Tesis sobre el tema "Shakespeare, William, 1564-1616 Dramatic production"
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Edelman, Charles. "The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare". Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phe21.pdf.
Texto completoWong, Dorothy Wai Yi. "Shakespeare in Hong Kong : transplantation and transposition". HKBU Institutional Repository, 1995. http://repository.hkbu.edu.hk/etd_ra/33.
Texto completoLambert, Pamela Faye. "Acting in Shakespeare: Singular sensations in Shakespeare and song". CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1443.
Texto completoBarrus, David W. "Hamlet : the design as process". Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Theatre and Dramatic Arts, c2012, 2012. http://hdl.handle.net/10133/3389.
Texto completoviii, 176 leaves : col. ill. ; 29 cm
McPherson, Leith. "Shakespeare's verse and the training actor". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2009. https://ro.ecu.edu.au/theses/163.
Texto completoTuffin, Zoe. "Claiming Shakespeare for our own: An investigation into directing Shakespeare in Australia in the 21st century". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1285.
Texto completoBurnett, Linda Avril. "The argument against tragedy in feminist dramatic re-vision of the plays of Euripides and Shakespeare /". Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35857.
Texto completoIn the first part, I maintain that feminist dramatic re-vision is one manifestation of an unrecognized tradition of women's writing in which criticism is expressed through fiction. I also argue that the project of feminist dramatic re-vision embodies a feminist "new poetics."
In the second part, I examine the aesthetics and politics of tragedy from a feminist perspective. Feminist arguments against tragedy are, in effect arguments against patriarchy. But it is the theorists and critics of tragedy---not the playwrights---who are unequivocally aligned with patriarchy. Playwrights like Euripides and Shakespeare can be seen to destabilize tragedy in their plays.
In the third part, I show how recent feminist playwrights (Jackie Crossland, Dario Fo and Franca Rame, Deborah Porter, Caryl Churchill and David Lan, Maureen Duffy, Alison Lyssa, The Women's Theatre Group and Elaine Feinstein, Joan Ure, Margaret Clarke, and Ann-Marie MacDonald) counter tragedy by extrapolating from the arguments presented by Euripides and Shakespeare in The Medea, The Bacchae, King Lear, Hamlet, Romeo and Juliet and Othello , and by allocating voice and agency to their female protagonists.
Green, Bryony Rose Humphries. "A book history study of Michael Radford's filmic production William Shakespeare's The Merchant of Venice". Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1710/.
Texto completoCoston, Micah Keith. "The dramatic role of astronomy in early modern drama". Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:09da8bf1-cf3e-4df6-816b-be7fb13f1753.
Texto completoLyons, Lisa Lynn. "A performance in musical theatre: Singular sensations in Shakespeare and song". CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1712.
Texto completoMarie, Laurence. "L'acteur peintre de la nature. Esthétique du tableau et premières théories du jeu théâtral au XVIIIème siècle (France, Angleterre, Allemagne)". Thesis, Paris 4, 2008. http://www.theses.fr/2008PA040147.
Texto completoThis work shows how the birth of acting in the eighteenth century calls into question the classical mimetic model in favour of a new expressive model. It examines three cultural areas: France, England, and Germany. It also adopts a chronological approch in order to analyse the changes undergone by the parallel between the actor, the painter and the orator. It then appears that acting theory draws its legitimacy from a rehabilitation of visual spectacle, which provokes the settling of an aesthetic of the stage paintng putting into light acting’s specificity. In that sense, acting theory does not emerge against writings on oratory action; on the contrary, it rises thanks to a visual re-interpreting of their principles freed from rhetorical codes. Hence, through the influence of sensualism, the major place given to the creative actor's body leads to theoretical and practical experimentations that concern the way to produce and to receive feelings, and which are nourished by multiple exchanges between the three countries. These hybrid reflections help redefine the art of representation as an aesthetic relation between a creating subject and a receiving subject. It contributes to the transition from an imitative conception of feeling to an expressive one. David Garrick’s spreading of a certain image of Shakespeare, whose dramaturgy offends the classical poetics rules, plays an important role in the development of a theory of visual acting an in the redefinition of theatre as text and representation
Rivier, Estelle. "L'espace scénographique dans les mises en scène des pièces de William Shakespeare en France et en Angleterre au vingtième siècle". Orléans, 2003. http://www.theses.fr/2003ORLE1049.
Texto completoSo as to discover the different meanings Shakespeare's plays vehicle, this study aims at decoding scenographies which were created by twentieth-century French and British stage directors. In order to understand their artistic motivations it is necessary to peruse the playwright's text carefully. Yet in the light of the theatrical architecture, the actors' movements in the acting space, the sets, the costumes, the colours, the lightings, and the materials, other interpretations emerge. Thus, what is seen is guided by the text just as what is read is meaningful thanks to the performance. Firstly this work tackles the phenomenon from a terminological point of view (the semiotics of drama should help us to describe the productions). Secondly the history of Shakespearean creations dating from the beginning of the century is recounted, and a special part is devoted to the work of Edward Gordon Craig who highly influenced the shape of modern staging. The six last chapters of this study deal with contemporary directors' main works: which Shakespearean themes did Peter Brook, the Royal Shakespeare Company, the New Globe Theatre, the Cartoucherie Theatres (at Vincennes), Daniel Mesguich and Stéphane Braunschweig choose to enlighten in their scenographies? Shakespeare's drama seems to be a favoured repertory in scenography and yet is there a textual material conveyed by a visual material which mirrors twentieth-century values? Thanks to a systematic method which is meant to be a model of the analysis of Shakespearean productions, our investigations try to answer those questions
Benson, Fiona. "The Ophelia versions : representations of a dramatic type, 1600-1633". Thesis, St Andrews, 2008. http://hdl.handle.net/10023/478.
Texto completoKhamphommala, Vanasay. "Spectres de Shakespeare dans l’œuvre de Howard Barker". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040190.
Texto completoFrom his earliest efforts to his latest and most accomplished plays, Howard Barker has often confronted Shakespeare, be it with his irreverent parody of Henry V in Henry V in Two Parts (1971) or with his variations on Hamlet in Gertrude – The Cry (2002). These rewritings, along with some others (notably Seven Lears in 1989) have prompted many, both in the media and in academia, to call him, as Sarah Kane allegedly did, “the Shakespeare of our age”. In spite of a number of common features, their works do however appear as radically different, if only because of Barker’s marginal status within the landscape of contemporary English drama. If Shakespeare manifests himself in Barker’s work, it will therefore be in an altered and possibly unrecognizable form, in other words as a spectre. Why is it that Barker’s work has been so insistently compared to that of Shakespeare? What does this comparison reveal both about critical practice and about the aesthetics of Barker’s theatre? In order to answer these questions, this dissertation first examines the overall design of Barker’s work and the way in which it endeavours to place the figure of the ghost, as an embodiment of doubt, at its core. It then moves on to consider the criteria that have been invoked to draw a parallel between both playwrights, especially their focus on history and poetic writing as the basis of drama, to show how Shakespeare is always paradoxically summoned as a lure, an empty model that both suggests and contradicts modes of interpretation. In doing so, it strives to bring out not the traits shared by both playwrights but Barker’s effort to thwart the haunting and overwhelming presence of Shakespeare by giving birth to his own original voice
Magsam, Joshua. "“The Undiscovered Country”: Theater and the Mind in Early Modern England". Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12150.
Texto completoAs critic Jonathan Gottschall notes, "The literary scholar's subject is ultimately the human mind - the mind that is the creator, subject, and auditor of literary works." The primary aim of this dissertation is to use modern cognitive science to better understand the early modern mind. I apply a framework rooted in cognitive science--the interdisciplinary study of how the human brain generates first-person consciousness and relates to external objects through that conscious framework--to reveal the role of consciousness and memory in subject formation and creative interpretation, as represented in period drama. Cognitive science enables us as scholars and critics to read literature of the period through a lens that reveals subjects in the process of being formed prior to the "self-fashioning" processes of enculturation and social discipline that have been so thoroughly diagnosed in criticism in recent decades. I begin with an overview of the field of cognitive literary theory, demonstrating that cognitive science has already begun to offer scholars of the period a vital framework for understanding literature as the result of unique minds grappling with uniquely historical problems, both biologically and socially. From there, I proceed to detailed explications of neuroscience-based theories of the relationship between the embodied brain, memory, and subject identity, via detailed close reading case studies. In the primary chapters, I focus on what I consider to be three primary elements of embodied subjectivity in drama of the period: basic identity reification through unique first-person memory (the Tudor interlude Jake Juggler ), more complex subject-object relationships leading to alterations in behavioral modes (Hamlet ), and finally, the blending of literary structures and social context in the interpretation of subject behavior (Middleton's A Trick to Catch the Old One ).
Committee in charge: Lisa Freinkel, Chairperson; George Rowe, Member; Ben Saunders, Member; Lara Bovilsky, Member; Ted Toadvine, Outside Member
Monah, Dana. "La réécriture théâtrale à la fin du XXe siècle. Le texte et la scène". Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030138.
Texto completoThis thesis aims at analyzing the aesthetic and cultural aspects of contemporary theatrical rewriting, starting from three fundamental questions: What do adaptors rewrite? How do they rewrite? Why do they rewrite? The different stages of our research are characterized by a constant aim at redefining theatrical rewriting as a hybrid practice, situated at the crossroads of a scriptural and of a scenic phenomenon. After having defined rewriting in the light of its relationships with related practices, we propose a typology of the techniques which enable adaptors to modify the fictional universe of the initial work. The analysis of certain marginal case studies enables us to further develop our definition of rewriting. The last two chapters aim at defining rewriting as new works which function as versions of previous works, as they look for their forms and for their meanings in the forms and meanings of previous works
Berger, Laurent. "L’atelier du metteur en scène shakespearien et la fabrication du spectacle en Europe occidentale depuis 1945". Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100174/document.
Texto completoThis works seeks to identify and describe the key processes, tools and concepts of the theatrical mise en scène of Shakespeare from the study of about 200 different productions in France, England, Germany, Italy and Spain after 1945.The first movement presents the historical context of the staging of Shakespeare and the artistic filiations and influences that exist in it, to see how they condition the individual creativity. The second movement describes different aspects of the notion of Shakespearean material to show his power and relevance in theatrical practice, and assumes there is a strong analogy between the characteristics of this material and those of the mise en scène in general . The third movement is interested in the relationship between interpretation of the play and conception of the production, and in the various phenomena of projection that transform the imaginary dimension of the play in its stage realization. The fourth movement enters the dynamics of rehearsal and describe them using three concepts, rehearsal, Probe, and répétition, which work together but each with its own regime.The wide range of technical and artistic points of view exposed show the multiple potential of possible approaches to each of the process of the mise en scène, and finally allows to outline a comprehensive theory of the staging unifying all these processes in a dynamic that necessarily develops in several levels simultaneously connected, just as in the Shakespearean material
Edelman, Charles. "The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare / Charles Edelman". Thesis, 1988. http://hdl.handle.net/2440/18714.
Texto completo"Aspects of music in Shakespearean drama". 2004. http://library.cuhk.edu.hk/record=b5896377.
Texto completoThesis (M.Phil.)--Chinese University of Hong Kong, 2004.
Includes bibliographical references (leaves 123-132).
Abstracts in English and Chinese.
Acknowledgements --- p.vi
Chapter Chapter One --- Introduction --- p.2
Chapter Chapter Two --- Medical Aspects in Shakespearean Drama --- p.11
Chapter Chapter Three --- """If music be the food of love ´ؤ´ح:: Music as an Indicator of a Person's Attitude toward and Position in Love" --- p.47
Chapter Chapter Four --- "Music: ""The patroness of heavenly harmony´ح" --- p.81
Chapter Chapter Five --- Conclusion --- p.112
Works Cited --- p.123
Kruger, Alet. "Lexical cohesion register variation in transition : "The merchants of Venice" in afrikaans". Thesis, 2000. http://hdl.handle.net/10500/2988.
Texto completoLinguistics
D. Litt. et Phil. (Translation Studies)