Dissertations / Theses on the topic 'Williamson Theatres'
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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." Thesis, The University of Sydney, 1996. http://hdl.handle.net/2123/1617.
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'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." University of Sydney, 1996. http://hdl.handle.net/2123/1617.
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Doctor of Philosophy'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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Tyrrell, Susan E. "Tennessee Williams' 'Plastic Theatre' : an examination of contradiction." Thesis, Keele University, 2013. http://eprints.keele.ac.uk/3826/.
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This thesis proposes a new reading of Tennessee Williams which enables his work to be seen as a cohesive dramaturgy which challenges realist and liberal notions of dramatic space, identity, and time. It examines the biographical and historical origins of ‘plastic theatre’, and the aesthetic and philosophical implications of this crucial term. This thesis analyses the development and hardening of Williams’ reputation during the 1940s and 1950s as a realist (or ‘failed’ realist) playwright through an examination of contemporary reviews and the work of literary critics such as Raymond Williams and Christopher Bigsby. The thesis argues that the critical reception of Williams during these decades was inflected by biographical readings which pathologised Williams and his work from the perspective of ‘straight’ realism. It considers more recent critical re-‐evaluations of Williams’ work: including those of David Savran, Annette Saddik and Linda Dorff. These re-‐evaluations, and Williams’ work as a whole, are seen in the cultural, political and historical contexts of the 1950s and 1960s, which saw the development of the notion that the ‘personal is political’ and a major shift in the ‘structure of feeling’. The thesis goes on to develop a new theoretical perspective on Williams’ work which draws on the philosophical work of G.W.R. Hegel’s views on contradiction and his analysis of the master/slave relationship, W.E.B. Du Bois’ notion of veiling and Malcolm Bull’s theories of hiddenness. This new perspective is employed in extended close readings of early successful plays (The Glass Menagerie and A Streetcar Named Desire) as well as the more problematic later plays (Camino Real, The-‐Two Character Play, The Remarkable-‐Rooming House of Mme Le Monde, I Can’t Imagine Tomorrow and In the Bar of a Tokyo Hotel). The final chapter makes use of Gérard Genette’s theories of narratology to explore the plasticity of time in Something Cloudy, Something Clear and Clothes for a Summer Hotel.
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Correro, Augustine III. "Performing Tennessee Williams." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2713.
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This thesis is dedicated to illustrating the unique challenges of staging works by the playwright Tennessee Williams, and to making suggestions on how to avoid common pitfalls in production, performance, and direction of his plays. It uses evidence from the playwright’s various biographical works as well as insight and conjecture from the author’s experience to illuminate these challenges and help the reader to avoid hackneyed or ineffective staging practices. It touches on the effect of film adaptations on stage performances; the typical portrayal of American Southern characters onstage; the aural ramifications of Williams’s poetry to a now-visually-centered audience; stylistic elements similar to Williams’s contemporaries, including Rice, Brecht, O’Neill, and others; the delicacy of Williams’s signature meter and rhythm in his plays; dramaturgical groundwork in the playwright’s intentions; and a systemization of archetypical Williams characters. This thesis does not prescribe a cut-and-dried set of rules and regulations for performing Williams’s works, for the simple reason that the Williams canon is so diverse that no singular set of “tricks” will be effective in every play. Furthermore, the author understands that a producer, director, or actor will not find use in all facets of a rigid “system”. The thesis does outline a number of practices whose aims are to make productions more effective from an integral perspective. There are exercises to attempt, questions to pose, and matters to consider in the staging of Williams’s plays during any part of production—from in-class reading to designing the scenery, and from deciding why to put a Williams play in a season to the living moments of an actor’s performance. The thesis aims to be helpful, informative, and accessible, rather than doctrinaire: much like the playwright’s works, its purpose is to illuminate dark corners of something that viewers think they already fully understand.
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Yarnelle, David. "Conceiving American Chekhov: Nikos Psacharopoulos and the Williamstown Theatre Festival." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/291967.
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This thesis examines the work of director Nikos Psacharopoulos on the plays of Anton Chekhov while Executive Director at The Williamstown Theatre Festival in Massachusetts. Components of Psacharopoulos' productions are contextualized within an American tradition of producing Chekhov and elements identified in previous research by Laurence Senelick. Using the constituents of Senelick's analysis, Psacharopoulos' work is examined in two general areas: his teaching, directing, and rehearsal techniques with the Chekhov texts, and the qualities in production of the plays at The Williamstown Theatre Festival between 1962 and 1986. This study offers, for the first time, a scholarly examination of Psacharopoulos' work and considers the director's position as an American producer of Chekhov's plays. As one of the most prolific directors of Chekhov in North America, Nikos Psacharopoulos emerges from this study as an essential component in any future consideration of Chekhov production in the United States.
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Zhang, Nan. "Dramatizing light: the theatre of Tennessee Williams and Jo Mielziner." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300991793.
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Hoshikawa, Ana Maria Novi. "Anton Tchékhov e Tennessee Williams: dramaturgias em comparação." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-12012016-145507/.
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O presente trabalho apresenta três possibilidades de comparação entre os textos de Anton Tchékhov e Tennessee Williams: a primeira trata-se de uma comparação formal, que investiga as semelhantes soluções dramatúrgicas encontradas pelos autores em relação à crise do drama, conceito elaborado por Peter Szondi; a segunda possibilidade se concentra sobre as semelhantes posições de classe (conceito de P. Bourdieu) encontradas na história russa e na história americana, que servem como substrato temático às peças analisadas; a terceira e última possibilidade de comparação apresentada está baseada no fenômeno de recepção das peças tchekhovianas nos Estados Unidos, considerando também a vasta repercussão das encenações do Teatro de Arte de Moscou sobre a cena americana.This work presents three distinct possibilities of comparison between the texts of Anton Chekhov and Tennessee Williams: the first one is a formal comparison, it investigates the similar dramatic solutions the authors found to dramas crisis, a concept created by Peter Szondi; the second possibility concentrates over the similarities of class position (P. Bourdieus concept) found in Russian and Amercian history, these serve as the thematic substract of the plays analysis; the third and last possibility explored is based upon the reception of Chekhovs plays in the United States, considering the reprecussions of their productions by the Moscow Art Theatre on the American stage.
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Zhang, Nan. "A Lighting Design Process for a Production of Tennessee Williams' Orpheus Descending." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392023032.
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Johnson, Sarah Elizabeth. "The influence of Japanese traditional performing arts on Tennessee Williams's late plays." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4656.
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Hopkins, Chandra Owenby. "ANTI-BELLUM: A RECLAMATION OF THE SOUTHERN BELLE." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/42.
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This thesis is a written documentation of the original, devised performance piece, ANTI-BELLUM: A RECLAMATION OF THE SOUTHERN BELLE, written in the fall of 2006 by Chandra O. Hopkins. The document tracks the creative process through the stages of: initial inspiration, written development and script formation, creative collaboration in the rehearsal hall, and finally the staging presentation of the piece through production. In addition to this written document, the original, devised script of the production is also included.
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Tuttle, Dean. "Re:framing : an investigation of performance at the intersection of spaces /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030912.104418/index.html.
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Flandoli, Elizabeth Belleza. "Dramaturgia e ficção curta: um estudo de suas ligações e projeções na obra teatral de Tennessee Williams [1911-1983]." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-13042017-084409/.
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A proposta desta tese é comprovar o número expressivo da obra ficcional de Tennessee Williams, relativamente extensa por abranger cerca de cinquenta contos, que representou de formas variadas a gênese ficcional de peças posteriores, além de apontar casos de peças vistas como matrizes que prefiguram a matéria ficcional de contos ou até mesmo de roteiros cinematográficos criados pelo autor. A predominância dos episódios em que os contos se colocam como matrizes ficcionais de importantes trabalhos dramatúrgicos do escritor foi constatada através do levantamento e da análise da produção dramatúrgica e ficcional de Tennessee Williams. Ao empreendermos o estudo analítico de três peças em um ato e uma peça em três atos [peça longa], foi possível estabelecermos a relação entre as peças e a estrutura ficcional dos contos, assim como apresentar um entendimento mais profundo dos processos formais e dos elos compositivos ligando sua ficção curta e a dramaturgia: The Dark Room [O Quarto Escuro, peça e conto, de aproximadamente 1939/1940], Something Unspoken [Algo não Dito, peça de 1953] e Happy August the Tenth [Feliz Dez de Agosto, conto de 1970]; Twenty-seven Wagons Full of Cotton [Vinte e sete Carros de Algodão, conto de 1935] e a peça em um ato de mesmo título [escrita antes de 1946] e The Night of the Iguana [A Noite do Iguana: conto escrito entre 1946-48 e peça de mesmo título, em um ato, de 1959 e em três atos, de 1961]. Dessa forma, o diálogo entre diversos tipos de arte foi mapeado e as representações da história na dramaturgia e em sua ficção curta investigadas.The purpose of this thesis is to prove the expressive number of short stories by Tennessee Williams, relatively high to be composed of around fifty short stories which represented in various manners the genesis of later theater plays, besides highlighting cases of plays seen/ considered sources of short-story telling or even screenplays written by the author. The supremacy of episodes in which the short stories are seen as fictional sources of dramaturgic works by the writer was confirmed by verifying and analyzing the theater and the production/creation of short stories by Tennessee Williams. By doing the analytical study of three theater plays in one-act and a three-act play [fulllength play] it was possible to establish the relationship between the theater plays and the structure of the short stories as well as present a more profound understanding of the formal processes and the links between the plays and his short stories: The Dark Room [O Quarto Escuro, theater play and short story, approximately 1939/1940], Something Unspoken [Algo não Dito, play, 1953] and Happy August the Tenth [Feliz Dez de Agosto, short story, 1970]; Twenty-seven Wagons Full of Cotton [Vinte e sete Carros de Algodão, short story, 1935] and the one-act play with the same title [written before 1946] e The Night of the Iguana [A Noite do Iguana: short story written between 1946-48 and the play with the same title, in one act, in 1959 and in three acts, in 1961]. Therefore, the dialogue among various types of art was studied, besides the sources of inspiration of the playwright and the representations of history on drama and in his short stories investigated.
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Shonk, Victor Eric. "Scenic Design for Tennessee William's Summer and Smoke." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274414875.
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McCloud, Shonn. "African-American Men and a Journey Through Musical Theatre and Opera." Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1622.
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The purpose of this study is to outline the origins of African-American men in musical theatre, uncover their contributions to the art form, and explore how their legacy is continued today. I was inspired to do this research because through my undergraduate curriculum I have only narrowly studied African-American men in musical theatre and opera history. Upon realizing the lack of attention to this subject matter, not only in my curriculum but in historical resources, I was inspired to address the need for this research. The courses I have taken included Theatre History 1 and 2 and Musical Theatre History 1 and 2; recognition of African-Americans in the theatrical arts has been discussed at a minimal level. The majority of African-American studies in these classes focus on minstrelsy and its contribution to American musical theatre. Minstrelsy was an American form of entertainment consisting of variety acts, dancing, and music during the early 1900s. The shows were a mockery of African-Americans with white (Sometimes Black) men dressing themselves in clown-like costumes and black face paint to depict a caricature of blacks. Throughout my coursework I have found there is still a presence of Minstrelsy in the framework of American musical theatre today. Understanding how minstrelsy influenced musical theatre led me to research Bert Williams, a pioneer African-American performer both in minstrelsy and American theatre. Bert Williams broke racial barriers, allowing African-Americans to perform alongside whites and gain proper show billing. This not only influenced theatre, but the social temperature of the time as well, as the stereotype of African-Americans in society slowly began to be broken down, and whites having the opportunity to see African-Americans as normal people aided in the seeding and progression of the civil rights movement. To further study the works and life of Bert Williams, I learned and performed his iconic song, "Nobody." The song is a commentary of how Williams is overlooked because he is an African-American man. It talks about how he is expected to be funny and make a mockery of himself at the expense of himself. In researching the historical context and gaining an understanding of the content within the song, I was able to better understand other roles I have played in various musicals. This gave me a different
perspective to the subject matter of racism within a show. Furthermore, it allowed me to view the evolution of African-American roles in musical theatre, and how they originated in vaudevillian shows. A subject of which I had never explored within my classes. Williams had a very successful and influential career and became the basis for my research. However, as I began my exploration, I realized there were a vast variety of men of color who either contributed as much, if not more, to the progression of African-American men in musical theatre and opera. Bert Williams, Todd Duncan, and Paul Robeson all forged careers in musical theatre and/or opera. These men aided in presenting African-American men in realistic settings and not as stereotyped caricatures. African-American men in musical theatre and opera are typically overlooked for their contribution to the art forms. However, Bert Williams, Todd Duncan, and Paul Robeson were trailblazers for African-American men in musical theatre and opera; utilizing their status and fame to make political change and fight for equal rights, both on and off stage. Their legacy is seen in the art form through the structure of musical theatre, the content of the musical comedy that led to the musical drama, and through the integration of the African-American performer in both musical theatre and opera. In continuation of their legacy, we see more roles in shows for African-American men and a growing interest in shows with African-Americans. The recent opening and revivals of shows like Porgy and Bess, Motown: The Musical, and Kinky Boots all feature leading African-American men on stage. My duty as a young African-American practitioner of both musical theatre and opera is to continue their legacy through both my studies and performance. I am honored to be a part of their legacy, furthering their contributions, and bringing light to their stories through my research and analysis.B.F.A.
Bachelors
Theatre
Arts and Humanities
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Vilaró, Berdusan Jordi. "La recepció del teatre de Tennessee Williams a Barcelona durant el franquisme." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/457758.
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Aquesta proposta de tesi doctoral estudia la recepció del conjunt de la producció dramàtica de Tennessee Williams a la ciutat de Barcelona durant el franquisme. L’anàlisi d’aquesta recepció, emmarcada en un context internacional més global, permet plantejar si el procés de recepció del teatre de Tennessee Williams a Barcelona va ser el resultat d’unes circumstàncies locals determinades per la realitat política, social i cultural del moment (la dictadura franquista), o si, altrament, aquesta recepció podia circumscriure’s en una tendència artística compartida amb d’altres cultures i països.
El treball consta d’una introducció on es descriu sintèticament el context teatral existent en el moment de l’arribada del teatre de Tennessee Williams a l’escena occidental de postguerra (incloent-hi l’espanyola i la catalana), les característiques bàsiques del teatre d’aquest autor i una possible periodització del conjunt de la seva obra dramàtica.
El cos del treball presenta l’anàlisi detallada de la recepció de cadascun dels muntatges que es varen estrenar a Barcelona durant el franquisme: 1) El zoo de cristal (1950, 1955, 1956), 2) Un tranvía llamado Deseo (1950, 1961), 3) La rosa tatuada (1958), 4) La gata sobre el tejado de zinc (1959), 5) La caída de Orfeo (1961) i 6) Dulce pájaro de juventud (1966). Per elaborar aquesta anàlisi, s’ha traçat una panoràmica de la recepció crítica internacional del teatre de Williams per, tot seguit, estudiar-ne la recepció crítica a Barcelona. A més, també s’han analitzat els problemes que cada obra representada va tenir amb la censura, així com les traduccions originals de les obres a l’espanyol.
Les conclusions del treball permeten entendre com l’auge, la consolidació i la davallada de l’interès per Tennessee Williams als Estats Units i a Europa es projecta també a l’escena barcelonina tenint en compte les circumstàncies polítiques i culturals pròpies de l’estat espanyol.This essay studies the reception of Tennessee Williams’s plays in Barcelona during Franco’s regime. Analysing this reception within a broader international context led me to consider whether the reception of Tennessee Williams’s theatre in Barcelona was the result of local circumstances related to the political, social and cultural situation of the time (Franco’s regime) or whether it reflected an artistic trend shared with other cultures and countries. This essay starts with an introduction in which I concisely describe the theatrical context into which Tennessee Williams’s theatre began to be performed in European countries (including Spain and Catalonia) after the Second World War, outline his theatre’s basic characteristics and give a potential periodization of his work. The body of the essay consists of a detailed analysis of the reception of each of Williams’s plays performed in Barcelona during Franco’s regime: 1) El zoo de cristal (1950, 1955, 1956), 2) Un tranvía llamado Deseo (1950, 1961), 3) La rosa tatuada (1958), 4) La gata sobre el tejado de zinc (1959), 5) La caída de Orfeo (1961) and 6) Dulce pájaro de juventud (1966). I look at the critical reception of Williams’s theatre at an international level and then study its critical reception in Barcelona. I also analyse the problems that each play had with regard to censorship and their original translations into Spanish. The conclusion of this study helps us to understand how the rise, consolidation and decline of Tennessee Williams’s theatre in the United States and Europe are also seen in Barcelona, with due consideration of the political and cultural circumstances in Spain.
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LaRocque, Jeffrey. "The Fragmented Artist: Representations of Tennessee Williams in Biographical Solo-Performance." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277059458.
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Lazzaris, Fabiane. "Expressionistic aspects in some works by Tenessee Williams and by other american authors." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/23312.
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A presente dissertação se propõe a traçar o desenvolvimento do Expressionismo desde sua origem na Alemanha da década de 1910 até o teatro estadunidense da década de 1920, assim como a influência desse movimento de vanguarda na obra do dramaturgo americano do pósguerra, Tennessee Williams. Para esse fim, a relação entre artes visuais, teatro, literatura e cinema é apresentada, definindo essa dissertação no campo dos Estudos Interdisciplinares. A análise será principalmente enfocada nas peças expressionistas americanas da década de 1920 dos dramaturgos Eugene O'Neill, Susan Glaspell, Elmer Rice e Sophie Treadwell, e em quatro peças de Tennessee Williams e suas respectivas versões fílmicas: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Primeiramente, serão apresentadas as origens do Expressionismo na Alemanha na década de 1910 para definir as características do movimento. Posteriormente, serão identificadas características expressionistas no teatro, literatura e cinema estadunidense da década de 1920. Por fim, será verificada a influência do movimento expressionista na obra de Tennessee Williams, tanto em suas peças quanto nas versões fílmicas. O objetivo dessa dissertação é provar a ligação entre a obra de Tennessee Williams e as peças de dramaturgos expressionistas estadunidenses anteriores, assim como discutir a inter-relação e o aspecto colaborativo entre artes visuais, teatro, literatura e cinema.The aim of this thesis is to track the development of Expressionism from its roots in Germany in the 1910s to its outcome in the American theatre in the 1920s, as well as the influence of the avant-garde movement in the work of the postwar American playwright Tennessee Williams. For the purpose of the present thesis, a relation including the visual arts, theatre, literature and cinema will be traced, thus setting this work in the field of Interdisciplinary Studies. The analysis will mainly focus on 1920s American expressionist plays by Eugene O'Neill, Susan Glaspell, Elmer Rice and Sophie Treadwell, and four plays by Tennessee Williams and their respective film adaptations: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Firstly, the origins of Expressionism in Germany in the 1920s are presented to define the characteristics of the movement. Later, expressionistic aspects are identified in 1920s American theatre, literature and cinema. And finally, the influence of the expressionist movement is verified in the work of Tennessee Williams, both in his plays and film versions. The objective of this thesis is to prove the connection of Tennessee Willliams's work with that of earlier American expressionist playwrights, as well as to discuss the interrelation and collaborative aspect of the visual arts, theatre, literature and cinema.
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Lane, Michelle I. ""Why do hurt people hurt people?" A SERIES OF CASE STUDIES EXPLORING ABUSIVE RELATIONSHIPS IN DRAMATIC TEXTS AND ONSTAGE WITH TONI KOCHENSPARGER'S MILKWHITE." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492704228702652.
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Luca, Claudia. ""Wisdom lies in what we know what it means to be right." L'Antigone di Roy Williams: una proposta di traduzione." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/12726/.
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Questa tesi si pone l’obiettivo di esplorare la figura di Antigone e il grande dibattito che la concerne da secoli attraverso una proposta di traduzione dell’Antigone di Roy Williams. L’autore, inserito all’interno del black theatre britannico, utilizza nelle sue opere un linguaggio multiculturale legato alle sue origini giamaicane.
Il primo capitolo si concentra sul personaggio di Antigone e sulle grandi tematiche introdotte dall’opera sofoclea, con una particolare attenzione nei confronti degli studi di genere.
Nel secondo capitolo viene introdotto l’autore e presentata la sua produzione attraverso un’analisi del linguaggio utilizzato e dei temi trattati.
Il terzo capitolo è incentrato attorno alla teoria della traduzione per il teatro: si chiariranno quali sono i testi che partecipano al testo teatrale e quanto sia importante il concetto di performability per il traduttore.
Nell'ultimo capitolo si introduce il commento alla traduzione, nel quale vengono illustrate le principali strategie adottate e vengono giustificate le scelte specifiche.
Infine, l’appendice presenta la traduzione integrale dell’Antigone di Williams.
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Evans, Gareth Llŷr. "Astudiaeth o'r Cysyniad o Theatr Ôl-Ddramataidd yng Nghyd-Destun Gwaith Cwmni Brith Gof a'i Ddilynwyr ac Aled Jones Williams." Thesis, Aberystwyth University, 2012. http://hdl.handle.net/2160/ae4ac450-e4bd-4ea0-8502-cd3545ccf5e7.
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Leme, Viviane Maria. "A concepção da tragédia moderna em \'The crucible\' e \'A view from the bridge\' de Arthur Miller." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-07112007-131916/.
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A presente pesquisa dedica-se ao estudo da forma de tragédia moderna utilizada pelo dramaturgo americano, Arthur Miller, em The Crucible [As Feiticeiras de Salém] (1953) e A View From the Bridge [Panorama Visto da Ponte] (versão de dois atos, de 1956), apoiando-se na obra Tragédia Moderna do crítico inglês, Raymond Williams, e concentrando-se no texto teatral, ou seja, na dramaturgia, o que não inclui análise de montagens. O pressuposto teórico do presente trabalho é a crítica histórica e dialética que considera o conteúdo histórico determinante dos aspectos formais. No primeiro capítulo, discute-se o que é tragédia moderna, quais as fontes da tragédia moderna e da tragédia milleriana, qual o conceito de tragédia para Arthur Miller, por que ele escolheu a tragédia para tratar das questões figuradas nas duas peças e quais os recursos formais que ele utiliza. A partir daí, demonstra-se que ambas as peças possuem características que mesclam peculiaridades da tragédia grega com a tragédia moderna, as quais dão forma a um tipo de dramaturgia que Raymond Williams denomina tragédia liberal, cuja principal marca é mostrar e discutir a luta do homem contra sua sociedade. Com essas peças Arthur Miller \"atualiza\" a forma da tragédia para assim restaurar a idéia que está por trás dela, isto é, a idéia de causação, de conectividade. No segundo capítulo, parte-se dessa base central de conectividade para analisar como a forma escolhida por Miller reflete esse conceito; assim, ele constrói suas peças demonstrando como, em suas estruturas, as causas se conectam com seus efeitos, como as ações individuais afetam o todo, como a vida particular influi na vida pública, e vice-versa, e demonstrando, além disso, uma preocupação não-maniqueísta na construção das personagens e dos fatos. Avistamos esses traços nas duas peças de Miller principalmente devido à inserção de um narrador, que chamamos de \"explícito\" em The Crucible e \"implícito\" em A View from the Bridge, cujas funções são também analisadas. No terceiro capítulo, o que se destaca das tragédias de Miller é o fato de que os conteúdos de suas obras são determinados historicamente; sendo assim, as duas peças são exploradas à luz do macartismo para que se verifique como os paralelos podem ser compreendidos e o que eles dizem sobre o senso de coletividade.Based on the assumption that the formal choice of the artist reveals the content of his work, and vice-versa, the present research studies the form of modern tragedy as it is applied to the text of The Crucible (1953) and A View from the Bridge (the two-act version of 1956) by Arthur Miller. For this purpose, this work draws on Raymond Williams\' conception of modern tragedy. Thus, the first chapter demonstrates that both plays combine certain characteristics which can be found in Greek tragedy, and some others that are present in the modern tragedy to form a specific kind of tragedy that Raymond Williams calls liberal tragedy; the main purpose of a liberal tragedy, according to Williams, is to show and discuss that the man is constantly struggling against his society. We have noticed that Arthur Miller relies on this assumption of the modern tragedy to rescue the idea of causation and connectedness. Having the idea of connectedness in mind, in the second chapter, we analyze the way Miller develops these plays with the preoccupation of showing the relatedness of causes and effects, which means to show how the individual acts are related to the whole society, and how the private life influences in the public one, and vice-versa. We have also observed a certain concern in depicting characters and facts taking into consideration that the truth is relative, which can be noted by the presence of what we call an \"implicit narrator\" (in The Crucible) and an \"explicit narrator\" (in A View from the Bridge). The presence of these narrators, besides having the function of establishing a complicity between characters and audience, also ensures a distancing voice, epic par excellence, which challenges the commonly held notions about the topics discussed in the plays. In the third chapter, relying on the notion that Miller\'s tragedies are historically determined, we analyze the parallels between the two plays and the historical moment in the United States which is commonly called McCarthyism, and what it represents for the sense of community explored by the author in both plays.
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Bowlen, Daniel. "The Estate of Mendacity: An Interpretation of William's Most Ambiguous Character." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3746.
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I performed the role of Brick Pollitt at Lake Mirror Theatre in Lakeland, Florida from April 20- April 30 2006. The role of Brick Pollitt provided me with several acting challenges as well as multiple subjects to research. The most challenging aspects of portraying the character of Brick Pollitt are his alcoholism, issues of sexuality, and tormented familial relationships. Brick Pollitt journeys in the period of one day through major challenges in two key relationships. He moves from dominance in his relationship with Maggie to capitulation and from isolation in his relationship with Big Daddy to mutual understanding. Brick's relationships are further complicated by questions surrounding his recently deceased best friend Skipper and drives (alcoholism) that may be perceived as self destructive. My preliminary work has led me to believe Brick is in search of peace ('the click') in a tormented life (Williams, Cat 2.47). The nature of the torment needs further research for definition. Some critics argue Brick's sexuality is ambivalent, and he is repressing homosexual drives. Equally possible is arguing the homosexuality was restricted to Skipper. Making a decision about the definition of this relationship is key to making choices within the play because the friendship was so important to Brick's perception of himself. Brick believed his relationship was the "one true and pure thing" in a life filled with "mendacity" (Williams, Cat 2.50). 'Mendacity' is Bricks reference to his disgust with "lyin' an' liars' (Williams, Cat 2.50-51). He is lost without this anchor for his life and it has impacted his ability to interact with the world around him. Determining Brick s sexuality in my portrayal will be central to my process while I also embrace research into related areas of behavior. To supplement my research of alcoholism and Brick's sexuality, the following topics: -A Psycho-Analytical study of the character Brick Pollitt and his "archetypal" relationships with Maggie, Big Daddy, Skipper, Gooper, and his place in society. -The evolution of the character Brick Pollitt through various scripts and screenplays. From Williams's first script through to dealing with the Hays Code. A study of Tennessee Williams life history and the influence on the play. -The history of Cat on a Hot Tin Roof from its Morosco Theatre Broadway debut in New York City on March 24, 1955, followed by its film release in 1955 starring Paul Newman, Burl Ives, and Elizabeth Taylor. Any successful portrayal of Brick Pollitt in Cat on a Hot Tin Roof demands intense focus to individual relationships within the ensemble. The central theme of the play is 'mendacity' (deceit) (Williams, Cat 2.50). Brick uses this word to describe his disgust, but the 'mendacity' of his human relations in the aging and decaying Southern society is what troubles him (Williams, Cat 2.50). Discovering the ties between family, 'mendacity', and society are relevant to the execution of the play (Williams, Cat 2.50). I believe depiction of Brick Pollitt in this Pulitzer Prize winning American Classic will best present my abilities achieved in the Master of Fine Arts ProgramM.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Luna, Sandra. "Para uma arqueologia da ação tragica : a dramatização do tragico no teatro do tempo." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270328.
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Orientador: Suzi Frankl SperberTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-07-31T22:31:55Z (GMT). No. of bitstreams: 1 Luna_Sandra_D.pdf: 24302800 bytes, checksum: 64a7fca441003da5ee22886dba7eb379 (MD5) Previous issue date: 2002
Resumo: Este trabalho investiga o conceito de ação na dramaturgia trágica, revisitando uma tradição que se origina na Grécia Antiga, berço da tragédia, e que se estende inquestionada até meados do século XX, quando a pós-modernidade lança seu desafio à racionalidade, à subjetividade e ao conhecimento conceitual, pressupostos fundamentais à teorização sobre a ação. Considerando, por um lado, a contribuição dessa nova visada critica aos estudos literários, por outro, a dificuldade de se escapar a essas mesmas categorias que os pensadores pós-modernos tentam desconstruir, a pesquisa se desenvolve através de uma articulação metodológica que aproveita idéias e conceitos formulados pelos pensadores do drama, confrontando-os com leituras próprias de "fontes primárias" e com informações de caráter histórico, literário, filosófico, antropológico, epistemológico, entre outras. Dessas negociações emerge um quadro conceitual cuja rentabilidade teórica é finalmente aferida em um corpus interdisciplinar, composto de uma peça da dramaturgia trágica - A Streetcar Named Desire, de Tennessee Williams, e suas adaptações fílmicas, uma dirigida por Elia Kazan em 1951, a outra por Glenn Jordan em 1995. Situado esse corpus fora dos limites históricos da trajetória que inspirou os conceitos e as hipóteses formuladas como fundamentos estruturais da ação trágica, a verificação da permanência e da validade desses conceitos na análise das obras legitima a própria orientação metodológica da pesquisa, assim como referenda a tese que, de hipótese em hipótese, se constrói ao longo do percurso. Ao final do trabalho, confirma-se que a dramaturgia trágica ocidental se estrutura como uma estratégia poética de racionalização, um gênero que se esforça por impor uma lógica causal àquilo que, no limite, é inexplicável e inescrutável: o trágico destino humano
Abstract: This work investigates the concept of action in tragic drama, revising a tradition originated in Ancient Greece, birthplace of tragedy, a tradition which extends itself up to the middle of the twentieth century, when representatives of the so-called "post-modem" thought defy exactly the premises upon which this dramatic tradition was built up -rationality, subjectivity and the bases of conceptual knowledge. Considering, on one hand, the contributions of these new critical trends to literary studies, on the other, the difficulties to escape the categories post-modern thinkers try to "deconstruct", this research develops through a methodological articulation based on a permanent evaluation of the concepts and ideas proposed by the theoretical tradition in the light of personal readings of " primary sources" and other - historical, literary, philosophical, anthropological, epistemological sources of information. From these negotiations a set of conceptual elements emerges as the fundamentals of tragic drama, its validity being asserted through the analysis of an interdisciplinary corpus, composed of a twentieth century drama (A Streetcar Named Desire, by Tenessee Williams) and its two filmic adaptations (one by Elia Kazan, from1951, the other by Glenn Jordan, ITom 1995). Because the play and its adaptations are situated out of the historical boundaries of the investigative trajectory which inspired the concepts and the hypotheses formulated as the fundamentals of tragic action, the verification of the permanence and validity of these concepts in the analyses of the corpus not only asserts the methodological orientation of the research, but also legitimizes the thesis which, from hypothesis to hypothesis, was built up. At the end of the work, occidental tragic drama is proclaimed as a poetical strategy of rationalization, a geme which imposes a causal logic to what is, in its limit, inexplicableand inscrutable- the tragic destiny of human beings
Doutorado
Literatura Geral e Comparada
Doutor em Teoria e História Literária
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Martins, Rafael. "Nobody knows you when you´re down and out: a encenação de Alguns Blues do Tennessee pelo Grupo TAPA no Teatro de Arena Eugênio Kusnet." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-17042018-142235/.
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A proposta desse trabalho é a análise da encenação do espetáculo Alguns blues do Tennessee, dentro do projeto TAPA no Arena: uma ponte na História no ano de 2013 no Teatro de Arena, vencedor do Edital de Ocupação do Teatro de Arena Eugenio Kusnet. Trata-se da encenação de três peças em um ato, O quarto escuro, Verão no Lago e A dama da loção antipiolho, do dramaturgo estadunidense Tennessee Williams. O espetáculo é o resultado do trabalho iniciado no ano de 2009 com a direção de Eduardo Tolentino e Brian Penido Ross, tendo no elenco Conrado Sardinha, Isabella Lemos, Kadi Moreno e Rita Giovanna. A apresentação foi desenvolvida em sala de ensaios pelos atores do Grupo TAPA num processo que contou o estudo sistematizado da dramaturgia da obra de Williams. Recebeu a tradução de um lote de 26 peças curtas e 6 peças longas do autor, tendo como resultado, além da produção do espetáculo, na publicação, pela editora É Realizações, dos livros Mister Paradise e outras peças em um ato (WILLIAMS, 2011), 27 carros de algodão e outras peças em um ato (WILLIAMS, 2012), O zoológico de vidro; De repente no último verão; Doce pássaro da juventude (WILLIAMS, 2014) e Gata em telhado de zinco quente; A descida de Orfeu; A noite do iguana (WILLIAMS, 2016).The purpose of this work is the analysis of the performance staging of the play \"Some blues by1 Tennessee\" within Tapa no Arena project: a bridge in history in 2013 at Arena Theater, winner of the Edict of Occupation of the Arena Theater Eugenio Kusnet. It\'s the staging of three one act plays: \"The Dark Room\", \"Summer on the Lake\" and \"The lady of the Larkspur Lotion\" of the American playwright Tennessee Williams. The performance is the result of a work that began in 2009 with Eduardo Tolentino and Brian Penido Ross as directors and Conrado Sardinha, Isabella Lemos, Kadi Moreno and Rita Giovanna in the cast. This work has been developed in a rehearsal room by the Tapa Group actors during a process which included the systematic study of the dramaturgy work of Williams and the translation of a batch of 26 one-act plays and 6 long plays of the author. Besides the production of the show, it also resulted the publication of the books: \"Mister Paradise e outras peças em um ato\" (Williams, 2011), \"27 carros de algodão e outras peças em um ato\" (Williams, 2012), \"O zoológico de vidro; De repente no último verão; Doce pássaro da juventude (Williams, 2014) and \"Gata em telhado de zinco quente; A descida de Orfeu; A noite do iguana (Williams, 2016) by \"É Realizações\" publisher.
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Burt, Elizabeth Marie. ""Such a deal of wonder" : structures of feeling and performances of The winter's tale from 1981 to 2002 /." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd920.7.
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Flores, Fúlvio Torres. "Da Depressão às raízes do macartismo: representação de questões sócio-históricas em American blues, de Tennessee Williams." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-15052013-093207/.
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A proposta desta tese é analisar a representação de questões sócio-históricas em American blues, de Tennessee Williams, coletânea de cinco peças curtas escritas durante as décadas de 1930 e 1940 e reunidas para publicação em 1948. Cada uma delas é de vital importância para a compreensão da sociedade norte-americana desse período. Considerando que o blues expressa o pathos e as condições de vida da classe trabalhadora e dos excluídos das relações de produção, afirma-se que as peças Moony´s kid don´t cry, The dark room e The long stay cut short, or The unsatisfactory supper figuram os efeitos causados sobre essa larga camada da população nos anos da Depressão Econômica. The case of the crushed petunias a lyrical fantasy parodia o impacto da sufocante ideologia do American way of life sobre a classe média e o desinteresse dessa pelos principais acontecimentos durante a II Guerra Mundial. Por fim, Ten blocks on the Camino Real a fantasy alegoriza a sociedade capitalista do pós-guerra e o nascedouro da era macartista. Por meio de um sucinto levantamento das peças escritas por Tennessee Williams até a publicação da coletânea é possível extrair elementos que permitem evidenciar a constituição e organicidade de American blues.The purpose of this thesis is to analyze the representation of socio-historical issues in American blues, by Tennessee Williams, a collection of five short plays written during the 1930s and 1940s and grouped for publication in 1948. Each one is vitally important to the understanding of the American society of that period. Taking into consideration that the blues express the pathos and the living conditions of the working class and those excluded from the relations of production, we assert that the plays Moony\'s kid don´t cry, The dark room and The long stay cut short, or The unsatisfactory supper represent the effects of the Great Depression on this broad population group. The case of the crushed petunias a lyrical fantasy parodies the impact of the American way of life ideology on the middle class as well as this class´s indifference concerning the major events of World War II. Finally, Ten Blocks on the Camino Real a fantasy allegorizes postwar capitalist society and the roots of the McCarthy era. Through a brief survey of the plays written by Tennessee Williams until the publication of the collection it is possible to draw elements that evidence the constitution and organicity of American blues.
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Huston-Findley, Shirley A. "Subverting the dramatic text : folklore, feminism, and the images of women in three canonical American plays /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901243.
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Copenhaver, Bonny Ball. "A portrayal of gender and a description of gender roles in selected American modern and postmodern plays." [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0212102-095131/unrestricted/copenhaverb.pdf.
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Özer-Chulliat, Sibel. ""Se mettre en scène" dans les adaptations contemporaines de textes classiques : un point tournant dans l'art de la mise en scène ?" Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA133.
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Depuis quelques années, certains metteurs en scènes européens prennent des initiatives particulièrement audacieuses dans leurs adaptations de textes classiques, coupant le texte, modifiant l’ordre des monologues et allant jusqu’à injecter des morceaux de textes écrits par eux ou bien issus d’autres oeuvre littéraires. Ils n’hésitent plus à "se mettre en scène", c’est-à-dire à traiter avant tout leurs propres questions existentielles par l’intermédiaire des textes classiques, se libérant ainsi de toute pression exercée sur eux par les interprétations textuelles faisant autorité ou bien par les représentations de ces textes dans l’imaginaire collectif, et emmenant les textes classiques dans un "ailleurs" très personnel. Leurs mises en scène dépassent la fragmentation et le désordre propres au théâtre postmoderne et s’attachent au contraire à raconter une histoire cohérente, centrée sur les préoccupations intimes du metteur en scène. Ce nouveau type de mises en scène s’appuie sur des influences diverses, depuis André Antoine jusqu’à Heiner Müller, en passant par Stanislavski, Artaud et Brecht, et constitue une nouvelle étape dans le processus d’autonomisation de l’art de la mise en scène à l'oeuvre depuis le XIXème siècle. Le corpus de cette thèse comprend quatre récentes adaptations (réalisées entre 2008 et 2011) de textes classiques : Hamlet de Thomas Ostermeier, Hamlet de Nikolaï Kolyada, Roméo et Juliette d’Olivier Py et Un tramway de Krzysztof Warlikowski (à partir de Un tramway nommé Désir de Tennessee Williams). Il comprend également une mise en pratique sous la forme d’une adaptation, Pygmalion - J’ai créé une femme (à partir de Pygmalion de George Bernard Shaw), réalisée par l’auteur de la thèse en 2014 au sein des Théâtres Nationaux de Turquie, et ayant permis de tester les arguments et conclusions tirés des analyses précédentesIn recent years, some European directors are taking particularly bold initiatives in their adaptations of classic texts, cutting the text, changing the order of monologues and even injecting pieces of texts written by them or from other literary works. They do not hesitate to "stage themselves", that is to say, to treat primarily their own existential questions through the classic texts, thus releasing any pressure exerted on them by the authoritative textual interpretations or by the representations of these texts in the collective imagination, and taking the classic texts in a very personal "elsewhere". Their stagings exceed the fragmentation and disorder specific to postmodern theater and focus instead on telling a coherent story, centered on the intimate concerns of the director. This new type of staging draws on diverse influences from André Antoine to Heiner Müller through Stanislavski, Brecht and Artaud, and represents a new stage in the empowerment process of the art of staging at work since the nineteenth century. The corpus of this thesis includes four recent adaptations (conducted between 2008 and 2011) of classic texts: Thomas Ostermeier’s Hamlet, Nikolai Kolyada’s Hamlet, Olivier Py’s Romeo and Juliet, and Krzysztof Warlikowski’s A Streetcar (from A Streetcar Named Desire by Tennessee Williams). It also includes a practical application in the form of an adaptation, Pygmalion - I Created A Woman (from Pygmalion by George Bernard Shaw), directed by the author of the thesis in 2014 in the Turkish State Theatres and having tested the arguments and conclusions from previous analyzes
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Oliveira, Célia Maria Silva. "From the margins into the mainstream: Roy Williams and black british theatre (1995-2010)." Master's thesis, 2012. http://hdl.handle.net/1822/24016.
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Dissertação de mestrado em Estudos InglesesThis thesis examines the work of the black British playwright Roy Williams, exploring the place that this dramatist occupies in contemporary theatre, which has undergone great changes in terms of the themes of its plays as well as in terms of its playwrights. Starting his career in fringe venues, Williams has gained visibility and gradually entered the mainstream, presenting his work at some of London’s most influential theatres for a more ethnically-diverse audience. These productions have consistently been met with critical acclaim. Williams’ work has brought to the stage a set of themes that reflect previously unexplored areas of contemporary Britain in theatre, such as racism and stories of local black communities. Therefore, Williams’ work explores key aspects of multiracial Britain and the issues raised by multiculturalism. The plays are grouped in terms of themes and this division explores the evolution of Williams’ career from the margins to the mainstream. Therefore, the first chapter, “Where do we Belong? The Jamaica Set”, deals with the dramatist’s early plays that focus on the Jamaica legacy. Chapter two, “Constructions of Britishness: Where do we Fit in?”, explores the construction of identity in current Britain from a black perspective. The final chapter, “The State of the Nation”, discusses the dramatist’s approach to Britain nowadays through plays that discuss current configurations of the British nation.
Esta tese examina o trabalho do dramaturgo britânico negro, Roy Williams, explorando o lugar que este ocupa no teatro contemporâneo que, por sua vez, sofreu grandes alterações, quer no que diz respeito aos temas abordados nas suas peças, quer nos seus dramaturgos. Tendo começado a sua carreira em salas de teatro experimental, Williams ganhou visibilidade e, gradualmente, foi entrando no mainstream, apresentando o seu trabalho em algumas das salas de teatro mais influentes de Londres para uma audiência etnicamente mais diversificada. Estas produções foram sendo consistentemente aclamadas pela crítica. O trabalho de Williams trouxe para o palco um conjunto de temas que refletem áreas ainda por explorar acerca da Grã-Bretanha contemporânea: racismo e histórias de comunidades negras locais. Por isso, o trabalho de Williams explora aspetos fundamentais da Grã-Bretanha multirracial e temas que são levantados pelo multiculturalismo. As peças estão agrupadas por temática e esta divisão explora a evolução da carreira de Williams. Desta forma, o primeiro capítulo, “Onde pertencemos? – O Conjunto Jamaicano”, aborda as primeiras peças do dramaturgo que focam o legado da Jamaica. O capítulo dois, “Construções de Como Ser Britânico – Onde nos Integramos?”, explora a construção de identidade na Grã- Bretanha contemporânea numa perspetiva negra. O capítulo seguinte, e último, “O Estado da Nação”, discute a abordagem da Grã-Bretanha atual através de peças que discutem o atual estado da nação.
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Clelland, Cathie Margaret. "More than just tricks : the implications for stage design of Tennessee Williams' notion of 'plastic theatre'." Phd thesis, 2012. http://hdl.handle.net/1885/151341.
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This thesis is an exploration of Tennessee Williams' idea of 'plastic theatre,' locating its origins within the theatrical context of the period, with the object of identifying its chief principles and seeking something approaching a definition 'of plastic theatre,' as a starting point from which to demonstrate its application to theatre production and especially to set design. In 1945, with the published version of The Glass Menagerie, Williams launched his theory of 'plastic theatre,' a theatrical mode that would, he believed, answer the problems he perceived in American war-time theatre, and that would help develop a stronger post-war American theatre. Williams claimed that theatre in America placed too much emphasis on words and not enough on the essential elements of theatre. Taking an anti-realist stance, he asserted that this emphasis on words should be replaced by a theatre that recognised the plasticity of the stage and the expressivity of all the elements of play production. In his scripts he sought to present his vision of how his plays would work on stage by demonstrating how these elements should be integrated with text. From Williams' assertion that the physicality of the stage environment is as important as the text, we can deduce that the manner in which the stage space is arranged is a crucial performance element. The notion of 'plastic theatre,' therefore, has significant implications for the practice of set design. The aim of this project is to place Tennessee Williams' ideas within the history of American scenic design and demonstrate the way designers have expressed his ideas. This project engages in two types of research methodologies: historical and practical. The first component begins with an exploration of Williams' theory by reference to his published and unpublished works, particularly his journals and notebooks, followed by a consideration of the rise of the set designer in America so as to contextualise the work of designers of Williams' major plays. I look at the first designers of his plays, leading practitioners who responded to his all-encompassing vision and created designs which not only answered the demands of his scripts, but were to influence the history of stage design in America. I then explore the work of leading designers of Williams plays since 1960, considering how their designs have related to their precedents and to dominant trends in twentieth-century set design. Even though this thesis explores design issues up to the twenty-first century, the focal plays will be limited to those major works of Williams' career up to 1960, the period in which he developed his idea of 'plastic theatre' and wrote plays which demonstrably illustrate its principles. In order to assess what a practical engagement with the texts can reveal about 'plastic theatre,' the practical component comprises the designing of three major Tennessee Williams plays: The Night of the Iguana, Suddenly Last Summer and Cat on a Hot Tin Roof. Designs for these plays were created and constructed for performances in Canberra, Australia. --provided by Candidate
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Alfieri, Gabriele Cesare. "Missed cues: music in the American spoken theater c. 1935-1960." Thesis, 2016. https://hdl.handle.net/2144/14540.
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The period from the end of World War I through the 1950s has been called “the Golden Age of Drama on Broadway.” Subsumed within this period is another sort of golden age, of music in the American spoken theater, Broadway and beyond, c. 1935-60. Unlike more familiar, and better-studied, genres of dramatic music such as opera, ballet, and the Broadway-style musical, music composed for spoken dramas is neither a definitive part of the dramatic form nor integral to the work’s original conception. Rather, it is added in production, like sets, costumes, and lighting.
This study traces the roots of this rich period of spoken-dramatic music to the collaboration of producer John Houseman, director Orson Welles, and composer Virgil Thomson on the Federal Theatre Project, beginning in 1936. The musical ramifications of that collaboration eventually extended to include composers Paul Bowles and Marc Blitzstein, influential theater companies such as the Theatre Guild and Group Theatre, innovative directors such as Elia Kazan and Margo Jones, and major playwrights such as Lillian Hellman and Tennessee Williams.
Following a consideration of the forces that gave rise to this musically rich nexus and the people, materials, and practices involved, three high-profile theatrical collaborations are examined, along with three scores that resulted from them: Thomson’s score for Houseman’s 1957 “Wild West” Much Ado About Nothing; Blitzstein’s score for Welles and the Mercury Theatre’s 1937-38 “anti-Fascist” Julius Caesar; and Bowles’s score for the original production of Williams’s The Glass Menagerie (1944-45). Each score is located within the musico-dramatic history that produced it, and analyzed within the context of the production for which it was written. This work aims to begin to recover a vast body of forgotten American dramatic music, to limn the role of the spoken theater in the careers of these three noteworthy American musical artists, to probe a busy intersection of high and commercial art forms, and to suggest music’s important role in the development of the American spoken theater.
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Luz, Svea Sophie Pahlke. "Reality and illusion in theatre - Blanche DuBois and her individual perception of life in A Streetcar Named Desire by Tennessee Williams." Master's thesis, 2017. http://hdl.handle.net/10362/20280.
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This dissertation seeks to analyse the way illusion and reality converge in the play
A Streetcar Named Desire1 by Tennessee Williams2. The protagonist Blanche DuBois will
be the central figure of this analysis. Blanche´s personal perception of reality leads to ambiguity and a metaphormosis of f truth. The dissertation will explore whether Blanche
DuBois can reveal a deeper reality to us. Quotes refer to the edition published by Reclam
(Stuttgart, 2015). A staged example of the piece, in the form of the German production
Endstation Sehnsucht3 (German title of A Streetcar Named Desire) directed by Lars-Ole
Walburg4 will also be referred to.
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Landry, Denys T. "Dramatizing whoredom : prostitution in the work of Tennessee Williams." Thèse, 2010. http://hdl.handle.net/1866/4615.
Full textAbstract:
Cette thèse explore le leitmotiv de la prostitution dans l’oeuvre de Tennessee Williams et soutient que la plupart des personnages de Williams sont engagés dans une forme de prostitution ou une autre. En effectuant une analyse formaliste des textes de Williams qui illustrent toute forme de prostitution, avec une attention particulière à quatre grandes pièces, A Streetcar Named Desire (1947), Cat on a Hot Tin Roof (1955), Suddenly Last Summer (1958) et Sweet Bird of Youth (1959), cette présente étude fait valoir que le dramaturge utilise un mode de fiction—le gothique—en lien avec une pratique transgressive—la prostitution—pour relier les classes sociales et troubler les catégories de prostitution. Ce faisant, Williams offre une vision plus représentative et nuancée de la prostitution.
Théoriquement, cette thèse repose sur des oeuvres critiques portant sur le genre, la sexualité et l'histoire de Michel Foucault, David Savran, et Michael Paller afin de situer la dramaturgie de Williams dans le contexte historique et culturel des années 1940 et 1950. La première partie de cette thèse (chapitres un et deux) fournit de nombreuses informations autobiographiques et biographiques qui expliquent pourquoi la prostitution est devenue le thème de prédilection pour Williams. Cette section met l’accent sur sa préoccupation constante à l’égard de sa prostitution artistique (en prostituant son art pour le succès commercial) et sexuelle (en payant pour des prostitués). Cette partie présente également un inventaire détaillé des prostituté(e)s, que je divise en trois catégories: 1) la prostitution des enfants, 2) la prostitution masculine et 3) la prostitution féminine. La deuxième partie de cette étude, composée des chapitres trois et quatre, identifie les personnages de Williams qui s’engagent dans une forme de prostitution morale. Ce groupe comprend ceux qui tirent directement profit de la prostitution des autres ainsi que ceux qui se marient uniquement pour un gain financier ou une promotion sociale ou les deux.
L’oeuvre de Williams résiste la représentation stéréotypée de la prostituée en littérature comme étant uniquement de sexe féminin ou provenant des classes sociales défavorisées ou les deux. La prostituée de Williams n’est ni une figure romantique ni une rebelle menaçant la société. Cette thèse conclut qu’en représentant des enfants prostitués, des femmes de rue, des prostitués de sexe masculin, des souteneurs, des proxénètes, des propriétaires de bordels, des leaders corrompus et des personnes qui se prostituent en concluant des mariages de convenance, Williams a effectivement et incontestablement dramatisé la prostitution sous toutes ses formes.This dissertation explores the leitmotif of prostitution in the work of Tennessee Williams and provocatively contends that most Williams characters are engaged in one form of prostitution or another. Performing a close reading of relevant texts by Williams that illustrate any form of prostitution, with special attention given to four major plays, A Streetcar Named Desire (1947), Cat on a Hot Tin Roof (1955), Suddenly Last Summer (1958), and Sweet Bird of Youth (1959), this study argues that the playwright uses a transgressive mode of fiction—the gothic—in conjunction with a transgressive practice—prostitution—to link the social classes and to blur the boundaries between the literal and the figurative prostitutes. In so doing, Williams offers a more calibrated, nuanced view of prostitution. Theoretically, this dissertation reposes on critical works on gender, sexuality, and history by Michel Foucault, David Savran, and Michael Paller to fully contextualize Williams’s work and to discuss the attitude towards, and place of, prostitution within the cultural zeitgeist of the 1940s and 1950s. Part A (chapters one and two) provides ample autobiographical and biographical evidence to explain that Williams’s use of prostitution as a recurring theme results from his lifelong preoccupation with, and indulgence in, an amalgam of prostitutions: artistic (prostituting his art for money) and sexual (paying for sex). It also presents a detailed inventory of the playwright’s literal prostitutes, whom I classify into the following three categories: 1) child prostitution, 2) male prostitution, and 3) female prostitution. Part B, comprising chapters three and four, engages with theory and history and identifies Williams characters who qualify as moral prostitutes. This group includes those who directly profit from prostituting others and those who marry exclusively for financial gain, social advancement, or both. Williams’s work eschews the stereotypical representation of prostitutes in literature as lower-class streetwalkers or morally bankrupt females or both. The playwright neither presents the prostitute as a romantic figure of transcendence nor as a rebellious one who threatens society. This dissertation concludes that by depicting child prostitutes, female streetwalkers, male hustlers, gay-for-pay studs, pimps, procurers, brothel operators, the morally compromised powers that be, and those who prostitute themselves by entering into loveless marriages, Williams has effectively and incontrovertibly dramatized whoredom in all of its forms.
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Brown, David Asher. "The sound ascending." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3382.
Full textAbstract:
The sound ascending is a musical theater work for two actors, four singers and piano. This project was a collaboration with playwright, Jason Tremblay. The story is a loose adaptation of Orpheus descending, by Tennessee Williams. Displaced from the rural, American South, most of our story takes place in Mazer, Afghanistan. Jason and I attempted to create an untraditional model. The work lies somewhere between a musical, oratorio and a song cycle. We both walked away with mixed feelings about the success of the work, following a preliminary premiere. I believe that the work is successful in its drama and storytelling. But in such a confined presentation, the work needs more diversity of material and character strength. Although complete for now, Jason and I plan on revising The sound ascending in the coming year. Most significantly, this project has been a learning experience. We both take away valuable lessons about writing and collaboration.text
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Maurício, Mariana Silva Leal de Faria. "Pensar Sobre a Tradução de texto a partir de The Night of Iguana, Tennesse Williams e os Teatro Artistas Unidos." Master's thesis, 2018. http://hdl.handle.net/10362/51006.
Full textAbstract:
A peça The Night of the Iguana (1961), de Tennessee Williams (1911-1983), foi
traduzida para português em duas ocasiões diferentes. A primeira tradução data de 1965
e foi preparada por Idalina Pina Amaro. Apesar de publicada pela editora Europa-
América durante o Estado Novo, a sua representação foi proibida pela censura. A
segunda tradução, da autoria de Dulce Fernandes, foi publicada pela Relógio d’Água em
2015 e aproveitada pela companhia de teatro Artistas Unidos, dirigida por Jorge Silva
Melo, para a preparação de um espectáculo estreado em 2017. A presente dissertação
usa estas experiências distintas, bem como alguns aspectos da vida do dramaturgo
norte-americano, para reflectir sobre algumas questões colocadas no âmbito da tradução
de teatro, incluindo num contexto de censura. Tira-se igualmente partido de um estágio
realizado junto da referida companhia de teatro, para retirar algumas conclusões acerca
da experiência prática de traduzir para o palco e sobre a influência clara da semiótica do
teatro sobre muitos dos autores que têm escrito sobre este tema.Tennessee Williams’s The Night of the Iguana (1961) was translated into Portuguese on two different occasions. The first translation dates from 1965 and was by Idalina Pina Amaro. Although this translation was published by Europa-América during the Dictatorship, its actual performance was forbidden by the censors. The second translation, by Dulce Fernandes, was published by Relógio d’Água and used by the theatre group Artistas Unidos, led by Jorge Silva Melo, to stage the play in 2017. This dissertation uses both of these cases, as well as several aspects of the playwright’s life, to address some of the issues typically raised in the field of translation for the theatre, including in the context of censorship. I also avail myself of my time as an intern with this group to draw some conclusions about the practical experience of translating for the stage and also about what is clearly an influence of theatre semiotics on several theorists who have written on this topic.
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Guedes, António Miguel Sena Esteves de Magalhães. "Os Artistas Unidos e Tennessee Williams: uma experiência como assistente na mesa de encenação da peça «A Noite da Iguana»." Master's thesis, 2017. http://hdl.handle.net/10362/23108.
Full textAbstract:
Os Artistas Unidos e Tennessee Williams é um relatório do estágio desenvolvido
na companhia de Teatro Artistas Unidos, que marca o fim do mestrado em Artes
Cénicas na Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa.
O estágio como assistente de mesa de encenação, nos Artistas Unidos decorreu
no primeiro semestre do ano letivo de 2016/2017 e focou-se no trabalho realizado pelos
Artistas Unidos, nomeadamente o encenador Jorge Silva Melo, na adaptação da peça “A
Noite da Iguana”, de Tennessee Williams.
O relatório tem como principais objetos de estudo o contexto e estado atual da
companhia de teatro Artistas Unidos, o texto de A Noite da Iguana e o seu contexto
autobiográfico, o trabalho do ator Nuno Lopes em articulação com o encenador. Por fim
chega-se a várias conclusões sobre os desafios e problemas que se colocam a quem leva
as peças de Tennessee Williams para cena.Artistas Unidos and Tennessee Williams is an report on the internship developed at the Artistas Unidos Theatre Company as the final project for the Performing Arts Masters at Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. The internship as an assistant at the director´s table at Artistas Unidos took place during the first semester of school year 2016/2017 and focused on the work performed by Artistas Unidos, namely by the director Jorge Silva Melo, while adapting the play by Tennessee Williams “The Night of the Iguana”. The report focuses on the context and current situation of the theatre company Artistas Unidos, the “The Night of the Iguana” text and his autobiographical context, the acting performance of Nuno Lopes articulated with the director. Finally, it draws several conclusions about the challenges and problems facing whoever tries to present on stage Tennessee Williams´ plays.
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Hennawi, Chada. "Rasismus a Nové Rozměry Zobrazování Multikulturní Zkušenosti v Současném Britském Dramatu." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-405703.
Full textAbstract:
The thesis Racism and New Dimensions of Projecting the Multicultural Experience in Contemporary British Drama analyzes multiculturalism in contemporary Britain and questions its discursive boundaries through the works of some black and Asian contemporary playwrights such as Roy Williams, debbie tucker green and Tanika Gupta. The works of these playwrights articulate a set of experiences that reflects an image of the contemporary issues of bigotry and violence in Britain. Williams, Gupta and green present new approaches on the multicultural Britain concerning the issues of racism, discrimination and knife crime, shedding light on the cruelly racist world from the 'white and black' perspectives. Rethinking the questions of identity, Britishness, social agency and national affiliation from new proportions. The second chapter Roy Williams's Sing Yer Heart Out for the Lads (2002), Sucker Punch (2010) and The No Boys Cricket Club (1996). Williams stages sport in all its complexity as a rich ground for contemplating the issues of racism, belonging, nationalism and identity. He portrays an image of the conflict among the ethnic communities in a multicultural space, highlighting that conflict in its larger context. The third chapter discusses Tanika Gupta's White Boy (2008) and Sugar Mummies (2006). Both of...
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Berto, Tony. "Are We There Yet? Gay Representation in Contemporary Canadian Drama." Thesis, 2013. http://hdl.handle.net/10214/7372.
Full textAbstract:
This study acknowledges that historical antipathies towards gay men have marginalised their theatrical representation in the past. However, over the last century a change has occurred in the social location of gay men in Canada (from being marginalised to being included). Given these changes, questions arise as to whether staged representations of gay men are still marginalised today. Given antipathies towards homosexuality and homophobia may contribute to the how theatres determine the riskiness of productions, my investigation sought a correlation between financial risk in theatrical production and the marginalisation of gay representations on stage. Furthermore, given that gay sex itself, and its representation on stage, have been theorised as loci of antipathies to gayness, I investigate the relationship between the visibility and overtness of gay sex in a given play and the production of that play’s proximity to the mainstream.
The study located four plays from across the spectrum of production conditions (from high to low financial risk) in BC. Analysis of these four plays shows general trends, not only in the plays’ constructions but also in the material conditions of their productions that indicate that gay representations become more overt, visible and sexually explicit when less financial risk was at stake. Various factors are identified – including the development of the script, the producing theatre, venue, and promotion of the production – that shape gay representation. The analysis reveals that historical theatrical practices, that have had the effect of marginalizing the representations of gays in the past, are still in place. These practices appear more prevalent the higher the financial risk of the production.The author would like to sincerely thank Ann Wilson, Ric Knowles, Matthew Hayday, Alan Shepard, Sky Gilbert, Daniel MacIvor, Michael Lewis MacLennan, Conrad Alexandrowicz, Chris Grignard, Edward Roy, Brad Fraser, Cole J. Alvis, Jonathan Seinan, David Oiye, Clinton Walker, Sean Cummings, Darrin Hagin, and Chris Galatchian.
SSHRC, The Heather McCallum Scholarship, Lambda Prize for achievement in lesbian, gay, bisexual and trans-gendered studies.
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Brooks, Amy. "Cat on a Hot Tin Roof: 60 Years of American Dialogue on Sex, Gender, and the Nuclear Family." 2016. https://scholarworks.umass.edu/masters_theses_2/316.
Full textAbstract:
This thesis is a two-part work. Its components, a written paper and a one-night symposium/film screening event entitled Tennessee Williams: Gender Play in 2015 and Beyond, have been closely coordinated with my dramaturgical research for the February 2015 University of Massachusetts Amherst Department of Theater production of Cat on a Hot Tin Roof. The written inquiry is structured around a chronological, selected American production history of Cat; this history, rendered in a series of three case studies, will (1) synthesize preexisting analyses of Cat’s dramaturgical profile, its impact on American theater, and its position in Williams’s oeuvre; and (2) examine the interplay between this body of scholarship’s primary foci (e.g., gender, sexual identity, and family dysfunction) and the evolving cultural climate in which its subject, Cat, is perennially reinterpreted and restaged. In other words, my thesis reframes Cat as a series of inherently American—and potentially unanswerable—questions posed by Williams to his viewers; it then investigates the artistic and critical responses generated by sixty years of public engagement, or “dialogue,” with those questions. Ultimately, each case study will illustrate my central premise: that the value of Cat on a Hot Tin Roof lies in its ability to resonate, both in production design and reception, with the social, sexual, and domestic challenges of the period in which it is produced.