Dissertations / Theses: 'Theatrica'

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Dubreuil, Raphaëla Jane. "Theatrica and political action in Plutarch's Parallel Lives." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23432.

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This thesis explores Plutarch’s use of metaphors and similes of the theatre in order to represent, explore and criticise political action in his Parallel Lives. Most of the studies available on Plutarch’s use of the theatre have tended to address his understanding and employment of the tragic, that is what is defined as tragedy as a genre from the conventions of language, plot and characterisation. This approach belongs to the textual, literary aspect of theatrical production, the word of the writer, and the interpretation of the reader. Although interlinked with my study, this is not what my thesis examines. I am concerned with the performative aspect of the theatre. This envelops all the components which define the activity of the theatrical spectacle: the professionals involved in the production, from the sponsors, to the musicians and dancers, the actors and their performance, from its preparation to its presentation, the costumes, the props and the sets, the intention of the performance, the impact on and the reaction of the audience. Plutarch has two means of approaching the theatrical world. He draws on the reality of theatrical productions, showing an awareness of the technical demands involved in the creation of spectacle and drama. He also draws upon the tradition of theory and definitions of the theatre which had been laid down by philosophers and playwrights. But whether his understanding stems from a familiarity with theatrical productions or a reading of theoretical discourse, Plutarch’s deployments are consistent: they become a tool to assess morally the statesman or political body he is observing. While Plutarch’s judgement tends to be severe, he recognises the impact and effectiveness of histrionic politics. This thesis concentrates on three political structures: kingship, oratory and the relationship between statesman and assembly. Plutarch’s moral assessment is consistent, and yet he draws on different aspects and different theories to represent not only these different structures but also individual approaches to the office of statesman. While absolute monarchs tend to resort to staging, some put the emphasis on spectacle and the experience of the observer and others concentrate on their own person by styling themselves as actors. If some orators draw on techniques used by actors, they do not equally resort to the same methods but according to their character and origin, choose different aspects of the acting profession. Although several assemblies take place in the theatre, their histrionic behaviour depends on the statesman who influences them. While other studies have notes the theatrical quality of Plutarch’s Lives, this thesis offers the first in-depth analysis of the intricacy and richness of Plutarch’s understanding of theatre as a political tool. Other works have tended to put characterisation at the centre of Plutarch’s use of theatre. I propose, however, to focus on political action, revealing Plutarch’s attitude not only towards the spectacular, but also, and crucially, towards some of the most important political structures of antiquity.

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Brown, Ian James Morris. "History as theatrical metaphor." Thesis, Manchester Metropolitan University, 1991. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.290319.

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Haskell, Greer. "The Oresteia : a theatrical poetics." Thesis, University College London (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363120.

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Herrig, Robert Arthur. "Opera reviews as theatrical criticism /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487260531955269.

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Van, Rooyen Stephanie. "The theatrics of negotiating identity." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60214.

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Some former public spaces and buildings of the historical city no longer contribute to the urban fabric and no longer support the city's energy. With this, the historical importance of the fabric is being lost, leaving a trail of skeletons from the past while the city scatters in search of its new identity. The main focus of this dissertation is to understand the various historic and current identities that exist within the city of Pretoria. Through this understanding of identities, negotiations between the old and new can begin to be explored so as reconcile the identity of the neglected and abandoned relics in the urban fabric. To achieve this, the idea of "remodeling" as a palimpsestic layer, as put forward by Machado (1976: 46), will be applied to the Capitol Theatre to reflect its multiple layers of heritage and identity. This reflection of both the existing and the unbuilt are addressed in the adaptation of the Capitol Theatre so that it may become a relevant contributor the urban fabric and to the identity of Pretoria as the new capital city. On an urban level the program is aimed at informing the public with regards to unconstitutional actions that may negatively impact the public sector and the public themselves. This information is used to incite more effective protest where the role of the new layer of architecture is the interface for the procurement and distribution of information regarding actions that directly affect the Constitution's value to the public. In essence an urban "megaphone".
Sekere voormalige publieke areas en geboue dra nie meer tot die historiese stad se wese, karakter en energie by nie. In die proses verloor die stad sy unieke historiese karakter, en in sy soeke na 'n nuwe identiteit, laat die stad 'n reeks murasies en geraamtes van die verlede agter. Die tesis ondersoek die huidige en historiese identiteite van die stad. Deur die wisselwerking tussen die oue en die nuwe te verstaan, kan 'n nuwe konsep gevorm word om die verwaarloosde en vewerpte murasies van die verlede met die huidige teversoen. Om dit te bewerkstellig word die konsep van hermodulering as 'n palimsestiese laag, soos deur Machado (1976: 46) voorgestel, toegepas om die verskillende dimensies van herkoms en identiteit van die Hoof Teater te reflekteer. Die verwerking van beide die bestaande en die ongekonstrueerde spreek die karakter van die Capitol Theatre aan, sodat dit weereens tot die hart en wese van Pretoria as die hoofstad, 'n bydrae kan maak. Op 'n stedelike vlak is die werk daarop gemik om die publiek in te lig ten opsigte van moontlik onkonstitusionele aksies wat dalk negatiewe impakte op die privaat sektor en op die publiek self mag h?. Die inligting word gebruik om meer effektiewe protes aan te spoor, waar die rol van die nuwe argitektoniese verwerking gegrond is op die interaksies tussen die insameling en verwerking van inligting van aksies wat moontlik die konstitusie se waarde vir die publiek mag aantas. In wese, die stad se luidspreker
Mini Dissertation (MArch (Prof))--University of Pretoria, 2016.
Architecture
MArch (Prof)
Unrestricted

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Dudley, Kevin Shane. "Exploring humanity through theatrical design." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3075.

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This document will chronicle the design work of Kevin Dudley at the University of Iowa from August 2013 through the spring of 2016. The images included in this document are representative of the design work for realized productions, large and small scale, and selected explorations in course work. The work represented here includes: drafting, paint elevations, and sketches (both hand and digital). This document will stand as a record my design process and final product used to explore our humanity through theatrical design.

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Robertson, Jacob L. "Theatrical Ideology: Toward a Rhetoric Theatricality." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2858.pdf.

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Barclay, Michael Richard. "Theatrical designs of Charles Ricketts R.A." Thesis, Royal Holloway, University of London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408393.

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Nisbet, Archibald. "George Clint (1770-1854) : theatrical painter." Thesis, Birkbeck (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271351.

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The thesis treats the theatrical scenes and single figure portraits of actors and actresses en role by George Clint. The development of theatrical scene painting in England during the eighteenth century is traced from its antecedents in The Netherlands and France through to the arrival of Clint. There is a brief review of Clint's career to 1816 when he exhibited his first theatrical scene at the Royal Academy. To define the area in which Clint worked, a chapter explores the theatre of the time. His theatrical scenes are discussed for each of the three phases of his work which I have identified. The first phase terminated in 1821 when he was elected ARA. His second phase ran through the 1820s when he continued his earlier manner of painting scenes from staged productions, with portraiture. In the last phase during the 1830s his style and subject material changed. He was essentially a painter of the comic, initially of largely contemporary comedy and farce, but after 1830 of the more substantial comedies of Shakespeare. At the same time his style changed to a more distanced treatment of the theatre without reference to specific productions or casts. The treatment of his theatrical scenes is followed by a consideration of his single figure theatrical portraits of actors and actresses. An important goal for Clint was full membership of the Royal Academy; that he never achieved it led to his resignation in 1836. The position of the Academy at the time, and in particular Clint's situation, is considered. Clint is seen as a peculiarly representative figure in the debates on both the fine arts and the theatre, working as he does at the junction of the two arts and affected by the problems of both.Prints from Clint's theatrical scenes and individual theatrical portraits, both as independent works and as book illustrations are also discussed. Finally, his influence and the reason why the genre of theatrical scene painting came to an end in him are considered 3

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Scurria, Gregory. "The Fourth Level of Theatrical Awareness." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2105.

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Abstract The Fourth Level of Theatrical Awareness By Greg Scurria, MFA A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre Pedagogy at Virginia Commonwealth University. Virginia Commonwealth University, Master of Fine Arts in Theatre Pedagogy Virginia Commonwealth University, 2010 Major Director: Dr. Noreen C. Barnes, Director of Graduate Studies, Theatre Department This text is a partial record and narrative of the production of John Steinbeck’s Of Mice and Men that opened on May 1st 2009 for a three day run ending May 3rd 2009 and Shel, a collection of Shel Silverstein short plays and poems, which opened on September 18th for a three day run that ended September 20th. It also covers the work done by a small group on Yazmina Reza’s The God of Carnage during the Spring of 2010. The text details the creative process of the two productions while also examining two hypotheses that grew out of that work. It will examine the heightened sense of ownership experienced while working on Of Mice and Men and the subsequent unsuccessful attempt to recreate that atmosphere during Shel. The other hypothesis involves the discovery of the fourth level of theatrical awareness and how it can be used to help actors. The fourth level of theatrical awareness exists outside of the traditional character based exploration of text. Students who examine the text using the fourth level attempt to view the play in its entirety without character bias. Actors using the fourth level look at shape, major themes of the play, and spatial awareness in order to analyze the play using a directorial eye. The possible applications of this work will be discusses as well as concerns about its use. The attempts to apply this fourth level of theatrical awareness in Shel will be discussed, as well as the attempts to find practical applications for the fourth level while working with The God of Carnage. Finally, this paper will outline a plan for implementing the fourth level of theatrical awareness in a production and highlight other areas of exploration involving dramaturgical investigation. As a whole, it will trace the growth and transformation of these ideas and plot a plan to continue expanding on them in the future.

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Jochum, Elizabeth Ann. "Inclining east: Theatrical appropriation of kabuki." Connect to online resource, 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:1453559.

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Ward, Marchella. "Towards a grammar of theatrical blindness." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:8376616c-d537-4e2e-93ad-6f06665d252d.

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Since the fifth century, the theatre has been a place for seeing. In spite of this, blind figures repeatedly appear on the stage, from Oedipus, Polymestor, Tiresias and the Cyclops to Shakespeare's Gloucester, Beckett's Hamm, Friel's Molly Sweeney and Kane's Ian. These blind characters have an important role to play in articulating the task of the spectator, both in their aural and imaginative construction of the fictional world in pre-naturalistic theatre, and also in their ability to see through the dramatic illusion in later drama. These scenes of blindness and blinding also have consequences for reception studies, since the relationship between them is not straightforwardly a textual reception history. Instead, these blind characters and the scenes in which they appear are read as what Deleuze and Guattari term an 'assemblage': a heterogenous multiplicity that is produced at the moment of reading / watching with reference to other scenes of blindness and blinding. This thesis sketches out a grammar for such an assemblage, and each chapter focuses on a rule in this grammar. When read as part of an assemblage of blindness, blind characters always have a special relationship with death (Chapter 2), showcase their own performance (Chapter 3), undermine the fictional setting that has been established onstage (Chapter 4), have access to a kind of superhuman knowledge (Chapter 5) and alter the position of their spectators (Chapter 6). Each chapter is structured around a particular moment when the theatre's interest in blind characters resurges, as a response to changes in the social, cultural or scientific understanding of vision and visual impairment. In each chapter, the grammar that is outlined in Chapter 1 with reference to ancient plays returns to the fore, but is refracted through the historical period back on to the grammar of the assemblage.

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Fergusson, Annie. "Modes of engagement in theatrical documentary." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16415/1/Annie_Ferguson_Thesis.pdf.

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This research aims to chart four modes of engagement in post-verite documentary films, devoted to an exclusive examination of theatrical formats, that being those documentaries which are originally intended for a cinema audience. As these theatrical documentaries provide a means for spectators to see through the cinema screen and into the real world, it is important to understand how this 'seeing through' is constructed by the documentary production itself. This thesis acknowledges that the 'learning' of documentary stories and subjects has broadened for the global audience of today. After exploring various separate critiques of documentary voice theory, the definition of documentary and film semiotics, I have devised eight paradigms for creating this 'learning' or 'documentary consciousness' in these theatrical or cinema documentaries. I have explored how these eight paradigms can be observed to function in four different modes. These modes contribute to an evolving understanding of viewer comprehension; that thing called documentary consciousness. This is demonstrated through the audio-visual appendix of clips taken from the proto-typical theatrical documentaries I have chosen to analyse, which are: 'Bowling For Columbine' by Michael Moore (2003), which is illustrative of what I have dubbed the 'Outcome Mode'; 'Etre et Avoir' ('To Be And To Have') by Nicholas Philibert (2004), which exemplifies what I call the 'Participant Mode'; 'My Architect' by Nathaniel Kahn (2005), an example of the 'Journey Mode'; 'Baraka' by Magidson Films (1996), a model of the 'Mandala Mode'.

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Fergusson, Annie. "Modes of engagement in theatrical documentary." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16415/.

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This research aims to chart four modes of engagement in post-verite documentary films, devoted to an exclusive examination of theatrical formats, that being those documentaries which are originally intended for a cinema audience. As these theatrical documentaries provide a means for spectators to see through the cinema screen and into the real world, it is important to understand how this 'seeing through' is constructed by the documentary production itself. This thesis acknowledges that the 'learning' of documentary stories and subjects has broadened for the global audience of today. After exploring various separate critiques of documentary voice theory, the definition of documentary and film semiotics, I have devised eight paradigms for creating this 'learning' or 'documentary consciousness' in these theatrical or cinema documentaries. I have explored how these eight paradigms can be observed to function in four different modes. These modes contribute to an evolving understanding of viewer comprehension; that thing called documentary consciousness. This is demonstrated through the audio-visual appendix of clips taken from the proto-typical theatrical documentaries I have chosen to analyse, which are: 'Bowling For Columbine' by Michael Moore (2003), which is illustrative of what I have dubbed the 'Outcome Mode'; 'Etre et Avoir' ('To Be And To Have') by Nicholas Philibert (2004), which exemplifies what I call the 'Participant Mode'; 'My Architect' by Nathaniel Kahn (2005), an example of the 'Journey Mode'; 'Baraka' by Magidson Films (1996), a model of the 'Mandala Mode'.

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Santeramo, Donato. "Pirandello's meta-theatrical plays beyond the trilogy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ28052.pdf.

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Seagraves, David. "A theatrical take on educational self-esteem." Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.

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West, Shearer. "The theatrical portrait in eighteenth century London." Thesis, University of St Andrews, 1986. http://hdl.handle.net/10023/2982.

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A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between c.1745 and 1800 : painting, print and book illustration. All three offered some form of publicity to the actor, and allowed patrons and buyers to recollect a memorable - performance of a play. Several factors governed the artist's choice of actor, character and play. Popular or unusual productions of plays were nearly always accompanied by some form of actor portrait, although there are eighteenth century portraits which do not appear to reflect any particular performance at all. Details of costume in these works usually reflected fashions of the contemporary stage, although some artists occasionally invented costumes to suit their own ends. Gesture and expression of the actors in theatrical portraits also tended to follow stage convention, and some definite parallels between gestures of actors in theatrical portraits and contemporary descriptions of those actors can be made. Theatrical portraiture on the eighteenth century model continued into the nineteenth century, but its form changed with the changing styles of acting. However the art continued to be largely commercial and ephemeral, and in its very ephemerality lies its importance as a part of the social history of the eighteenth century.

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Woods, Douglas Ww. "The Floorshow: Origins of a Theatrical Art." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1396890099.

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Christoffersen, Joshua Michael. "Telling stories with pictures : exploring theatrical design." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1568.

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This document will chronicle the theatrical design work of Josh Christoffersen at the University of Iowa from August of 2012 through the spring of 2015. The bulk of the images included will be production photos of realized productions--both large-scale mainstage and smaller independent productions--as well as draftings, paint elevations, and sketches to illuminate the process of the artist. The intent is that this document will stand as a record of the various techniques and tactics used throughout my graduate career to tell a story through design

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Cafaro, Anna Grazia. "Tra determinismo e aleatorietà: l'improvisazione dell'attore nel teatro di ricerca contemporaneo." Thesis, Boston College, 2008. http://hdl.handle.net/2345/1748.

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Thesis advisor: Rena A. Syska Lamparska
This dissertation presents a new analysis of theatrical improvisation, not as a theatrical practice but as a condition of the creative process; the focus is on the processes of the actor as signifier and site (producer) of a complex system of exchange. It explores the actor as creator of a macro-text that consists of the fixed element of the script and its variable interactions with the other actors and the audience. I demonstrate that improvisation is the condition that allows the actor to establish non-linear relationships between the text and the spectators through parallel subtexts that he creates ex novo. Such relationships happen in virtue of a ‘complexisation’ of the text that enriches its literal meaning. I observed the Spanish director José S. Sinisterra’s work in which he trained his actors to develop parallel subtexts in order to improve their ability to make a text complex. He argued that the actor’s expression of the text needed to provoke the spectator, through chaos and order. I then, studied the creativity process from a scientific point of view in order to understand in which way chaos and order work inside the mechanisms of performance. Thanks to the application of the chaos and complexity theory to the theatrical processes, attempted here for the first time, I consider the actor and the performance as ‘complex dynamic systems’ like a cell, a human being or life itself, in which, paradoxically, order and chaos coexist and maintain the system in balance; the continuous passages from chaos to order and vice versa, create the necessary tension and energy that put the spectator in the condition of building his own meanings. This study intends to define the fields of action of order and chaos, in both actuation and reception of text, as well as to identify fixed and variable determinant factors which could alter the components of the actor and the whole play’s system, to the and of increasing the necessary tension for complexity. Important theories on semiotic aspects of theatre and reception processes are taken in consideration like those by Iser, Eco, Ubersfeld and De Marinis as well as those by the mayor theatre directors of the Twentieth century, from Stanislavski to Mejerch’old, Kantor, Grotowski
Thesis (PhD) — Boston College, 2008
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Romance Languages and Literatures

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Glenn, Matthew Robert. "The Modern Sound Designer in a Theatrical Team." Thesis, University of California, Irvine, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1562350.

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Sound design is a comparatively young member of the theatrical design family. Computer technology for sound and music, much of which emerged over this past decade, continues to become cheaper and more widely available, making intricate sonic designs more accessible now than in the past for designers and theaters alike. While this is a big step for the art of sound design, the field is still adolescent in comparison to the scenic, costume, and lighting design fields. Sound design has become a regular part of the creation of modern theatre; that said, modern sound designers might collaborate with other theater professionals who trained without significant collaboration with or influence from sound designers and sound design. As such, collaborative practices between a sound designer and the rest of a theatrical team continue to develop. Through this thesis, I hope to provide a comprehensive snapshot of the role of sound design and sound designers in modern theatre, and to illuminate important strategies for successful collaboration between sound designers and a theatrical team.

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Delgado, Maria Milagros. "Theatrical alienation and the films of Carlos Saura." Thesis, University of Newcastle Upon Tyne, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335885.

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Freeby, Raymond. "A phenomenological observation of two theatrical learning environments." Diss., Kansas State University, 2013. http://hdl.handle.net/2097/15672.

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Doctor of Philosophy
Department of Educational Leadership
Jeffrey Zacharakis
This modified qualitative study focused on observations of learning procedures and performance outcomes of two theatrical learning environments (TLE), using a select set of phenomenological observation and recording procedures to ensure minimization of researcher bias. Observational results were compared to previously published observations of a large lecture hall learning environment at a Midwestern university. Observational results were also compared to a select set of learning theories to determine similarities in observed learning procedures to those theories. This study reveals differences in methods of acquisition of knowledge and skills in a TLE and the acquisition of same in the lecture hall environment. In the large lecture hall descriptions, the individual learner’s preset learning measurement options of ABCDF or Pass/Fail, individual option of choice to be present but non-interactive within the learning environment, individual option of choice of when to learn material and in what manner (for instance, cramming for a final), option of choice of attention level when physically present in the learning environment, and other options all affect the individual learner’s achievement level while minimally impacting the learning and achievement options of other members of the lecture class. This contrasts with a TLE, where failure is not a pre-listed option, maximization of learning and skills development is a constant goal individually and severally, interactivity with other learning environment members is mandated, material must be progressively learned and mastered by all members at essentially the same rate of progress, attention level must remain high, and there may well be multiple ‘final exams’ wherein virtually 100% of text materials must be transmitted verbatim in a meaningful way to a third party (an audience) through skills learned. Comparisons of learning theories reveal this process to be most closely allied with, but still significantly different from, collaborative learning theory.

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Hartvigsen, Kathryn. "Nineteenth-Century Theatrical Adaptations of Nineteenth-Century Literature." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2510.pdf.

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O'Quinn, Daniel. "Staging governance : theatrical imperialism in London, 1770-1800 /." Baltimore : the J. Hopkins university press, 2005. http://catalogue.bnf.fr/ark:/12148/cb40059207n.

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Goins, Kristin E. "Metamorphosis: An Original Theatrical, Virtual, and Psychological Experience." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/55.

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Everyday we find ourselves making hundreds of decisions, often without noticing the relevance of even the most miniscule choice that can grow and form into a life altering state of mind. The human brain is the most elaborately complex structure in existence, enabling us to be able to function and comprehend our surroundings. With complexity, also comes malfunctions, which will inevitably occur occasionally ranging in a wide variety of defects from mental illnesses, to super genius abilities. What a certain individual may see as reality, may be completely opposite of the reality you or I see. This poses the question, who decides which reality is true? This paper contains documentation of my research and process through writing and performing an original short film confronting observations that we all experience in our daily lives in the form of a very extreme circumstance that will attempt to force a new way of thinking about what ties us all together as a species, despite our many unique and diverse perceptions. "Metamorphosis" was shown November 30th, 2012 as a short film. To coincide with the film, a promotional website was made to accompany the piece, as well as graphics.

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Del, Peschio Consiglia <1995&gt. "'Cunning gamesters': libertine theatrical strategies in Restoration Comedy." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18126.

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Libertines’ behaviour does not go unnoticed at Charles II’s licentious court. Social figures of the Restoration age, libertines have a strong Hobbist sense of self-preservation which mingles with an inclination towards the pleasures of life, yet, the inability to find a compromise with society causes their social failure. However, the theatrical dimension seems the only one where libertines, as comic characters, can freely perform their credos. The purpose of this study is to offer a metatheatrical reading of libertine characters drawing on some metatheatrical concerns. The libertine’s conscious appropriation of the genre’s tools unmasks, beneath the fictional stage, a real society made of excesses and creates, in a process which often involves the audience, an alternative theatrical reality. Firstly, the character will be analysed on a plot-level in the roles of the ‘trickster’ and the ‘director’. Secondly, the character’s performative use of language and his overpowering wit shows him mastering language with an awareness alien to the other characters. The final chapter explores the idea of dramatic irony in the aged-old metaphor of theatrum mundi through phenomenological lenses. The study will consider the forty-year period from 1660 to 1700, in particular, selected comedies of Dryden, Etherege, Wycherley, Behn and Congreve will be used to provide examples of the aforementioned concepts.

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Curenton, Myron Wade. "Plowshares Theatre Company the first twenty years." Diss., Connect to online resource - MSU authorized users, 2008.

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Thesis (M.A.)--Michigan State University. Dept. of Theatre, 2008.
"The objective of this study is to discuss the history and origin of the Plowshares Theatre Company based upon an interview with the current artistic director, Gary Anderson, and his assistant, Dr. Addell [Austin] Anderson"-- vFrom the abstract. Title from PDF t.p. (viewed on Aug. 4, 2009) Also issued in print.

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Hardie, Catherine Mary-Claire. "The evolution of female characters in French comic theatre before 1650." Thesis, University of Hull, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.318387.

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Taylor, Wendy Amanda. "English pantomime in London in the period 1779 to 1786." Thesis, Cardiff University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313841.

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Baker, Jean Napier. "Theatre in the provinces in the late eighteenth and early nineteenth centuries : with special reference to Sarah Baker in Kent." Thesis, University of Kent, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327439.

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Hsu, Yu-Mei. "Eastern and Western training methods in intercultural theatre with relation to the theatres of Taiwan." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322385.

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Kerdarunsuksri, Kittisak. "The transposition of traditional Thai literature into modern stage drama : the current development of Thai theatre." Thesis, SOAS, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246316.

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This thesis aims to study the development of Thai theatre in the 1990s by focusing on productions adapted from traditional literary works. The study examines how traditional literary pieces are reinvented and how the characteristics of theatrical presentation are developing. Before the 1990s, Thai theatre practitioners made a few attempts to use traditional literature as a source for modern stage drama. Among them, the prominent productions were Rak thi To 'ng Mantra and Lo'dilokrat, both of which were based on the same novel, Rak thi To 'ng Mantra, adapted from the classic Lilit Phra La '. As a result of the promotion of Thainess and Thai culture in the 1990s, along with the movement of "decolonised theatre" in South East Asia, Thai theatre practitioners turned to their cultural roots in order to make their productions communicate with popular audiences. The transposition of traditional literature into modern stage drama became a dominant form in Thai theatre during the 1990s. The reinvention of traditional literature can be considered as "mythopoeia" or mythmaking, in which theatre practitioners managed to adjust the ancient contents to suit the modern social context. While the productions that merely modernised the traditional stories are regarded as modern mythmaking, those revised so as to address radical ideas are revisionist mythmaking. In reworking traditional literature to comment on contemporary issues, some female theatre practitioners looked into the texts from a feminist perspective, whereas some dramatists employed the traditional works to educate grass-roots spectators about social problems, such as drugs and AIDS. Additionally, the transposition of traditional literature also encouraged the theatre practitioners to revive traditional theatrical elements in creating the atmosphere of the stories. The juxtaposition of traditional and modern elements was a distinctive feature of these productions derived from traditional literary sources, as can be seen in costume and set designs, music and songs, as well as in dance styles. Hence, the transposition of traditional literature during the 1990s is a watershed in the development of Thai theatre.

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Sakellari, Alexandra. "The scenic presentation of the Electra-myth in Greek, German and American drama." Thesis, University of Bristol, 1994. http://hdl.handle.net/1983/844c957b-a33e-4e4a-a6ba-a3b3bd83174d.

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Vozani, Ariadni. "The architectural correspondence of space and speech in tragedy." Thesis, Open University, 2003. http://oro.open.ac.uk/54418/.

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The main motive for undertaking this thesis was the exploration of the special relation between space and word, a relation which has recently concerned architectural theory from various aspects. However it was for us important to explore this relation inside the framework of a special system, a system which allows the production of 'real' three dimensional space; drama. Our choice to deal with classical drama was based in its attributeof producing organised space in co-existence and interdependence with articulated speech. It was for us significant that we are not dealing with an internal imaginary space but with a space which is generated and materialised during performance on stage. This thesis's claim that its analysis takes its bearings from aspects of architectural theory requires clarification since it may set up in the mind of a reader from classical studies that the object of the thesisis purely architectural or relates to the physical fabric of the theatre. This is emphatically not the case. The aspect of architectural theory which we are concerned with, concerns the evolution of the analysis of space and spatial relationships. This type of analysis, which gradually achieved an almost autonomous field by the end of the twentieth century, is one which is not so much concerned with the physical or geometrical relations of space but of the experience of space as it is synthesised in the subject. In the first of our chapters we deal with those different readings attempting a critical presentation of the existing scholarship. Obviously it is the performance and all the conventions which govern it that fully define the space of drama. It is the 'event' (of architectural theories) - as this is realised through the characters of drama that make space exist. That space cannot be equated or reduced to the space of the theatre building. It was through this perspective that in the second chapter of our thesis we were concerned to identify the role and action of the main 'subjects' (or the main participants, as we use to call them) of drama. Thus it was necessary to investigate the role of the poet, the actor and the audience, not so much in order to understand how they experience theatrical space, but in reverse, in order to explore the way they influence the production of theatrical space. In order to understand performance, we need to confront the issues of representation in antiquity through the notion of mimesis and the possible application of the term eidolon to the theatrical space. One further target is then to reveal the importance of theatrical space as an innovative genre of space- the first representational space - the analysis of which could contribute to the understanding of the different notions of space in antiquity, especially the Platonic Khora. Those issues are confronted in the third chapter of this thesis where we argue that what we call the 'space in drama' depends upon a combination of different types of representations; representations that their referents can not be identified as they belong to the domain of myth. Thus our positive reason for using the resources of Greek philosophy to render the mechanisms of dramatic representation intelligible rests upon our wish to find material which would validate the proposition that these mechanisms were thinkable. Clearly a central question in the investigation of theatrical space in terms of the arguments put forward above is the relationship between space and language. In the fourth and last of our chapters we attempt to investigate the nature of what we call dramatic speech and its ability to create three- dimensional space on stage, in any of its forms (dialogue, monologue,direct, indirect). Recent theories of architecture have been preoccupied with the exploration of the interrelation of architecture with different disciplines mainly with language itself. The relation of architecture with language becomes more complex in two main ways which concisely refer on the one hand to the influence the analysis of the structure of language has on the development of architectural discourse and on the other, to the influence architectural discourse has on architectural practice. We see then that recent architecture criticism is not limited to the reading of buildings and the marking off of historical periods, but contributes to the development of architecture practice itself. The investigation of theatrical space's relation with word would have never been complete without the study of certain examples from the trilogy Oresteia. Those examples, dealt within the last part of the fourth chapter gave us the opportunity to validate our approach and enrich our conclusions concerning the issues which this thesis intended to clarify.

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Lazarus, Adam. "Ants!: rulers of the insect world." Thesis, Boston University, 1999. https://hdl.handle.net/2144/27703.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02

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Gröndahl, Laura. "Experiences in theatrical spaces five scenographies of Miss Julie /." [Helsinki] : University of Art and Design Helsinki, 2004. http://catalog.hathitrust.org/api/volumes/oclc/72890025.html.

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Lee, Yi-Hui. "A theatrical lighting design for Duke Ellington's sophisticated ladies." College Park, Md. : University of Maryland, 2003. http://hdl.handle.net/1903/98.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2003.
Thesis research directed by: Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Hunicutt, Julie. "In The Telling| Theatrical Devising Practice as Performance Pedagogy." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10749113.

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A detailed account and analysis of a six week theatrical devising workshop and culminating performance event which occurred in March and April of 2017 in the Theatre Arts Department at California State University, Long Beach. In The Telling was an independent project that utilized movement-based ensemble practice and improvisation techniques to develop text and movement into an immersive theatrical storytelling event. Through the synthesis of contemporary theatre making practice and traditional rehearsal techniques, a diverse group of student participants collaborated to create an original work based on personal narrative and the theme of “change”.

Rooted in a broader discussion regarding the ideal foundational elements for contemporary performance training, this project report poses the question: how can performance educators train the next generation of theater makers to excel at creating vibrant, inclusive and innovative work? The In The Telling project posits that theatrical devising practice as performance pedagogy is one approach.

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Wise, Jennifer. "Prolegomenon to the study of dramatic and theatrical theory." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1995. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ28159.pdf.

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Maule, Allan Terry Ferguson Paul Harry. "Exploring the theatrical experience with the playwright as director." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,485.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2006.
Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Communications Studies." Discipline: Communication Studies; Department/School: Communication Studies.

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Mercier, Caroline. "Designing theatrical costumes in collaboration : a contribution to theatre." Thesis, Durham University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400679.

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Kelly, Catherine M. "The internal exile : contemporary Irish playwriting and theatrical production." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393142.

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In recent years Ireland, North and South, has undergone a period of rapid transition. Social and economic advancements in the South and political developments in the North have brought benefits, but have also created for some a sense of confusion and disorientation. Many have become caught between the residual problems of the past and the impact of the new. In the ongoing process of redefining boundaries and attempting to build a more inclusive society, it is important to be aware of the dislocation which exists among groups and individuals in the current cultural climate. My experience of these changing times has been, broadly speaking, as a female Catholic from a middle-class, nationalist background. It is from this perspective that I have explored a variety of political, religious and gender issues, related to the overriding theme of the internal exile in contemporary Irish theatre. Specific chapters address particular concerns. Chapter one provides a historical and cultural context which seeks to place the theme within the macrocosm of a society undergoing change, in addition to outlining the way in which it is represented in and affected by contemporary Irish drama. Chapter two is entitled 'States of mind and the lyricism of theatrical conventions'. It explores a selection of post-sixties plays and identifies a number of different styles of theatre which are being practised in Ireland at the present time. Chapter three discusses the politics of spirituality in relation to Brian Friel's Dancing at Lughnasa. Chapter four focuses on three plays by Marina Carr and considers the role of women. Chapter five looks at politics and gender in two plays about Oscar Wilde; Saint Oscar by Terry Eagleton and The Secret Fall of Constance Wilde by Thomas Kilroy. Chapter six involves a consideration of the political situation in Northern Ireland in respect of the peace process and post-cease-fire plays by a number of playwrights such as Gary Mitchell, Declan Gorman and Michael Harding.

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Kincaid, Deirdre Lindsay. "Rough magic : the theatrical life of John Wilkes Booth." Thesis, University of Hull, 2000. http://hydra.hull.ac.uk/resources/hull:4641.

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When John Wilkes Booth shot Abraham Lincoln in Ford's Theatre in Washington on the evening of April 14,1865, he destroyed any possibility that his reputation as an actor would be dispassionately assessed for the foreseeable future. A bitter, fratricidal war was drawing to its close, and Northern newspapers were not interested in being fair; opprobrium was heaped on Booth's name, beginning in the press the following day. Twelve days later he was dead, shot during an attempted arrest. In 1890, his fellow player Clara Morris asserted hopefully, ‘At this late day the country can afford to deal justly with John Wilkes Booth.’ That time had not yet come: in fact, some of the worst -- and silliest -- slanders have been perpetrated in the twentieth century. But surely now, over a hundred years later, it should be possible to set aside that April evening and look dispassionately at Booth's career in the theatre of his time. As well as extending simple justice to a man who seems to have been extremely likeable and idealistic, and an actor interesting enough to deserve study, such a reassessment may serve to correct a distortion which the 'mythologized' view of his career has created: the idea that Edwin Booth was the only promising young tragedian in the early 1860s, which falsifies both Edwin's career and the period in general. Moreover, John's entire career covered a mere ten years, and his four full seasons as a star occurred during the Civil War, an under-researched period. The necessary concentration on so brief a time-span allows a more detailed treatment than would be possible in examining a career of average length, which may in turn illuminate some broader aspects of American theatre during an unsettled and transitional period.

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Jin, Young-Jong. "Audience, author and theatrical authority in early modern theatre." Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265026.

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Challinor, Jennie Rose. "Staging the court : the theatrical season of 1670-71." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6963/.

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My thesis explores Restoration repertory theatre in the 1670-71 season, examining all of the new and revived works performed, including the premières of plays by dramatists such as Behn, Dryden, Shadwell, and Wycherley. These canonical writers are studied alongside the lesser-known works of playwrights including John Crowne, Edward Howard, Elizabeth Polwhele, and Elkanah Settle. Offering new readings of neglected plays by resituating them within their theatrical, literary, and political contexts, I use contemporary evidence from diaries, letters, pamphlets, and parliamentary records to demonstrate how theatre was inextricably bound with wider circumstances. Tracing the interaction between the playhouses, print, manuscript, and court cultures, my thesis argues that it was in this season that drama became evermore focused on King Charles II and his court, as playwrights looked for answers to increasingly pressing dramatic and political questions and offered cautious, and often cautionary, comments on the monarch. Analysing the main anxieties and impulses evident within drama, including the political influence of the royal mistresses, the emergence of female playwrights, worry about the succession, and the contentious influence of libertine ideology, my thesis concludes with a discussion of Buckingham’s The Rehearsal, a play that looks back to, and reflects on, the 1670-71 season.

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Rhodes, Elizabeth. "'This wide theatre, the world' : Mary Robinson's theatrical feminism." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14254.

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In this thesis I assert that Robinson’s theatrical heritage positioned her uniquely to confront the revolutionary explosions of 1790s radical thought. In her writings, Robinson’s onstage experience of gender performativity is transformed into a bold feminist critique of gender roles for women (and men) everywhere. In Chapter 1, I study writings by eighteenth-century theatrical women to argue that Robinson’s feminism must be understood within a theatrical context to appreciate the unique radicalism of her feminist vision. In Chapter 2, I explore how Robinson’s powerful identification with Marie Antoinette lies at the roots of her feminist project. In Chapter 3, I explain how Robinson then turns to the voice of Sappho to develop a radical vision of transcendent genius. In Chapter 4, I demonstrate how Robinson turns her critique of gender on men through the performative space of the masquerade in Walsingham (1797). Finally, in Chapter 5, I explain how this radical feminist critique is moulded to utopian ends in The Natural Daughter (1799), as Robinson rewrites the ending of Wollstonecraft’s Wrongs of Woman in a vision of the revolutionary family. I read three strands into Robinson’s feminism: 1) the rejection of incommensurable sexual difference; 2) the union of rational virtue and benevolent sensibility in the development of transcendent genius; and 3) a radical critique of the anxious crisis in 1790s masculinity. The result of this was a utopian vision of the future quite different from Wollstonecraft’s better-known brand of ascetic feminism. Instead, Robinson’s feminist theory works to rescue the original values of the French Revolution from beneath the ravages of Jacobin corruption. Beyond the limiting categories of incommensurable sexual difference, Robinson envisions a family in which woman would no longer have to renounce her sexual body in order to engage with society, and man could finally accept her as his equal.

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Kirley, Rachel B. "The Education and Practical Experience of Theatrical Production Managers." University of Akron / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=akron1117392085.

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Dekker, Elizabeth Meyer. "Vital symbiosis : establishing the theatrical tradition of Samuel Beckett." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1282824844.

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McGlaun, Sandee Kay. "Re-staging persuasion : feminist theatrical performance and/as rhetoric." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1287407418.

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Dissertations / Theses on the topic 'Theatrica'

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