canadian culture, but as the institution on which the development of Canadian culture depended, thereby positioning the Festival as hegemonic. The Festival discourse thus articulated the Festival's central duality, its capacity to function as both cultural commodity and authority. The position of the Festival and its discourse as cultural authority ensured that it was the Festival concept of affirmative culture, marked by the displacement of the political, philosophical and existential role of culture, which dominated the discourse on theatre and the wider discourse of Canadian culture. In this respect the Festival failed to offer an active-critical experience which would counter the tendency towards the ethos of spectatorship and passivity which followed from the developing mass media.
30
Williams, Heather A. "Miss Homegrown the performance of food, festival, and femininity in local queen pageants /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1245452161.
Full text
31
Ananisarab, Soudabeh. "George Bernard Shaw and the Malvern Festival." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/35979/.
Full textAbstract:
The Malvern Festival was established by Sir Barry Jackson in association with the lessee of the Malvern Theatre, Roy Limbert, in 1929. The Festival continued for ten seasons as an annual event until the outbreak of World War II in 1939, and then returned for one final season in 1949. The Festival was initially dedicated to the works of George Bernard Shaw with the repertoire of the first season wholly composed of the plays of this playwright. While during its twelve seasons the Festival fluctuated in the extent of its association with Shaw, in total the Festival presented two world premieres of Shaw’s plays and four British premieres. Furthermore, in addition to its dramatic productions, the Festival also featured other activities such as talks and exhibitions and attracted an impressive list of visitors and speakers including Allardyce Nicoll and Gabriel Pascal as well as performers such as Cedric Hardwicke and Stephen Murray. This thesis explores the development of the Malvern Festival, an event which has thus far given rise to scant academic scholarship. I argue that rediscovering the Malvern Festival has the potential to reorientate common critical understanding of early twentieth-century English theatre and its key locations. While much of the British theatre scholarship of this period has been concerned with drama in the capital, this study of Malvern demonstrates that regional theatres at this time had the capability of offering experimental drama which often failed to attract the attention of theatre managers in London. As the high prices of rent in the metropolis limited the financial risk accepted by many theatre managers in the early twentieth century, individuals such as Shaw and Jackson amongst others turned their attention away from London to the regions for new opportunities in staging a more experimental repertoire. This study of the Malvern Festival demonstrates that while Jackson and Shaw initially considered the Festival as the solution to their troubles with playhouses in London’s West End, the Festival soon became entangled with those familiar debates of venue and repertoire, and ultimately failed after twelve seasons. In the organisation of the Festival, there were a number of damaging contradictions, some of which were also evident in the ventures preceding the Festival such as the movement for building a National Theatre in England and the Vedrenne-Barker seasons at the Court Theatre. The Festival had simultaneous links with both the non-metropolitan, as a result of its location in Malvern, and the urban, through its target audience of the metropolitan elite. Thus while the Festival was held in Malvern, as a result of Jackson’s guiding philosophy much of the local population in Malvern were excluded from the activities included in the Festival. Additionally, the identity of the Festival was intertwined with both a sense of nostalgia for the past and an outlook towards the future. While Jackson emphasised less well-known classics in the repertoire of the Festival, he also flew critics into Malvern, and Limbert extended the activities of the Festival by presenting modern talkies. Other contradictions included Jackson’s pursuit of critical praise for the Festival’s productions and his desire to experiment away from theatrical norms, in addition to the lack of certainty surrounding the focus of the Festival which fluctuated between an emphasis on a star playwright, Shaw, and Jackson’s aim to celebrate the literary canon. Moreover, some of these clashes were then exacerbated by the Shavian drama performed as part of the Festival. It was the difficulties in reconciling such contradictions which resulted in the Festival’s failure to remain as an annual event. However, in this thesis I argue that regardless of the Festival’s lack of financial and popular success, the Malvern Festival allowed Shaw the creative space to write some of his most experimental work, which was then explored in production as part of the Festival on the stage of the Malvern Theatre.
32
Chamberlain, Mary Beth. "The Creation of a Gift Shop at The Great Lakes Theater Festival." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1318290977.
Full text
33
Madden, Jennifer. "Divine comedy : sacred play and subversion in contemporary neo-Pagan festival." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319108.
Full text
34
Narciso, Teresinha Corrêa. "MOSTRA DE TEATRO DE MONTES CLAROS: Registro e reflexão sobre uma organização teatral na cidade de Montes Claros, Minas Gerais." Escola de Teatro, 2011. http://repositorio.ufba.br/ri/handle/ri/27287.
Full textAbstract:
Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-31T16:19:32Z
No. of bitstreams: 1
DISSERTAÇÃO COMPLETA - TERESINHA CORRÊA NARCISO.pdf: 1689443 bytes, checksum: 3d3bec726d4efcc5aae9aa43f10fc7b5 (MD5)Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:15:52Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO COMPLETA - TERESINHA CORRÊA NARCISO.pdf: 1689443 bytes, checksum: 3d3bec726d4efcc5aae9aa43f10fc7b5 (MD5)
Made available in DSpace on 2018-09-11T13:15:52Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO COMPLETA - TERESINHA CORRÊA NARCISO.pdf: 1689443 bytes, checksum: 3d3bec726d4efcc5aae9aa43f10fc7b5 (MD5)
A presente pesquisa tem como objetivo o registro histórico crítico da Mostra de Teatro de Montes Claros, que é realizada há nove anos, na cidade de Montes Claros, Estado de Minas Gerais. A Mostra de Teatro já faz parte do calendário cultural do município e surgiu da necessidade dos grupos de teatro em abrir espaço para apresentação e divulgação de seus trabalhos. Desta necessidade inicial surgiu a descoberta de que a união dos grupos era ponto fundamental para a continuidade do evento, surgindo então a Associação dos Artistas e Técnicos em Espetáculo de Diversão – AARTED. Nos três capítulos é dada a visão do surgimento dos festivais na Antiguidade até os modernos (Brasil, Minas, Norte de Minas e Montes Claros), o surgimento da Mostra de Teatro de Montes Claros, os grupos participantes e situação atual do evento. A metodologia utilizada foi a pesquisa bibliográfica embasada nos estudos de Michel Foucault, Hermes de Paula, Patrice Pavis, Margot Berthold, Maria Inês Ribeiro B. de Pinho, entre outros; documental, a partir da coleta de documentos, registros e publicações em periódico e entrevista com o idealizador da Mostra, Marcos Eduardo Freire Guimarães, representantes da AARTED, diretores de grupos que participam desde a primeira Mostra, atores, alunos da Universidade Estadual de Montes Claros – Unimontes, representante de entidade de consultoria e assessoramento a projetos de produção cultural, secretário e ex-secretário municipal de Cultura. A pesquisa se justifica pela relevância do evento para a comunidade montesclarense, sendo importante para fomentar as manifestações da cultura local e garantir uma rotatividade maior na economia do município. A pesquisa revelou que a Mostra de Teatro de Montes Claros passa por um momento de crise e varias ações precisam ser tomadas para preencher as lacunas existentes, o que dependerá da postura da AARTED diante da definição de seus objetivos.
This research aims at the historical record shows Theatre critic of Montes Claros, which is held for nine years in the city of Montes Claros, Minas Gerais. The Showcase Theatre is now part of the cultural calendar of the municipality and the groups arose from the need to make room for theater presentation and disclosure of his works. From this need arose the initial discovery that the union of the groups was key to point to the event, appearing then the Association of Artists and Technicians Fun Entertainment - AARTED. In the three chapters is given a vision of the emergence of festivals in antiquity to the modern (Brazil, Minas Gerais, North of Minas Gerais and Montes Claros), the emergence of the Exhibition Theatre of Montes Claros, the participating groups and current situation of the event. The methodology used was grounded in literature studies of Michel Foucault, Hermes de Paula, Patrice Pavis, Margot Berthold, Maria Inês Ribeiro B. Pine, among others, documentary, from the collection of documents, records and publications in journals and interviews with the show's creator, Eduardo Freire Marcos Guimarães, AARTED representatives, heads of groups participating from the first shows, actors, students State University of Montes Claros - Unimontes, representative entity consulting and advisory services to projects of cultural production, and former Secretary municipal Secretary of Culture. The research is justified by the relevance of the event for the community Montesclarense it is important to foster the manifestations of local culture and ensure a greater turnover in the economy of the city. The survey revealed that the Showcase Theatre Montes Claros is a moment of crisis and have taken various actions to fill the gaps, which depend on the posture of AARTED before setting its goals.
35
Miklas, Monica A. "Producing on the fringe| How fringe festival structure impacts participant experience." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589632.
Full textAbstract:
This thesis, presented in partial fulfillment of the requirements for the degree of Master of Business Administration/Master of Fine Arts in Theatre Management, investigates the business models used by performing arts festivals known as "fringe festivals." In the United States, there are three basic fringe festival models: the open access or Edinburgh model, the limited access model, and the adjudicated model. Interviews with artists who participated in fringes as producers reveal that the model impacts the participant experience less than the degree of scaffolding the fringe offers and the degree to which the fringe constrains producing choices. This thesis suggests a fringe festival framework, classifying fringes by degree of scaffolding and constraint, which can be used by producers to identify festival settings that will be the best fit for their needs. The framework can also be used by fringe festival organizers as a tool for self-reflection and festival assessment.
36
Margarella, Robert Jonah. "Festival and Gallery: Exhibition Space for the People of Baltimore." Thesis, Virginia Tech, 1997. http://hdl.handle.net/10919/35485.
Full textAbstract:
The principle notion of this thesis has been to propel ideas derived through architecture, experience, intuition, and program in order to transform idea into form. The attempts to understand gallery as a place where people can show their work for a short amount of time, allowing for a continual engagement between works and viewers.Master of Architecture
37
Rogers, Mark Christopher. "Art and public festival in Renaissance Florence studies in relationships /." Full text available online (restricted access), 1996. http://images.lib.monash.edu.au/ts/theses/Rogers.pdf.
Full text
38
Guillou, Lauriane. "Le public du Festival d'Avignon : des expériences vécues au temps remémoré : une approche communicationnelle de la mémoire individuelle et collective." Thesis, Avignon, 2020. http://www.theses.fr/2020AVIG1205.
Full textAbstract:
Pourquoi un festival de 73 ans réunit-il encore un public autour d’une même idée : faire un théâtre populaire qui soit de son temps ? Si le public du Festival d’Avignon évolue au fil des générations, le sens de la pratique reste identique : la découverte et la rencontre, la prise de risque et le débat. Au gré des éditions, des directions et des programmations, l’institutionnalisation du festival a généré des fondamentaux et des valeurs autour desquels un public se rassemble. « Faire le Festival » fait appel à la posture du public participant qui accepte un certain engagement dans son rôle de spectateur. Sans connaître Jean Vilar, le T.N.P. ou Le Mahabharata de Peter Brook, en faisant le Festival, le public vit une expérience et fait sienne celle d’une communauté spectatorielle. « Le ciel, la nuit, la pierre glorieuse »... et après ? Cette thèse en sciences de l’information et de la communication étudie des régimes d’historicité au Festival d’Avignon, soit le rapport au passé dans le présent, à travers des pratiques, des discours, des médiations…Pour cela, une enquête a été conduite entre 2015 et 2019, avec près de 7 390 questionnaires en ligne et 50 entretiens. Le numérique constitue ici une entrée privilégiée pour appréhender la manière dont les dynamiques et les pratiques liées à la mémoire, la nôtre et celle d’autrui, viennent enrichir une expérience, celle du festival, de même qu’une carrière de spectateur. L’étude du terrain numérique montre que la participation du public du Festival d’Avignon en ligne se caractérise par un intérêt pour les contenus audiovisuels relatifs aux œuvres et aux artistes. Cette enquête rend compte de la façon dont la relation au temps de l’expérience, au passé de l’institution, aux archives et aux traces de nos festivals se répondent et témoignent in fine d’un potentiel de démocratisation culturelle de cette mémoire individuelle et collectiveWhy does 73 years old festival still gather an audience around the same idea: producing a popular theatre (théâtre populaire) of his time? Yet the Avignon Festival’s audience evolves over generations, the core idea of this practice remains identical: discovering and encountering, artistic risktaking and debate. Throughout successive editions, boards and programs, the festival’s institutionalization led to basics and values around which an audience congregates. Doing the Festival (faire le Festival) calls on the participatory audience posture admitting a certain engagement in the role of spectator. The audience lives its own experience and appropriates the spectatoriel community’s. “The sky, the night and the glorious stone”… and then? This thesis in Information and Communication Sciences is a study of historicity regimes (régimes d’historicité) that is to say the relation to the past in the present time, through practices, discourses, mediations… To this end, between 2015 and 2019, a field inquiry was led. We collected more than 7 390 questionnaires and 50 interviews. Digital is a preferred entrance for an understanding of memory related dynamics and practices, our and other’s, and how it can enrich an experience, the festival one, as well as our general cultural experience as a spectator. The field study shows that the audience’s online involvement is characterized by an interest for audiovisual contents related to artists and plays. This inquiry reports how the relation to the experience, to the institution’s past, to archives and tracks of our festivals respond to each other and eventually testify of a cultural democratization’s potential of this individual and collective memory
39
Ruano, Jessica. "Impressions of 'Newness' in English Canadian Theatre The role of festivals in the consecration and distribution of new work." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28790.
Full textAbstract:
In English Canadian theatre, there exists a significant divide between established works produced in the mainstream and new work that has traditionally been relegated to the margins of institutional practice. Seeking to bridge this divide are a number of festivals committed to fostering and showcasing plays by Canadian theatre artists and companies and to attracting presenters interested in programming new works for future seasons. In order to succeed in the festival circuit, independent companies must, to a certain extent, cater to the expectations of organizations that value performance that gives the impression of being novel and yet proves accessible to festival audiences and to those targeted by presenters. This plays a role in aesthetics that become characteristic of the companies' work. These aesthetics are not only accepted, but also exploited by festivals that are seeking to legitimize the notion of 'newness', in part, for the purpose of their own sustainability.
40
Read, Richard. "Revitalizing New Orleans theatre community: a report on an Arts Administration internship with DramaRama New Orleans, Louisiana, Summer and Fall, 1997." ScholarWorks@UNO, 1999. http://scholarworks.uno.edu/aa_rpts/38.
Full textAbstract:
What follows is a play-by-play account of my work with DramaRama 5, followed by an explanation of my precise duties at the festival, my assessment of DramaRama 5, and my thoughts on the organization's future and what lessons I will take with me as I progress in my career.
41
Elkin, Courtney Carmel. "Clashes of cultural memory in popular festival performance in Southern California 1910s-present /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495960481&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
42
Stoessner, Jennifer Kathleen. "Building American Puppetry on the Jim Henson Foundation." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211816560.
Full text
43
Lévesque, Pierre 1967. "Le théâtre de l'architecte et la mesure festive des lieux /." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20190.
Full textAbstract:
Comedy and tragedy originated in Greece, from singing and dancing. By definition, dramatic art is an imitation of action. This artistic form was born during the passage from the archaic world to the democratic and classical Greece, and it is the ancestor and first form of philosophy. This birth was also shown in aesthetic ways by the historic and astonishing encounter of Apollo, the visionary god, the ultimate achiever in painting, sculpture and poetry, and Dionysos, the god of ecstasy, music and delirious action.The whole architecture of the ancient theatre, from antiquity to Renaissance, affords all the necessary support for the "action" and "voice" of the players themselves. The theatre was built as a musical instrument, on an acoustical geometry and the plan of heavens. This lasted until the advent of the "scenographic theatre", during the Renaissance, built on the optic geometry of scientific perspective. This led to the triumph of visual illusion and of Deus ex machina in the baroque theatre, to the disadvantage, of actors and poets. Through this musical dimension of drama that will be carried, the study of the "theatrical space" of architecture. Mainly, it is from the drama of Dionysos, which in terms of aesthetics shows us the musical origin of the Greek Theatre, and from the drama of Prospero, which shows us the place of music in Shakespearian Theatrum Mundi , that will be showed, finally, the architecture of the Globe Theatre which as the last representative of this classical idea and conception of the theatre, founded on the action of characters and the musicality of poetic language. (Abstract shortened by UMI.)
44
Hsieh, Chia-che. "East meets West : the perception of Japanese and Chinese theatres in the context of Edinburgh International Festival programming policy." Thesis, Queen Margaret University, 2007. https://eresearch.qmu.ac.uk/handle/20.500.12289/7331.
Full textAbstract:
This thesis aims to explore the issues around intercultural translation and whether or not intercultural theatre can even truly represent non-domestic texts without distortion. In order to explore this in detail, this thesis uses as its research target an in-depth analysis of two productions produced at Edinburgh International Festival (EIF). Edinburgh International Festival was chosen as an appropriate cultural platform for this discussion due to its international recognition. In order to reveal the Eurocentric-oriented ideology within the Festival's policy and discuss the implications of this Eurocentric ideology for possibilities of intercultural translation, the thesis will explore the changes in programming policy by different EIF Festival Directors since 1947. Edward Said's 'Orientalism' is used as major reference regarding the Eurocentric ideology, and the concept of Western interculturalism. Several occidental and semi-western views are explored with relation to Broadway production on oriental themes in order to further explore Said's idea of "Orientalism". The thesis shows how this idea is present in the EIF's context, based on an in-depth analysis of two intercultural productions of 'Macbeth': Ninagawa and Kunju. The aim is to show how these two productions represent a Western audience's voice. Since the question of identification is one of the major concerns in intercultural theatre practice, the thesis discusses the issues of identity and analyses potential for indigenous Asian theatre forms to engage in intercultural exchange in a way that would be built on equality rather than changing those forms to suit Western audiences' understanding. Accordingly, two intercultural productions of Ninagawa and Kunju 'Macbeth', which were presented on EIF's stage in 1985 and 1987 respectively, and their performance texts will be analysed in terms of the implication of EIF's programming policy on Japan's and China's theatre works presented at the Festival. The resulting research outcomes indicate that equal exchange and authentic representation between different cultures may be impossible.
45
Hájková, Mariana. "Analýza motivace diváků pražských profesionálních činoherních divadel." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-150359.
Full textAbstract:
This Master Thesis maps the scene of the professional theaters in Prague from the spectators' perspective. Consequently it points out the most important motivation factors for each market segment that leads people to visit the shows. The theoretical part defines the terms theater and drama. It also analysis theater market in the Czech Republic and Prague's professional drama scene. Moreover, it specifies a marketing mix in the context of theaters, introduces the basic principles of marketing research and states the fundamental basis for a theory of motivation. Analytical part is based on a quantitative research realized through a questionnaire survey. Subjects were Prague residents, both men and women across all age groups and different levels of education. Minor improvements for theaters marketing strategy were proposed according to the research findings. Particular attention was paid to the special theatrical events held in Prague.
46
Schoone-Jongen, Terence G. "Tulip time, U. S. A. staging memory, identity and ethnicity in Dutch-American community festivals /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1172255860.
Full text
47
Peslin, Daniela. "Le Théâtre des Nations : (1957-1968) : Premier Festival International de Théâtre après la deuxième guerre mondiale." Paris 3, 2008. https://faraway.parisnanterre.fr/login?url=https://www.vlebooks.com/vleweb/product/openreader?id=UPN&accId=9224405&isbn=9782296214781&uid=^u.
Full textAbstract:
Le Théâtre des Nations fut le lieu unique de confrontation des créations théâtrales, lyriques et chorégraphiques internationales de 1957 à 1968. Ce plus grand festival de théâtre du monde concentra les forces capables de perpétuer les valeurs du théâtre et de bouleverser les structures traditionnelles du répertoire. Après le traumatisme de la seconde guerre mondiale, il contribua à l’émergence en France et en Europe d’une volonté d’ouverture sur le monde. Il accueillit de grands auteurs qui, par la confrontation de leurs projets sur la scène parisienne, confirmèrent l’existence d’une communauté internationale du Théâtre. Alors inconnus, la plupart sont aujourd’hui les grands maîtres du XXe et du XXIe siècle. En accueillant de même certains créateurs révolutionnaires, il fera souffler un vent de jeunesse et de liberté préfigurant les événements de Mai 68. L’analyse des événements précurseurs permet de comprendre les conditions de son institutionnalisation et la définition de ses trois missions qui ont permis d’explorer en onze ans un champ illimité de culture au bénéfice des professionnels, des artistes et des spectateurs: la découverte des traditions théâtrales majeures venues de quatre continents, la recherche de nouvelles formes scéniques, et la consécration des troupes les plus prestigieuses. L’étude du Théâtre des Nations exige aussi d’adopter une approche sociologique et historique car il fut impliqué dans les grandes questions de l’époque, entre autres la reprise des relations politiques et diplomatiques d’après guerre, et la reconnaissance des droits d’artistes originaires de régimes totalitaires ou d’anciennes colonies. Le plus international de tous les festivals internationaux, le Théâtre des Nations reste ce qu'il a toujours été, un défi au mondeThe Theatre of Nations - Théâtre des Nations - was the unique place of confrontation of international theatrical, lyric and choreographic creations from 1957 till 1968. The biggest festival of theatre in the world concentrated forces able to perpetuate the values of theatre and to change the structures of theatre directory in depth. After the traumatism of World War II, this Festival contributed to launch in Europe a will of opening to the world. By welcoming authors challenging their visions on the Parisian stages, it confirmed the actuality of an international community of theatre. Barely known at the time, most of these authors are today the grand masters of the XXth and XXIst century. By receiving also revolutionary creators, the festival blew a wind of youth and freedom forecasting May 68 events. The analysis of previous similar attempts helps to understand the context of its emergence and the definition of its three missions which allowed exploring in eleven years an endless field of culture for the benefit of the professionals, the artists and the audience: the discovery of the major traditions coming from four continents, the research of new forms of scenic arts, and the consecration of the most prestigious theatre companies. A sociological and historical approach helps also to analyze this phenomenon which was involved in the biggest questions of its time, among them the after war resumption of political and diplomatic relationships, and the recognition of the rights of artists born in totalitarian countries or ancient colonies. The most international of all international festivals remains what it always was, a challenge to the world
48
Brusantin, Beatriz de Miranda. "Capitães e Mateus = relações sociais e as culturas festivas e de luta dos trabalhadores dos engenhos da mata norte de Pernambuco (comarca de Nazareth - 1870-1888)." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280894.
Full textAbstract:
Orientador: Robert Wayne Andrew SlenesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-18T02:59:01Z (GMT). No. of bitstreams: 1 Brusantin_BeatrizdeMiranda_D.pdf: 2842310 bytes, checksum: cf4c6d243f19f3d66c375f0578966410 (MD5) Previous issue date: 2011
Resumo: Neste trabalho almejamos reconstruir as culturas festivas e de luta dos trabalhadores dos engenhos de açúcar da zona da mata norte de Pernambuco entre 1870 e 1888. Tendo como foco analítico a comarca de Nazareth, buscamos compreender as relações sociais do período e suas diversas redes de poder. Numa visão dialética dos processos sociais, refletimos sobre as relações de conflito, negociação e acomodação entre os vários setores sociais, objetivando, sobretudo, alcançar as complexidades sócio-econômicas, políticas e culturais de uma comunidade escravocrata e, nesta conjuntura, analisar as possibilidades escravas de melhores condições de vida e de liberdade. O objetivo de compreender as ações dos escravos e livres levou-nos também a entender as atitudes harmônicas ou não da classe dos senhores e proprietários. A identificação das redes de conflitos fez-nos identificar as brechas e, através destas frestas, visualizamos as estratégias sociais e culturais dos trabalhadores. Em suma, este trabalho objetivou investigar a história dos trabalhadores, escravos e livres, sob a perspectiva analítica da História Social, valorizando analiticamente a cultura popular e a conjuntura específica da zona da mata norte Pernambucana nas últimas décadas da escravidão. Objetivamos, sobretudo, apostar na hipótese de que a micro-análise nos proporciona uma visão ampla das questões, trazendo sua complexidade e sua dinâmica multifacetada, isto é, uma interpretação da realidade com suas variáveis sócio-econômicas, políticas e culturais peculiares e conjunturais. Corroboramos com a análise dos processos sociais que envolvem proprietários e escravos sem generalizações. A proposta, assim, foi produzir uma versão peculiar sobre as relações de classe na sociedade escravista a qual abrangesse de forma dialógica, as ações de cima e as de baixo, não necessariamente, nesta ordem e de forma diacrônica
Abstract: In this work we aim to reconstruct the festive culture and struggle of workers to the sugar mills of the north of the forest zone of Pernambuco between 1870 and 1888. Focusing on analytical county of Nazareth, we crave to understand the social relations of the period and its various networks of power. In a dialectical view of social processes, we reflect about the relations of conflict, negotiation and accommodation between the various social sectors, aiming to grasp, mainly, the complexities of socio-economic, political and cultural community and slavery and at this juncture to consider the possibilities slaves of a better life and freedom. In order to understand the actions of the slaves and free, also led us to comprise the attitudes harmonic or not, the class of masters and owners. The identification of networks of conflict moved us to identify gaps, and through these cracks to observe the social and cultural strategies of the workers. In summary, this study aimed to investigate the history of workers, slave and free, from the analytical perspective of Social History, valuing analytically popular culture and specific conjuncture of the forest area north of Pernambuco in the last decades of slavery. We aim, above all, betting on the assumption that the micro-analysis gives us a broad overview of the issues, bringing its complexity and dynamic multifaceted, ie, an interpretation of reality with their conjucturais and peculiar variables socio-economic, political and cultural. We corroborate the analysis of social processes involving owners and slaves without generalizations. The proposal, therefore, was to produce a peculiar version of the class relations in the slave society which encompass, of dialogical form, the actions, from above and from below, not necessarily in this order and diachronic form
Doutorado
Historia Social
Doutor em História
49
Fréri, Nathalie. "La place et le rôle de l'auteur dans le théâtre d'aujourd'hui : essai d'analyse socio-littéraire." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30065.
Full textAbstract:
Si le théâtre est le lieu de l’élaboration de la langue où le poète a naturellement sa place, force est de constater que l’auteur dramatique des années deux mille peine paradoxalement à trouver sa place dans le théâtre et la société de son temps. Confrontés à la frilosité institutionnelle, à la méfiance des publics et à une méconnaissance généralisée, les auteurs dramatiques actuels tentent de faire entendre leur voix et n’hésitent pas à revendiquer leurs droits auprès des instances publiques. Ce travail se propose de porter un regard actuel et transversal sur la place et la fonction de l’auteur dramatique, en le posant comme une entité humaine qui évolue dans un milieu artistique et social concret. Après avoir retracé le parcours de la figure de l’auteur et l’évolution de la conception du texte dramatique dans l’histoire du théâtre, notre principal intérêt portera sur les différents aspects qui composent aujourd’hui l’identité de l’auteur, qui définissent son profil socioculturel et qui déterminent sa place dans le théâtre. Nous nous pencherons tout d’abord sur l’image actuelle de l’auteur qui se présente comme un artiste combatif et comme un médiateur averti proche du public avant d’aborder la question de son statut professionnel. Nous nous focaliserons par la suite sur le phénomène récent du regroupement des auteurs dramatiques en collectif. L’étude de la place concrète et physique qu’occupe aujourd’hui l’auteur dans l’entreprise théâtrale, et surtout l’analyse des principaux modes de son intégration (direction-association) et des rapports qu’il entretient avec les autres partenaires de la création (metteur en scène, acteur, public) nous permettront de mesurer les avantages et les limites de sa présence au sein du théâtre. De même, la représentation de ses oeuvres dans le système théâtral subventionné, dans le théâtre privé et les compagnies amateurs, l’observation des structures, associations, festivals et manifestations divers qui mettent l’auteur de théâtre au centre de leur projet et enfin l’étude des différents moyens de diffusion et de valorisation (commandes, résidences, ateliers, comités de lecture) des écritures théâtrales contemporaines complèteront cette recherche. Dans un souci de dépasser le seul cadre théâtral, nous aborderons également la place qu’occupe actuellement l’auteur de théâtre dans l’espace médiatique, éditorial et scolaire. Enfin, l’exploration du geste d’écriture et l’analyse du processus de création des auteurs dramatiques, suivies par un aperçu des principales tendances esthétiques et formelles qui caractérisent les écritures contemporaines, offriront un nouveau regard sur la façon dont les auteurs conçoivent leur art et sur les moyens qu’ils déploient pour contribuer au renouvellement de l’écriture dramatiqueIf the theatre is a place where a language in which the poet naturally belongs is created, we cannot avoid noting that the dramatist of the 2000's, paradoxically, is finding it hard to locate his place in the theatre and in the society of his time. Faced with institutional lukewarm support, with a distrusting public and a general lack of understanding of their role, the dramatists of today are trying to make their voices heard, and do not hesitate to demand that public bodies support their rights. This work proposes to concentrate on a cross-disciplinary examination of the place and function of the dramatist. It will do this by positing that he is a human entity that is evolving within a concrete artistic and social milieu. After tracing the trajectory of the authorial figure and the evolution of the concept of the dramatist in the history of the theatre, we will concentrate on the various aspects that today make up the identity of the author, that define his sociocultural profile, and that determine his place within the theatre. We will initially focus on the current image of the author seen as a combative artist and as an enlightened mediating figure who is close to his public. Then we will take on the question of the author's professional status. We will then concentrate on the recent phenomenon which presents dramatists as a collective group. The study of the concrete and physical place occupied today by authors in the theatre, and above all the analysis of the principal modes by which the author is integrated (directing-associating) and of the relationships he has with his partners in theatrical creativity (director, actor, public), these will allow us to measure the advantages and limits of his presence within the theatre. Likewise, the representation of his works in the context of subsidized theatre, in the context of private theatre and of amateur companies, the observance of the structures, associations, festivals and other demonstrations that put the dramatist at the centre of their projects, and finally the study of the different ways to propagate and valorize theatrical writing (command performances, resident artists, play reading committees, writing workshops), these will complete this research project. Given our determination to go beyond the world of theatre, we will also examine the current place occupied by the dramatist as a mediating, editorial and scholarly force. Finally, the study of the writing and the analysis of the creative processes of dramatists, followed by an overview of the esthetic and formal tendencies that characterize modern writing, will offer a new way of looking at the way in which authors view their art and will offer a new perspective on the ways in which they contribute to the renewal of dramatic writing
50
Faure-Gignoux, Sophie. "Le théâtre anthropophage de Miguel Romero Esteo ou le cycle grotescomachique infernal." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3035.
Full textAbstract:
Le monde théâtral de Miguel Romero Esteo, sans doute l’un des dramaturges espagnols les plus importants de la deuxième moitié du XXe siècle, ouvre sur des espaces qui apparaissent comme des univers inconnus encore jamais explorés. Son œuvre, composée de pièces qu’il nomme lui-même « grotescomachies », il invente une dramaturgie nouvelle, festive, rituelle et baroque, qui puise à diverses traditions littéraires, théâtrales, picturales et musicales. L’usage pléthorique de l’intertexte dans ce théâtre polymorphe, hybride et postmoderne avant la lettre – où le chercheur peut glaner les traces d’une anthropologie culturelle – souligne ce que le Moi doit à l’Autre dans toute appréhension esthétique et idéologique du monde. C’est le traitement de la langue qui retiendra notre attention car l’engendrement de la parole dramatique emprunte des chemins de traverse et esquisse des tracés inhabituels. Romero Esteo se livre à une déconstruction du langage et crée ainsi un espace imaginaire inédit, où la poésie et la musique occupent une place centrale. L’auteur crée une fête des sens et du sens, à la fois sonore et poétique, mais aussi critique et grotesque, où chacun des éléments de la structure dramatique s’inscrit dans une forme de jeu particulière qui, loin de dessiner une aire ludique singulière, repousse les limites de l’espace-temps théâtral. Théâtre en liberté, théâtre de la liberté, cette langue autre où se confondent l’animal et l’humain, le spirituel et le corporel, la folie et la raison, la terre et le ciel, construit un univers atemporel qui permet de mieux apprécier et de railler en permanence les traits caractéristiques de la condition humaineThe theatrical universe of Miguel Romero Esteo, undoubtedly one of the most influential spanish playwrights of the second half of the 20th century, opens up spaces that emerge as unknown worlds no one has ever explored. In his work, consisting of plays he himself calls « grotescomachies », he invents a new dramaturgy, festive, ritual and baroque, which draws on various literary, theatrical, pictorial and musical traditions. The abundant usage of intertextuality in this polymorphous and hybrid theater, post-modern ahead of his time – where the researcher can gather traces of a cultural anthropology – underlines what the Self owes to the Other in every aesthetic and ideological perception of the world. Our primary focus will deal with the treatment of language, as the creation of the dramatic speech ventures off the beaten path and outlines routes that are unusual. Romero Esteo engages in a true deconstruction of speech and thus creates an unprecedented imaginary space, where poetry and music hold a central place. The author creates a celebration of sense and senses, at once loud and lyrical, but also critical and grotesque, where every single element of the dramatic structure falls within a specific form of play which, far from just materializing a unique playground, redefines the boundaries of the theatrical space-time.« Free-range » theater, theater of freedom… this unrivalled language, which mingles animal and human, spiritual and physical, insanity and reason, earth and sky, builds a timeless universe that allows for better appreciation and constant mockery of the distinctive features of the human condition