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1
Beale, Matthew Carson. "Playing the Writing Game: Gaming the Writing Play". Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/32006.
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My studies consider the application of digital game theory to the instruction of writing in the first year composition classroom. I frame my argument through dialectic of representation and simulation and the cultural shift now in progress from the latter to the former. I first address the history of multimodal composition in the writing classroom, specifically noting the movement from analysis to design. In the third chapter, I examine several primary tenants of video game theory in relation to traditional academic writing, such as the concept of authorship and the importance of a rule system. My final chapter combines the multimodal and digital game theory to create what I term â digital game composition pedagogy.â The last chapter offers new ways to discuss writing and composing through the theories of video games, and shows how video games extend the theories associated with writing to discussions that coincide with an interest that many of our students have outside of the classroom.Master of Arts
2
Mulinder, Guy. "Master of Fine Arts Thesis in Playwriting". Thesis, University of Canterbury. Humanities, 2011. http://hdl.handle.net/10092/5236.
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Couper, Nathaniel J. "EGO: WRITING THE PSYCHOLOGICAL PLAY, DIEGO". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/407.
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Ego: Writing the Psychological Play, Diego focuses on my analytical research and educational experiences as a Theatre major and Psychology minor as well as my personal journey over a four year period writing the play Diego. Theatre provided background for my writing process, and Psychology provided the basis for the play’s main themes. The play’s major plot as well as many of the characters and relationships came from a notable time in my own life, such that without those dramatic personal events, the inception of the play never would have occurred. I combined my experiences with my knowledge of playwriting and the mind to create a work that, while drawn from some unorthodox methods, holds true to the universality of human struggle.
4
Emmelhainz, Nicole. "Writing Games: Collaborative Writing in Digital-Ludic Spaces". Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1402918660.
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Shaper, Hal. "The prince and the pauper : a musical play". Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/7914.
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Gallagher, Kelly A. "RUBBER MEETS ROAD: RESEARCHING, WRITING, AND PRODUCING ANORIGINAL PLAY". Kent State University Honors College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1526384703233597.
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Lambert, Charles. "The wolves of Kromer and other scripts : political writing in popular forms". Thesis, University of East Anglia, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273414.
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Lyall-Watson, Katherine. "The collaborative impact : writing a play with the collaboration of actors". Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16582/1/Katherine_Lyall-Watson_-_The_Woods.pdf.
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How can a playwright share authorial control with a group of actors when creating a new play script? How does the individual playwright address matters of genre, form, style and structure to create a unifying theme, while remaining true to the dramatic intention and aesthetics of the group? What impact will the collaborators have on a playwright's work? Will they help or hinder the writing process? This exegesis closely follows the creation of a new play, The Woods, in a process where the playwright intended to facilitate a collaborative process with the actors rather than act as sole author. Issues arising in this mode of working include the real meaning of sole authorship, aesthetic integrity and creative power balance. The analysis of these issues will have relevance for theatre practitioners working in collaborative contexts.
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Lyall-Watson, Katherine. "The collaborative impact : writing a play with the collaboration of actors". Queensland University of Technology, 2007. http://eprints.qut.edu.au/16582/.
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How can a playwright share authorial control with a group of actors when creating a new play script? How does the individual playwright address matters of genre, form, style and structure to create a unifying theme, while remaining true to the dramatic intention and aesthetics of the group? What impact will the collaborators have on a playwright's work? Will they help or hinder the writing process? This exegesis closely follows the creation of a new play, The Woods, in a process where the playwright intended to facilitate a collaborative process with the actors rather than act as sole author. Issues arising in this mode of working include the real meaning of sole authorship, aesthetic integrity and creative power balance. The analysis of these issues will have relevance for theatre practitioners working in collaborative contexts.
10
Hagan, Micheline S. "On Writing, Playing, and Self Experiencing". Antioch University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1319816850.
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Westkaemper, Lisa. "Tiger; a stage play, and a reflective essay detailing the writing process". Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3167/.
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This thesis includes a full length play and a separate section describing the creation of this play. The play depicts family members struggling with the direct and indirect ramifications of alcoholism, depression, and suicide. The play is composed of two acts; act one contains eight scenes, and act two contains six scenes. It is set in the 1950s and 1960s and takes place in various areas of the family home, at a wedding reception, and at a funeral. The essay section includes a description of the process, a record of changes in the play's direction, notations of personal discoveries, and a self evaluation of the strengths and weaknesses of the play.
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Robertson, Judy. "The effectiveness of a virtual role-play environment as a preparation activity for story writing". Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/589.
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Improvisational dramatic role-play activities are used in classrooms to encourage children to explore the feelings of the characters in a story. Roleplay exercises can give a story personal significance to each child, and an insight and understanding of the characters which is reflected in stories written afterwards. The thesis describes the development of a virtual environment designed for similar dramatic role-play exercises. The thesis then investigates its effectiveness as a preparation activity for writing stories. It examines the effects the virtual role-play environment has on the characterisation in children’s imaginative writing. It also investigates the social interactions which children engage in and the moral decisions they make during the role-play; and the motivational effects of the virtual roleplay environment. The virtual role-play environment is based on a commercial computer game. Two children and one role-play leader interact with each other in a perceptually realistic virtual world. Each role-player controls an avatar in order to move around this graphical world, and improvise by sending and receiving typed messages. The high quality graphics, sounds and music contribute to the users’ feelings of perceptual presence while the communication between role-players promotes feelings of social presence. The role-players’ emotional engagement with the other characters and the conflict within the adventure encourages them to experience self presence. The virtual role-play environment was evaluated in a field study with sixty children aged between ten and twelve years. The characterisation in stories written after using the virtual role-play environment was compared to the characterisation in stories written under normal classroom circumstances. The stories were compared using a new, fine-grained analysis scheme for assessing children’s writing. The main result is that the stories written after the virtual role-play contained more dialogue and more indications of relationships between the characters than normal classroom stories. Analysis of the typed communication exchanged between the role-players during the game shows that the role-players formed relationships with the other characters. They also made judgements about the characters’ personalities and to a lesser extent expressed emotional involvement during the game. They made moral decisions and could back up their decisions with reasons. Expert evaluation supports the view that the virtual role-play environment is particularly beneficial to children with low literacy standards. Finally, it also benefits children with low literacy motivation and little interest in school work.
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Salom, Leo. "How to write a building". Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33687.
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The following pages contain the imagination for a library to be built in the manner of a sestina. The question that titles the book and the work within has preoccupied me for a while and at this moment, it would be an error to say that a conclusion has been reached; ultimately, solutions only propel echoes, foretelling of the blind fold before our eyes, ignorance. There is only a hope that the images here are to you, the reader, as crystalline as they were to me, the dreamer.Master of Architecture
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Belmonte, Angela. "Virginia Woolf's moment of the 'new novel' : the play-poem; writing toward the vision /". Title page and contents only, 1998. http://web4.library.adelaide.edu.au/theses/09AR/09arb451.pdf.
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Lozano, Enrique. "A play and its exegesis verbal and non-verbal information in contemporary theatrical writing". Saarbrücken VDM Verlag Dr. Müller, 2007. http://d-nb.info/988756560/04.
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Crawford, Sara. "The Snow Globe". ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1585.
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Hassall, Linda Marie. "Evoking and Excavating Representations of Landscape: How are Experiences of Landscape Explored in the Creation and Development of a New Play: Dawn's Faded Rose?" Thesis, Griffith University, 2012. http://hdl.handle.net/10072/365436.
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The following practice led investigation explored the creation and development of a new play, Dawn’s Faded Rose. Drawing on experiences of memory, imagination, representation and dramatisation, the creation of the work revealed landscape as a powerful metaphor that reimagined nature and culture and reinterpreted concepts of the white woman’s inheritance of place from the position of a new play. The research makes a claim for the value of landscape as central to the play and to the cultural knowledge statements that are embedded within the fiction.
The research posits that Dawn’s Faded Rose may be read outside its dramatic function by contributing to current discourse concerning the role landscape experience has in constructing cultural meaning. In doing so the research addressed the gap in landscape studies as identified by Fuchs and Chaudhuri (2002), from a dramatic perspective. Draft 1 provided a landscape discourse that framed an analysis of landscape and post-colonial theories embedded in the work. The draft further generated a phenomenological analysis of personal landscape narratives pertinent to the creation of the play and proposed the concept of Dramatic fusion, a method of analysis that explored the dramaturgical cohesion between phenomenological experiences and fiction. The second phase of the research investigated the creative development of the play. Informed by literature reviewed, this phase utilised dramaturgical processes that incorporated cyclic principles of action research for the purpose of refining the fictional contexts in the play. The research therefore proposes that principles of action research may be integrated into artistic creative development processes specifically for improvement of a dramatic work rather than for the enhancement of playwright’s knowledge of practice.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Education and Professional Studies
Arts, Education and Law
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Saenz, Marshall. "Networks of Interaction: Writing Course Design through Fourth Generation Activity Theory and Principles of Play". Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555108005074448.
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Vimuktanon, Atisaya. "Between "Word-Play and Evasion": Reading and Writing Lily Bart in "The House of Mirth"". W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539626113.
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Howland, Katherine. "Narrative threads : supporting young people in developing writing skills through narrative-based game creation". Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/42603/.
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This thesis examines how narrative-based game creation can be used as an activity to improve writing skills for young people aged 11-15, and how additional representational support in a game creation tool can increase the benefits of the activity. Creating narrative-based games can involve traditional writing skills as well as requiring the 21st century skills of multimodal and interactive writing. Toolsets make it possible for young people to create 3D role-playing games with a commercial look and feel, but they do not provide support for the complex task of interactive and multimodal narrative creation. To investigate the desirable features of a tool that would support this task and the associated learning, an extensive learner-centred design process was conducted. This involved teachers and young people, and also incorporated relevant theory synthesised into a design model. A suite of tools, Narrative Threads, was designed and developed through an iterative process to provide the support highlighted as important. Two evaluative studies were conducted in different learning contexts; a secondary school and a vacation workshop. A mixed-methods approach was used to examine the overall potential for the activity to support writing skills development and the impact made by additional representational support. Comparative studies between groups showed some evidence that writing skills were improved for those taking part in game creation, and there were further benefits for groups using Narrative Threads in the workshop setting, but not in the school setting. Additionally, a multimodal analysis of the games created showed that many participants demonstrated a developing proficiency in using 3D graphical elements, text and sound to convey an interactive narrative. The findings indicate promise for the approach, although additional curricular and pedagogical support would be crucial if the potential is to be actualised in a classroom context.
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Lydon, Adam. "Using personality theory in the construction of an original play". Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1288.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Theatre
22
Eyre, Lucy. "Amnesiac A stage play - and - Playwriting migration: Silence, memory and repetition. An exegesis". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1925.
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In response to the surging migration phenomenon and growing hostility and restrictions on the movement of people, the stage play, Amnesiac, and exegesis, Playwriting migration: Silence, memory and repetition, explore a different approach to this global dilemma. Rather than focussing on the plight of refugees and asylum seekers, the approach and focus of the thesis centre on Western migration, from slavery and colonialism to corporation migration in the current globalised capitalist system. The research underpinning the approach of the play and essay examines the process of voluntary or obligatory participation in and/or resistance of political, social and economic systems which contribute to the circumstances that cause people to migrate.
The play depicts the workplace and home environments of fictional characters from historical and present-day migrations. Interactions between characters reveal the cumulative effects and fluctuating features of the relationship between oppressor and oppressed. These effects and features manifest in the playwriting, with the blending of repetition, stream of consciousness and memory as a way of understanding character objectives, conflicts, alliances and potential transformations. The results reveal the shifting nature of disempowered peoples and expose the shared experiences of oppressor and oppressed - in particular, the contributing factors of socialisation, domination and greed that are infused in the relationships which ultimately lead to conflict or alliance.
The exegesis examines historical and current events and people that inspired the form and content of the play. The factors that inspired the genre, the world of the play, the characters and incidents are discussed in relation to how social, political and economic systems reflect and reveal ongoing root causes of violence, instability and poverty in developing countries and, indeed, the increase of the same problems in developed countries.
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van, Ooijen Erik. "The mold of writing : style and structure in Strindberg's chamber plays". Doctoral thesis, Örebro universitet, Akademin för humaniora, utbildning och samhällsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-9196.
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The thesis examines the five plays published by August Strindberg under the label of Chamber Plays: Stormy Weather, The Burned Lot, The Ghost Sonata, The Pelican (all 1907), and The Black Glove (1909). It takes its point of departure in a particular aspect of Strindberg’s way of writing as he actually describes it himself: during the act of deliberate composing, a productive fever tends to emerge bringing an element of chance to the work. The thesis defines the effect produced by this “fever” as the tension generated between, on the one hand, structure or form, and, on the other hand, style or writing. These concepts are associated with a tradition, primarily in French literary theory, which pays attention to what is described as a friction between the general linguistic aspect of literature (genres, recurring and recognizable patterns) and the individual aspect (the peculiar and idiosyncratic style of an author embodied in his material habitus). Thus the ambiguity found in the thesis’ title: the “mold” alludes partly to the stereotypes or matrices of language, partly to the “fungi” that, according to Strindberg, could be considered an adequate image for writing; the poetic work, says Strindberg, grows like mold from the author’s brain. Theoretical questions, primarily of a formal and interpretational nature, are continuously discussed since one of the main points is that the Strindbergian way of writing restricts what kind of interpretation may be given his works. The eventual contrast between form and interpretation is, furthermore, related to a general theme developed throughout the Chamber Plays concerning the meaning of life. It is stressed that the five plays show distinct formal and thematic differences; thus, a separate chapter is dedicated to each of them. The chapter on Stormy Weather examines the structural use of focus and the hierarchy of character-functions related to the centering on a protagonist. The Burned Lot is discussed from the concept of a ruin to describe how a multitude of conflicting forms come together to produce a fragmentary result. The Ghost Sonata is described in terms of simulation: while Strindberg alludes to certain dramatic patterns, he also distorts them whereby new effects are created. The chapter on The Pelican explores the temporal flow of the play and how it relates to writing. The thesis ends with a discussion of The Black Glove and its relation to the preceding Chamber Plays and also to the Strindbergian oeuvre. The concept of weed is used to distinguish a recurring element in Strindberg’s work as well as in his worldview. Throughout the thesis, the discussion is consistently related to previous studies and commentaries on the plays.
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Millett, Anthony Francis y n/a. "The Understudy: The Embodiment of a Life on Stage". Griffith University. School of Vocational, Technology and Arts Education, 2001. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050920.081742.
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This study presents a work of theatre art in the form of an autobiographical monodrama, supported by three exegeses: a review of informing literature, one of the writing process, the third of the critical reactions to the play at different stages of its development by readers and audiences. The thesis considers the two questions, How can theatre depict my autobiography? and How can monodrama be used to express this autobiography? The first question implies an examination of the process of writing and producing an autobiography for the theatre. The second question is answered through the process that developed in this study towards the choice of the form of a monodrama. The methodology emerged as the play was written and a journal recorded. At times the approach, particularly as it affected the writing of the play, was more like action research in which the play was reacted to and then amended in a cyclical manner, the writer also developing new understandings in the process. The reflective process was used to help in understanding the development that was taking place. A survey, and interviews with audience members were conducted as part of the investigation once the artwork was presented. In addition, after the piece had been developed to the point of presentation, it was subjected to critical evaluation, The data from the audience assisted in the development of the artwork as well as developing an understanding of the research question and the possible answers or further questions. The Generic Exegesis arose out of the reading, and developed as an exegesis accompanying the writing of the play once the form of the play had clearly become a monodrama. The Generic Exegesis is designed to show background reading that has informed directly the writing and performing of the play, 'The Changeling'. A principal objective for writing the play developed from a desire to help others to understand something of the conflicts and dilemmas facing adoptees towards the search for self identity and its relationship to acting. Part of the conflict for an adopted person was crystallised in Derridas concept of erasure and the use of the trace to recognise the coexistence of both sides of a binary, which rationalised the splitting of the central character into the two traces, Dominic and Frank. My need for control of the outcome affected the selection from the autobiography, the development of some scenes, and was one of the reasons for the use of fiction. The data for the Process Exegesis came from the journal that was kept during the writing, production, performance and rewrites of the play. The role of the audience had emerged in the interview data and one of the interview questions asked what kind of audience the respondent thought the play suitable for. The Process Exegesis shows that part of the answer to the research question is arrived at through the systematic recording and analysis of the processes that were involved in the writing of the autobiographical play. These have shown that artistic worth was increased as a factor of the distance achieved. The Critical Exegesis showsthat the issues that the play addressed such as adoption and a search for identity were also perceived as important by the readers and the audience. Significant contributions to the development of the play were made by the Dramaturg (Dl) and some cogent points were made by a second dramaturg. The respondents who were interviewed reacted to the content of the play, namely adoption, identity and the issues associated with them, as well as the performance. This study investigates the processes of the development of an autobiographical performance from the generation of the script to the public presentation. It shows that theatre can artistically depict an autobiography and that the perceived appropriate contemporary theatre formis the monodrama. The main issue to be recognised as arising out of the play and the process is that the whole project has been a search for identity. That identity is defined in the range of characters portrayed in the play as well as the process of writing it. The outcome of the investigation was a piece of dramatic performance text that I had written and performed, accompanied by a critical commentary on the creation, production and reception processes.
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Millett, Anthony. "The Understudy: The Embodiment of a Life on Stage". Thesis, Griffith University, 2001. http://hdl.handle.net/10072/365315.
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This study presents a work of theatre art in the form of an autobiographical monodrama, supported by three exegeses: a review of informing literature, one of the writing process, the third of the critical reactions to the play at different stages of its development by readers and audiences. The thesis considers the two questions, How can theatre depict my autobiography? and How can monodrama be used to express this autobiography? The first question implies an examination of the process of writing and producing an autobiography for the theatre. The second question is answered through the process that developed in this study towards the choice of the form of a monodrama. The methodology emerged as the play was written and a journal recorded. At times the approach, particularly as it affected the writing of the play, was more like action research in which the play was reacted to and then amended in a cyclical manner, the writer also developing new understandings in the process. The reflective process was used to help in understanding the development that was taking place. A survey, and interviews with audience members were conducted as part of the investigation once the artwork was presented. In addition, after the piece had been developed to the point of presentation, it was subjected to critical evaluation, The data from the audience assisted in the development of the artwork as well as developing an understanding of the research question and the possible answers or further questions. The Generic Exegesis arose out of the reading, and developed as an exegesis accompanying the writing of the play once the form of the play had clearly become a monodrama. The Generic Exegesis is designed to show background reading that has informed directly the writing and performing of the play, 'The Changeling'. A principal objective for writing the play developed from a desire to help others to understand something of the conflicts and dilemmas facing adoptees towards the search for self identity and its relationship to acting. Part of the conflict for an adopted person was crystallised in Derridas concept of erasure and the use of the trace to recognise the coexistence of both sides of a binary, which rationalised the splitting of the central character into the two traces, Dominic and Frank. My need for control of the outcome affected the selection from the autobiography, the development of some scenes, and was one of the reasons for the use of fiction. The data for the Process Exegesis came from the journal that was kept during the writing, production, performance and rewrites of the play. The role of the audience had emerged in the interview data and one of the interview questions asked what kind of audience the respondent thought the play suitable for. The Process Exegesis shows that part of the answer to the research question is arrived at through the systematic recording and analysis of the processes that were involved in the writing of the autobiographical play. These have shown that artistic worth was increased as a factor of the distance achieved. The Critical Exegesis showsthat the issues that the play addressed such as adoption and a search for identity were also perceived as important by the readers and the audience. Significant contributions to the development of the play were made by the Dramaturg (Dl) and some cogent points were made by a second dramaturg. The respondents who were interviewed reacted to the content of the play, namely adoption, identity and the issues associated with them, as well as the performance. This study investigates the processes of the development of an autobiographical performance from the generation of the script to the public presentation. It shows that theatre can artistically depict an autobiography and that the perceived appropriate contemporary theatre formis the monodrama. The main issue to be recognised as arising out of the play and the process is that the whole project has been a search for identity. That identity is defined in the range of characters portrayed in the play as well as the process of writing it. The outcome of the investigation was a piece of dramatic performance text that I had written and performed, accompanied by a critical commentary on the creation, production and reception processes.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
Arts, Education and Law
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Arduini, Tina. "Tools of Play: Developing a Pedagogical Framework for Gaming Literacy in the Multimodal Composition Classroom". Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1458901755.
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Pratt, John L. "Mind the gap : an examination of the pause in modern theatre; and, Shadows : a play (major creative work); and, Bank accounts : a collage of monologues (minor creative work)". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2012. https://ro.ecu.edu.au/theses/459.
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Both as a student of theatre and, eventually, as a professional practitioner, it has long been apparent to me that there is a dearth of reference material on what has become one of the modern theatre’s most important elements: the pause. Actors, directors and playwrights can only interpret the word ‘pause’ according to their own experience and its meaning remains nebulous, even after agreement has been reached in a specific context. The essay, Mind The Gap, examines the significance of the pause to these various practitioners. It suggests, with examples, close analysis of the purpose of each pause, differentiation of the terms used to denote them and interrogation of various well-known playwrights’ intentions with its use. Mind The Gap is offered as an initial investigation on which to base further, more detailed research from which students and professionals can reach agreement to find a common language to describe and define the unspoken. In Shadows, the major creative work, I use the form of the English burlesque to satirise the increasing influence that television is having on modern family life. I have experimented with filling the pauses in one narrative, the life of the Agnew family, with a second narrative, the television programme, Secret White Women’s Business. Bank Accounts, the minor work, is another experiment where several brief histories are embedded in a common narrative set in a commonplace environment. The pauses central to Bank Accounts are filled with the unspoken relationships between strangers. Both plays are intended to present women as equal players in the game of life rather than as victims of male chauvinism.
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Stevens, Grant William. "The space of editing : playing with difference in art, film and writing". Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16361/1/Grant_Stevens_Thesis.pdf.
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This research project explores the creative and critical functions of editing in art, film and writing. The written component analyses the histories and discourses of 'cutting and splicing' to examine their various roles in processes of signification. The artistic practice uses more speculative and open-ended methods to explore the social 'languages' that inform our inter-subjective experiences. This project argues that editing is a creative methodology for making meaning, because it allows existing symbolic systems to be appropriated, revised and rewritten. By emphasising the operations of spacing, questioning and play, it also identifies editing as an essential tool for critically engaging with the potentials of art and theory.
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Stevens, Grant William. "The space of editing : playing with difference in art, film and writing". Queensland University of Technology, 2007. http://eprints.qut.edu.au/16361/.
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This research project explores the creative and critical functions of editing in art, film and writing. The written component analyses the histories and discourses of 'cutting and splicing' to examine their various roles in processes of signification. The artistic practice uses more speculative and open-ended methods to explore the social 'languages' that inform our inter-subjective experiences. This project argues that editing is a creative methodology for making meaning, because it allows existing symbolic systems to be appropriated, revised and rewritten. By emphasising the operations of spacing, questioning and play, it also identifies editing as an essential tool for critically engaging with the potentials of art and theory.
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Watts, Janet. "'Holding Baby' : a creative exploration to raise awareness about kinship care through the writing of a play, 'Holding Baby', and a poetry collection, 'Holding'". Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8498/.
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Holding Baby: A creative exploration to raise awareness about Kinship Care through a play, Holding Baby, a poetry collection, Holding, and a critical commentary placing the work in a cultural, societal and practice-led context. The dramatic work Holding Baby covers a crisis where a grandparent is left taking responsibility for a young baby. In the tradition of social realist and community based drama, it reflects the real life stories of a growing number of connected persons or family members raising children who are not theirs by birth. The poetry collection Holding considers the personal response of the author, as a kinship carer, to that role's challenges and its rewards. In the critical commentary issues around kinship care are considered together with the history of the writing and its context. A detailed account is offered of the stage production process, as well as problems and possibilities around reaching potential audiences for both play and poetry. The relationship between the direct focus of the script and the comparative subjectivity of the poetry is reflected on and discussed.
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Tate, Dominique Tate. "Unraveling the molecular interactions between M. oryzae and rice Assessing our assessments: a look into the role assessments play in college level learning". The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1532015128204167.
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Buchanan, David. "Contextual thesis Part I & Part II : Book of poems, "Looking off the Southern Edge" ; Stage play (full-length): Ecstasis". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1015.
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This thesis, which accompanies my book of poems Looking Off the Southern Edge and my full-length stage play Ecstasis, is submitted in two parts: Part-I and Part-II. Part-l contextualises the writing practice of the above poems in considering the epistemological, autobiographical and landscape contexts of my poetry. Part-I then discusses how the poetry is involved in the process of decentring subjectivity within the southern India/Pacific arena. It should be pointed out that Part-I was submitted and marked last year, as the first year component of the Master of Arts (Writing) course. It is included this year because much of its thesis informs Part-II (and indeed is referred to and referenced by Part-II), especially in terms of my general theoretical approach to writing poems, plays, as well as the relevance of my music, painting and stained glass practices. Part II mostly addresses the writing of the play Ecstasis. I have however, discussed why I have re-edited, augmented and re-submitted my book of poems. I have then contextualised the writing of the play, by addressing the areas of Apophasis and the Aporia of 'the story', An Ecstatic Dramaturgy and the Undecidable Subject, and Ecstasis and an Endemic Specificity. This play was written, workshopped and enjoyed a partially moved reading (as late as the 11th, November) in the course of this year. While the writing of the piece is addressed under the previous headings, the workshopping and reading process is discussed in Workshopping the 'Spectacle Text' in the Co-operative Medium of 'Theatre. I have also included Appendix (i) in support of this process, in particular, the changes inspired by the reading. The conclusion discusses some of the boundaries for my writing of A Poetry and The Spectacle Text for theatre, and hints at the context required for any writing of experimentation in the southern Indian/Pacific arena.
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Mulligan, Kerry-Jane. "A distance too far away : a novel and exegesis". Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61025/1/Kerry_Mulligan_Thesis.pdf.
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This practice-led research examines the generative function of loss in fiction that explores themes of grief and longing. This research considers how loss may be understood as a structuring mechanism through which characters evaluate time, resolve loss and affect future change.
The creative work is a work of literary fiction titled A Distance Too Far Away. Aubrey, the story’s protagonist, is a woman in her twenties living in Brisbane in the early 1980s, carving out an independent life for herself away from her family. Through a flashback narrative sequence, told from the perspective of the twelve year narrator, Aubrey retraces a significant point of rupture in her life following a series of family tragedies. A Distance Too Far Away explores the tension between belonging and freedom, and considers how the past provides a malleable space for illuminating desire in order to traverse the gap between the world as it is and the world as we want it to be.
The exegetical component of this research considers an alternative critical frame for interpreting the work of American author Anne Tyler, a writer who has had a significant influence on my own practice. Frequently criticised for creating sentimental and inert characters, many critics observe that nothing happens in Tyler’s circular plots. This research challenges these assertions, and through a contextual analysis of Tyler’s Ladder of Years (1995) investigates how Tyler engages with memory and nostalgia in order to move across time and resolve loss.
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Sakellariou, Eleni. "Does memory play a part in the quality of the written product? : the impact of the working memory system and other cognitive processes in writing performance in students with dyslexia". Thesis, University of Southampton, 2010. https://eprints.soton.ac.uk/73327/.
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This research study set out to describe the impact of the working memory system and other cognitive processes related to dyslexia difficulties in writing performance in students with dyslexia. Twenty dyslexic and twenty non-dyslexic students have participated in this study. The Working Memory Test Battery for Children (WMTB-C) and the Test of Written Language (TOWL-3) were administered to the subjects. Hierarchical regression analysis showed that the central executive component of the WM system significantly predicted higher-order writing skills (structural level) and that the phonological loop predicted vocabulary in text generation for students with dyslexia, whereas the visuo-spatial sketchpad did not influence written production for students with dyslexia. The texts produced by students with dyslexia were poorer than the controls on both sentence and structural levels. The analysis suggested the interdependence of a variety of cognitive processes in influencing written productivity in students with dyslexia. More importantly, this study has underlined the unique contribution of vocabulary knowledge on both sentence and structural levels; it was found to be the variable mediating the links between central executive (WM) and text generation in students with dyslexia. Finally, the analysis yielded that there was no interactive effect between central executive (WM) and dyslexia-related difficulties in writing performance of students with dyslexia. In the light of the findings implications for practice are considered and recommendations of future research are discussed.
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Whitt, Brendan. "THE PASSION OF LOVE OR THE LOVE OF PASSION IN A-MINOR". Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu1559945514692331.
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Christensen, David M. "Understanding the National Science Foundation's CAREER Award Proposal Genre: A Rhetorical, Ethnographic, and System Perspective". DigitalCommons@USU, 2011. https://digitalcommons.usu.edu/etd/923.
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With tightening university budgets, never before has the activity level of research grant proposal writing been more intense. With increased proposal numbers, including for the National Science Foundation's (NSF) prestigious CAREER award, has also come increased competition and decreased funding rates. This dissertation has searched for successful and unsuccessful characteristics from funded and unfunded CAREER proposals. The research focused on a study of two key subjects: 1) a corpus of 20 texts that included 12 funded proposals and 8 unfunded proposals from across NSF programs, and 2) an ethnographic analysis comprised from interviews with 14 NSF program officers (PO) from varying programs. Coding elements with the texts to uncover topical chains of content, rhetorical, and document design strategies revealed sound rhetorical moves and rhetorical mistakes. The study also illustrated evidence of adherence to or neglect of NSF-mandated writing/formatting conventions as connected to the likelihood of receiving funding. Moreover, the study revealed conventions that have developed for the genre that are not prescribed by NSF but that, nevertheless, seem to be expected. Through genre field analysis, the study's interviews with program officers (PO) revealed a system of genre-agents and player-agents that interact together in a highly rhetorical and social system. This system, comprised of locales in which a multitude of play scenarios can be enacted to exert influence, operates within fairly exact rules of play. Such rules may be published by NSF or simply be "understood," yet principal investigators (PI) are held accountable for them regardless. The ethnography created from interviews with POs revealed multiple genre field elements (e.g., genre- and player-agents, transformative locales, play scenarios, penalty conditions) as well as common mistakes and best practices. A complete mapping of the CAREER award proposal preparation, submission, and review process resulted from the study, which mapping has offered insightful strategies to expand PI (and other agents') influence on the funding process. The dissertation concluded by offering investigators a step-by-step process to identify and map the elements of the proposal genre field in which they operate.
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Conte, Susannah. "The Fifth Sparrow: In Memory of Mollie Skinner". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2080.
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This thesis offers a case study in adapting Australian literary biography to the theatre, specifically in the form of a one woman show or monologue performance. The thesis consists of a novel play script, together with exegetical writing which outlines the source materials used and the process and themes under consideration. These themes include those of family (specifically a difficult relationship with her mother), love (including a lesbian affair), life as an aspiring writer, and the protagonist’s difficult to shake sense of damage, pain and struggle. The play offers a portrait of West Australian writer Mollie Skinner (1876- 1955). Sources included her autobiography (both the original manuscript and that edited and published by Mary Durack), Mollie’s novels and her letters—particularly her extensive correspondence with the British author D.H. Lawrence, who she met in WA—and secondary writings. Skinner’s writing has been described as akin to an “untended garden,” rich in imagery, but scattered and often difficult to follow. In recognition of this, my play takes the form of a series of vignettes and images, a succession of heightened moments, choreographed with sound and movement elements for dramatic impact. Mollie’s life thereby emerges as one marked by pain and suffering, yet suffused with rich language and visions. Although Mollie was more than just a friend of D.H. Lawrence, it is nevertheless clear that the better known author offered her support and encouragement that few others did. Together with her Sybil these two figures emerge as Mollie’s only true loves and companions, figures physically separated from her, yet who enabled her life and many of her joys. Skinner emerges then as a modest but indomitable spirt, poised on the veranda, looking at the world through her failing eyesight; touched by the beauty of it all.
The aim of the play is thus to do justice to the spirit of Skinner, without presenting an exhaustive account of her entire life, and in doing so, to present her story to a new generation of West Australians.
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Searwar, Nicole. "Paper One: Learning to play, playing to learn: Using electronic games as educational tools. Paper Two: "What's a journal like you doing in a class like this?": writing in mathematics class. Paper Three: An introduction to ethnomathematics /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ36177.pdf.
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Hermsen, Terry. "Languages of engagement". Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1070294401.
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Thesis (Ph. D.)--Ohio State University, 2004.Title from first page of PDF file. Document formatted into pages; contains xvi, 700 p. Includes bibliographical references (p. 201-209). Available online via OhioLINK's ETD Center
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Marks, Erelyne Lewis, Barbara Mabey Oliver y Maureen Sugar Wolter. "A writing improvement and authentic assessment plan". CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1442.
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Aslett, Michelle. "Fowl feathered fox: Monsters, pipers, families and flocks". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1633.
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Fowl Feathered Fox: Monsters, Pipers, Families and Flocks is a doctoral work consisting of a full-length stage play and an exegesis. An introduction outlines the scope of the doctoral work, while a concluding chapter reflects on research findings and considers staging issues and implications. Appendices include images incorporated into the play’s action as well as photographed excerpts from a series of visual diaries used to document the play’s evolution. The play, Fowl Feathered Fox, explores the nature of delusion, deception and the tragedy of The Beast Within. Borrowing as it does from the traditions of revenge tragedy, comedy and horror, the style of Fowl Feathered Fox is both sensual and sensationalistic. Indeed, by virtue of overstepping traditional ideological, stage and venue boundaries to tap into an audience’s faculties of taste, physical sensation and smell, I aim to confront, seduce and repel on every possible sensory level. Here, in keeping with the conventions of Renaissance revenge tragedies as well as contemporary re-imaginings of the genre in popular culture, a tragic protagonist is forced to behave as a detective in order to put an end to a terrible, taboo curse. As a black comedy however, Fowl Feathered Fox makes light of taboo topics, as the darkness of the subject matter is buoyed by meta-theatrical gags, ironic humour, word-play and brief forays into interpretive dance. In the tradition of horror film and fiction, my eponymous ‘fowl feathered fox’ is a specifically Australian re-imagining of the archetypal shapeshifter, blending the qualities of the wolf in sheep’s clothing, the false prophet, the Pied Piper and the werewolf. Surrealism, with its roots in psychoanalysis, underscores the play’s visual aesthetic: this stage is littered with fearful, surgically invasive and aggressively sexual forms, objects and images. The exegesis, Monsters, Pipers, Families and Flocks, interrogates various mythic, historical and fictional examples of charismatic cult leadership, locating patterns in the paradigmatic nexus shared by monsters, cults and families. A trio of exegetical essays considers the tragic nature of lycanthropy, Nietzsche’s conception of the Apollonian/ Dionysian dichotomy, the socio-cultural dynamics of charismatic cult leadership and the frightening, fascinating phenomenon of pseudologia fantastica. The first exegetical essay explores the lycanthropic and messianic qualities of two real-life malevolent cult leaders: Rock Theriault (Canada) and William Kamm (Australia). The second exegetical essay interrogates the enthralling, intoxicating qualities of the Pied Piper of Hamelin and Greek demi-god Dionysus, finding parallels in tragic revenge narratives wrought by infamous American cult leaders such as Charles Manson and David Berg. Finally, the third exegetical essay examines monstrous, messianic mothers from Greek myth, horror fiction and memoir: specifically, the goddess Demeter, Margaret White from Brian de Palma’s Carrie (1976) and notorious Australian cult leader, Anne Hamilton-Byrne.
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Davies, Hannah. "Writing motherhood for contemporary performance : three plays and thesis". Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/8672/.
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This dissertation investigates the vexed relation between motherhood, creativity and survival through three self-authored plays, two of which I also performed. The first play, This is Not a Festival, is set in 1985 and examines my area of research through the single traveller mother of Danni, charting her and son Leaf’s recovery after a vicious police attack has left them homeless and traumatised; the second, Githa, is a historical biography piece based on the life of twentieth century dramatist Githa Sowerby (1876-1970) whose playwriting career was thwarted by unplanned motherhood at the outbreak of the First World War; the third, Within This Landscape, is an autobiographical exploration of my own maternal heritage and is a homage to my own mother, an artist who died unexpectedly when I was still a child. I contextualise these plays within a historical time span which extends from the 1880s to the present and explore questions of identity, artistic fulfilment, economic independence and domestic confinement for women and ask what has changed or not changed for mothers battling to define themselves in their own right.
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Santana, Dayse Porto de. "Série Ó Paí, Ó: ritmo e cultura oral da Bahia na TV". Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4623.
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Made available in DSpace on 2016-04-26T18:14:09Z (GMT). No. of bitstreams: 1
Dayse Porto de Santana.pdf: 1101981 bytes, checksum: ccdb578679f6d4dee087c6fc2e469944 (MD5)
Previous issue date: 2014-06-16The research investigates the portrayals of the Bahian and of Bahia on television in the context of television fiction, from local marks of the oral culture and the thematic approaches. The corpus is the TV series called "Ó Pai Ó" aired by the Globo network during two seasons, in 2008 and 2009. The analysis focuses on the whole series, but especially on the episodes called "White Market (Mercado Branco)", "Tacky (Brega)" and "Crooked Business (Negócio Torto) of the first season, and "I Want to see the Bahia Tremble (Quero ver a Bahia Tremer"), of the second season because they are considered emblematic of the issues studied. The research examines the script, the dramatic situations and the themes, linking them with the video performance - from the actors to the montage - besides the discourses construction of the press. The research problematic presented is how the representations of the Bahian and of Bahia are constructed, with the aim of identifying its semiotic and cultural mechanisms. It was concluded that the thematic approach is given in a complex way, using the portrayal types, environments and recurring situations from the imagery of Bahia for comic effect and the critical irony of stereotypes and political issues. Regarding a esthetics, there is a difficulty to transpose elements of the local culture to the audiovisual language, which was mainly analyzed from the point of view of the rhythm in Meschonnic. The analysis dialogues with researches of television play-writing, portrayal, history and culture of Bahia as well as orality. As a theoretical basis, we rely on semiotic studies related to culture and language, starting from concepts of Iuri Lotman, as a semiosphere - delimited space where the meanings happen as well as the orality concept in Paul Zumthor. It is taken into account the history of the texts and their relation to the theater and cinema, considering the object as the product of intersemiotic translation, concept worked by Julio Plaza. Likewise, it is an approach with authors of the Bahian anthropology, as Ubiratan Castro and Milton Moura, among others. The methodology used is an analytical study based on semiotics and on the other mentioned theories. It is a transdisciplinary perspective between language studies and communication studies
A pesquisa investiga as representações do baiano e da Bahia na televisão no contexto de teleficção, a partir das marcas locais da cultura oral e de abordagens temáticas. O corpus é a série de TV Ó Paí, Ó , exibida pela Rede Globo em duas temporadas, em 2008 e 2009. A análise centra-se em toda a série, mas especialmente nos episódios Mercado Branco , Brega e Negócio Torto , da primeira temporada, e Quero Ver a Bahia Tremer , da segunda temporada por serem considerados emblemáticos das questões centrais. A investigação examina o roteiro, as situações dramáticas e os temas, relacionando-os com a performance em vídeo - desde a dos atores até a de montagem - além da construção de discursos na imprensa. Apresentou-se como problema de pesquisa o modo como são construídas as representações do baiano e da Bahia, com o objetivo de identificar seus mecanismos semióticos e culturais. Concluiu-se que a abordagem temática se dá de modo complexo, usando a apresentação de tipos, ambientes e situações recorrentes do imaginário da Bahia para efeito de comicidade e ironia crítica de estereótipos e temas políticos. Em relação à estética, há um apuro no sentido de transpor elementos da cultura local para a linguagem audiovisual, o que foi analisado principalmente do ponto de vista do ritmo em Meschonnic. A análise dialoga com pesquisas de teledramaturgia, representação, história e cultura da Bahia e oralidade. Como base teórica, apoiamo-nos estudos semióticos ligados à cultura e à linguagem, partindo de conceitos de Iuri Lotman, como a semiosfera - espaço delimitado onde acontecem as significações - e também o conceito de oralidade em Paul Zumthor. É levado em conta o histórico dos textos e suas relações com o teatro e o cinema, considerando o objeto como produto de tradução intersemiótica, conceito trabalhado por Julio Plaza. Do mesmo modo, faz-se uma aproximação com autores da antropologia baiana, como Ubiratan Castro e Milton Moura, entre outros. A metodologia utilizada é de estudo analítico com base na semiótica e nas demais teorias citadas. Trata-se de uma perspectiva transdisciplinar entre os estudos da linguagem e da comunicação
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Lyon, Alicia B. "The Offering : writing a historical screenplay /". View online ; access limited to URI, 2003. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/31115633.
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Ritchey, John Michael. "Elvis Plays Texas". PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1418.
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In the novel Elvis Plays Texas, which is my Thesis project to meet the requirements for a Master of Fine Arts in Creative Writing/Fiction, a little town in far, far West Texas and its people are having a very difficult time and facing what promises to be a bleak future—a long, long drought has exhausted their water supply, oil has peaked and turned down, “fracking” threatens their way of life, friends and family and neighbors are loading up and leaving town. Then, Elvis Presley shows up. It’s the 40th anniversary of the day he died, August 16, 1977, and he, spiritually though appearing in every way to be flesh and blood, is visiting those who’ve continued believing in him and to whom he had been particularly important during their younger lives. My own long history in that part of the country has played its considerable role in informing the setting, the tone, the atmosphere. These are the kinds of characters—strange birds all—I grew up with. The country is the southwestern desert, hot, dry, empty, big sky—the kind of neighborhood that lends itself to oddities like Elvis throwing a benefit concert to help them out of the economic ditch.
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McVeigh, Kathryn Margaret. "Work in progress : the writing of Short changed". Thesis, Queensland University of Technology, 1999.
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Work in Progress - the Writing of Short Changed is the account of the script writing process I developed and followed in the writing of the first draft of the Low Budget feature film, Short Changed. It is a process that was developed by a combination of guidance, mentorship, research, experiment and talking with and listening to other writers during the 1998 Pacific Film and Television Commission's New Writer's Workshop. Short Changed was written over a six month period. During the previous year I
had intermittently researched and pondered on the knowledge of an event that had invaded my mind. In the process of writing Short Changed, I have learnt much about the craft of screen writing and I have developed an approach which I
intend to use in the writing of future screenplays. There are many ways to write a screenplay. My goal as a writer was to find the way that worked for me; to find the process that created a screenplay that embodied the hallmarks of both creativity and craft. As an accomplished writer of expository prose, I was searching for the key that would unlock the door to the world of writing creative fiction.
This document is a reflective account of my creative writing process. It includes the exploration and actualization of the complex and intricate workings of the
mind.
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Bilodeau, Chantal. "DRAMATIC WRITING FOR TELEVISION: TWO TELEPLAYS". Ohio : Ohio University, 2002. http://www.ohiolink.edu/etd/view.cgi?ohiou1016640337.
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Kavanagh, Helen. "Power plays : variations on a theme in Taisho anarchist writings /". Title page and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09ark2158.pdf.
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Shen, Yu-Li Alice. "The Conversation About the Keys: Original Plays - Part I: Tim Without Thalia; Part II: Thalia With Someone Else". Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/42298.
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â First Love teaches you how to love. Great Love perfects that love. Last Love...well, we never really figured out what Last Love did.â â Tim Without Thaliaâ and â Thalia With Someone Elseâ sprung from a place of being tired, but not yet sleepy. The â quarter-life crisisâ if you will: When everyone else seems to be getting married, having kids, starting their own basket-weaving businesses, except you. When relationships between college friends break and relationships between â real lifeâ friendsâ ¦break. When love is dictated as much by actual romance, as it is by power. Yet you still feel oddly euphoric about it all.
In these two companion plays, Tim, Thalia, and their clueless but well-meaning friends wax idiotic on the rules of modern romance: the chase, the connection, and, of course, the end.
Produced April 30 â May 2, 2009 in Virginia Techâ s Performing Arts Building under the direction of Dr. Patricia Raun, Theatre Arts Department Head.
Master of Fine Arts
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Lesk, Andrew. "The play of desire Sinclair Ross's gay fiction /". Ottawa : National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.nlc-bnc.ca/obj/s4/f2/dsk3/ftp04/NQ60597.pdf.
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