Tesis sobre el tema "Theatre Directors"
Siga este enlace para ver otros tipos de publicaciones sobre el tema: Theatre Directors.
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Consulte los 50 mejores tesis para su investigación sobre el tema "Theatre Directors".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Explore tesis sobre una amplia variedad de disciplinas y organice su bibliografía correctamente.
1
Ferguson, Sarah Alexandra. "Canadian feminist women directors : using the canon for social change". Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/541.
Texto completoResumen
This thesis explores how five Canadian women directors who define themselves as feminists have engaged with work from the traditional Western theatre canon. However, that world actually is created by the social expectations, cultural mores, and theatrical conventions of its time. Audiences have been indoctrinated to accept unquestioningly the value of these texts while the plays’ valorized status masks social constructs that are continually reinforced and surreptitiously naturalized through their repetition. At the crux of this thesis is the notion that while repetition is used as a tool for social instruction, it can also be used as a tool for social change. Therefore, I explore how the Canadian feminist women directors whom I have interviewed use the uniqueness of performance in different ways to challenge social structures within canonical texts.
In the individual chapters, each director first shares her education, training, experience, and influences; then she articulates her own feminist perspective and discusses its impact on her career and work process; and finally she reflects on how she directed a text from the Western theatre canon and used the liminal space of performance to challenge the text’s embedded gender constructs. At the end of each chapter, I present the critical response I found for each production, including reviews, individual statements, and academic investigations, and assess the extent to which the director’s intent was understood by her audience and reviewers.
In the final chapters, I examine each individual director’s interview responses in the context of the others’ and situate them within the spectrum of feminisms. In general, the directors used liminal space to expose gender as a construction and destabilize social expectations based on gender. However, what also emerged from these interviews is that while there is no broad consensus of what constitutes ‘feminist’ work, each director must temper her feminist perspectives if she wants access to the upper echelons of directing in Canada and the benefits that it entails.
2
Maresh, Karin Ann. "Struggles for recognition : the women artistic directors of Ireland's Abbey Theatre /". The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402544588655.
Texto completo
3
Drobnik-Rogers, Justyna. "Krzysztof Warlikowski's theatre and the possibility of encounter". Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/krzysztof-warlikowskis-theatre-and-the-possibility-of-encounter(1b01746f-bcc5-4e70-b4fc-5b5a7081a4a1).html.
Texto completoResumen
This thesis discusses the work of theatre director Krzysztof Warlikowski, which holds an important place within Polish and world theatre, although it remains little known in the UK. It argues that that existing approaches to Warlikowski’s theatre are inadequate as they focus too much on the perspective of an interpreter of productions who decodes the meaning of the performance. Instead Warlikowki’s work should be approached from the perspective of an observer of the complex creative processes that lead to performance and determine its relationship with the audience. The connection between actors and spectators takes the form of an ‘encounter’ that offers a particular experience of theatregoing. It aims to challenge the existing customs of spectatorship and is based on destabilising and violating the sense of safety of both actors and spectators while expanding their experience of performance beyond the ‘here and now’.This thesis asks questions about the distinctive conditions that make possible the type of encounter that lies at the heart of Warlikowski’s oeuvre and distinguishes it from Polish repertory theatre. The theoretical framework of ‘intertheatricality’ facilitates identification of the matrix of elements that inform this encounter. These elements are constituted by: 1.The strategies that have led Warlikowski to become a successful director and enabled him to create a new way of theatre-making and communication with audience; 2. The complex processes of the creation of his ensemble of actors; 3. The family-like setting and the collaborative nature of rehearsals; 4. The status of actors who become the co-authors of performance and their idiosyncratic involvement in the creation of shows that cross the borders between work and life; and finally, 5. The role of the audience that becomes an integral element of the performance making process. Seeing Warlikowski’s work from the perspective of performance as event shows it not as a static and completed artefact, but as a fleeting, transient process that is open to changes and resonates with the outside world. Through its focus on creative processes, this approach sheds new light on the theatre of Warlikowski. It shows how he integrates the actors and audience into his performance making process, and also helps to demonstrate his impact on the status of audience within Polish mainstream theatre post-1989.
4
Foster, Michael E. y n/a. "The Praxis of Theatre Directing: An Investigation of the Relationship Between Directorial Paradigms and Radical Group Theatre in Australia Since 1975". Griffith University. School of Arts, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040810.091417.
Texto completoResumen
The thesis investigates the field of Theatre practice variously referred to as alternative, non-mainstream, avant-garde, community or fringe theatre. I have suggested the term 'Radical Group Theatre' - a term which, I believe, best encompasses the sector formerly represented by this diverse body of theatre practice. I focus on the relationship between theoretical and practical paradigms, and debates surrounding them; theatre making processes; and directorial practice in a theatre form which has emerged as a distinctive set of characteristics, ideological frameworks and practices in the Australian context. The work is strongly informed by the perspectives and practices of a range of major contributors to the field. It notes the inadequacy of conventional analytics and established understandings of the theory/practice nexus for exploring Radical Group Theatre, and establishes an alternate set of frameworks. These enable fresh engagement with the development and current praxis of an important theatre form which has not previously been considered as a whole field yet has taken particularly exciting directions in Australia over the past three decades. Methodology and objectives: An important aspect of the study is the way in which the research methodology parallels the practice under investigation. That is, the practice of Radical Group Theatre in Australia mirrors the 'Reflective Reflexive Loop' which I propose as the pre-eminent principle of the praxis. The methodology has developed out of my Masters degree research which was an interrogation of my directorial practice in the field of Youth/Community theatre, 1976-1989. I was further interested to analyse the field of group theatre to determine whether common key principles identified as characteristics of the form in the earlier study constituted the basis for an analytical model of Radical Group Theatre praxis. The investigation for this thesis began with a project designed to synthesise the essential qualities of directorial practice: the qualities of the good director, the major influences on practice, and the expectations participants have regarding the function of the director. The preliminary findings formed the basis for a comparative study which sought answers to the key questions as they apply to a pre-professional radical theatre setting - university student theatre. This project gave birth to the focus questions of the study which established the theoretical and methodological frames for the thesis.
5
Jordan, Noel. "'Controversial art' : investigating the work of director Rosemary Myers". Connect to thesis, 2001. http://repository.unimelb.edu.au/10187/1160.
Texto completoResumen
Arena Theatre Company’s Eat Your Young is examined as an intrinsic case study. The aim is to investigate the role of a director in the creation of an original multi-media theatre production designed for young people. The study explores the current social, political and cultural position of young people and argues that they are viewed and portrayed as a marginalised “other”. The history of Arena Theatre Company is documented in relation to the development of Theatre in Education from its British roots to the Company’s current emphasis on contemporary artists exploring the possibilities of multi-art form technology. The development of multi-media usage in theatre over the past century is outlined in order to gain an understanding of Arena’s place within this technological experimentation. Utilising ethnographic methodology, including participant observation, “unstructured” interactive interviews and the construction of participant monologues, the creative rehearsal and planning process of Eat Your Young is chartered over a five month period. The outcomes of the study confirm the literature relating to the qualities of a good director: they are leadership, vision and the ability to collaborate. The metaphor chief architect is coined to describe the central figure of the director, Rosemary Myers. The case study discusses the development of a Company culture where artists work in an intensive social and interactive environment and it identifies the unique pressures and individual responsibility of the role of director.
6
VANNUCCI, ALESSANDRA. "LA QUINTA COLONNA: THE GENERATION OF ITALIANS DIRECTORS IN THE RENOVATION OF BRAZILIAN THEATRE". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5660@1.
Texto completoResumen
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOA presença de diretores teatrais italianos (Adolfo Celi, Ruggero Jacobbi, Luciano Salce, Flaminio Bollini, Gianni Ratto, Alberto d`Aversa) na renovação do teatro brasileiro (década de 1950) remete ao campo teórico de representação dos processos de modernização da cultura, entre anseio de globalização (alcançar o padrão internacional) e preservação do local (atingir o Brasil autêntico). A polêmica entre esteticismo cosmopolita e brasileirismo permea o debate renovador desde a sua implantação. Motivada pela missão pioneira de instalação da cena dirigida, a transculturação de pessoas e idéias que ocorre com a interferência da geração dos diretores italianos no processo de denvolvimento da cena brasileira oferece recorte temático privilegiado para narrar os fatos da modernização da arte no Brasil. Suas intuições, heranças, oportunidades e invenções perdidas, investigadas em amplo acervo de documentos inéditos, sugerem um quadro de realização somente parcial do sonho moderno.
The presence of italian directors (Adolfo Celi, Ruggero Jacobbi, Luciano Salce, Flaminio Bollini, Gianni Ratto, Alberto d`Aversa) in the renewal of Brazilian theatre in the 50`s refers to studies in the field of culture modernization processes. The polemics between cosmopolitan estheticism and brasility has, since the beginning, pervaded the debate about cultural renovation. Motivaded by the pioneering mission of implementing the directed scene, the transit of people and ideas wich take place under the interference of that generation of Italian directors in the process of development in the Brazilian theatre, give us a special perspective when narrating facts about the modernization of art in Brazil. Its intuitions, its legacy, oportunities and lost inventions, investigated in a large collection of undisclosed documents, suggest only a parcial view of the modern dream.
7
Vandivere, Allen H. "An investigation of the nonverbal communication behaviors and role perceptions of pre-service band teachers who participated in theatre seminars". connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9019.
Texto completo
8
Hillier, Fleur Jane School of Public Health & community medicine Centre for Clinical Governance Research in Health UNSW. "Managing creative and health production processes : issues, similarities and differences". Awarded by:University of New South Wales. School of Public Health and community medicine. Centre for Clinical Governance Research in Health, 2005. http://handle.unsw.edu.au/1959.4/22281.
Texto completoResumen
In this thesis I am concerned to examine the management behaviours and predilections of managers across the two settings of health and theatre considered to be divergent. To do this I explore and map methods, similarities and differences managers employ to ???manage??? workers across the industries. I also deconstruct creativity and its manifestations in both managerial behaviours and environmental contexts and map the complexity issues that managers face in different settings. Further, I explore the extent to which management activity is contextual to the identity of participant organisational aims and processes and examine the level of calculated chaos experienced by managers across the settings. Central to this approach is the utilisation of multi-method design incorporating interview, micro-ethnography, auto-ethnography and a RAND expert panel to assist with interpretation of the results. Core findings include high degrees of similarity in the roles and functions and support systems utilised by managers across the settings despite substantial differences in environmental contexts and organisational aims and processes. Differences were identified in the areas of: levels of chaos, interactions, purposes, and environmental characteristics. To account for these differences I apprehended seven metafactors grounded in the data sets. These seven metafactors can be found in each setting but emerge in different ways. The metafactors that I apprehend are order versus disorder; creativity; experimentation and change; risk; reflection; trust and respect; and time and pressure. While I discuss these seven metafactors as separate factors in reality they are fundamentally inter-related. Suggestions for future research are included.
9
Vandivere, Allen Hale. "An Investigation of the Nonverbal Communication Behaviors and Role Perceptions of Pre-Service Band Teachers who Participated in Theatre Seminars". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9019/.
Texto completoResumen
This qualitative study used a multiple case study methodology to explore the nonverbal communication behaviors and role perceptions of pre-service band teachers, and the extent to which these individuals found meaning and value in theatre seminars with respect to those factors. The informants participated in three theatre seminars taught by theatre faculty at the researcher's university. The researcher collected data in the form of videotaped theatre seminar observations, videotaped classroom teaching observations, videotaped informant reflections of teaching episodes, online peer discussions and journaling, and informant interviews. Data were analyzed, coded, and summarized to form case summaries. A cross-case analysis was performed to identify emergent themes. The broad themes identified were past experience, adaptation, realization, and being aware. The informants found that the theatre seminars increased their awareness of nonverbal communication behaviors in the classroom, and had the potential to be meaningful and valuable with respect to their perceptions of their roles as teachers.
10
Dawood, Rasha Ahmed Khairy Hafez. "Critical discourse within European plays in the first half of the twentieth century and the manifestations of a similar phenomenon in modern Egyptian drama". Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15359.
Texto completoResumen
This thesis closely examines the utilisation of dramatic characters’ comments on matters of literary and theatrical criticism. This phenomenon shaped a trend in European theatre during the first half of the twentieth century, and Egyptian theatre in the second half of the century. My main hypotheses are, firstly, that dramatic characters’ comments on literary and theatrical matters of criticism respond to specific problems that challenge theatre practice. Thus, my reading of literary and theatrical criticism within the dramatic texts studied in my thesis focuses on this criticism’s reformative function to rectify the crisis that faces theatre practice in general, rather than playwrights’ individual motives, such as responding to their critics. Secondly, socio-political, economic, and cultural aspects shape historical circumstances, which influence the current state of the theatre industry. Therefore, although Egyptian plays are noticeably influenced by European metatheatre, Egyptian playwrights utilise these borrowed techniques to highlight specific problems of Egyptian theatre such as the corrupt administration of governmental theatre and censorship. Finally, while Egyptian plays exploit European metatheatrical techniques, Egyptian playwrights claimed their works as a revival of intrinsically anti-illusionist traditional forms of entertainment such as the shadow play and Karagöz. This claim reflected increasing calls for pure Egyptian theatre, as part of the anti-Western jingoistic discourse of the political regime of the 1950s. In order to examine these assumptions, my theoretical approach draws from the fields of metatheatrical studies; literary and performance studies of parody and intertextuality; the history of European and Egyptian theatre; sociological, political and cultural studies; theories of modern criticism, and critical reviews. My contribution to the field of metatheatrical studies is in highlighting the reformative function of literary and theatrical criticism, whether as a discourse or a metatheatrical device, within a group of European plays that belong to different movements of the avant-garde during the first half of the twentieth century. More significantly, my study investigates the same phenomenon in Egyptian plays that, since the 1980s, have gradually been marginalised as fringe theatre and neglected by academic studies.
11
Coon, Sarah M. "Artistic License or License to Kill? Reinterpretation as a Director's Tool". Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1335821102.
Texto completo
12
Clippard, Kristin. "A director's mash-up of She Stoops to Conquer or the Mistakes of a Night by Oliver Goldsmith". Thesis, The University of Iowa, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1540338.
Texto completo
13
Spedalieri, Francesca. "Seeing the Unseen, Staging the Unspoken: The Gender Politics and Political Language of Emma Dante’s Theatre in the Berlusconi Era (1994-2011)". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1480594504188268.
Texto completo
14
Katsouraki, Evanthia. "Theatre director's philosophical entanglements : aesthetics and politics of the modernist theatre". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33250.
Texto completoResumen
This thesis presents a conceptual examination of the modernist director read through Gillian Rose's speculative lenses of the 'broken middle'. Highlighting the significance of speculative philosophy, I explore the meaning of the director as a mediating subjectivity. I demonstrate how a speculative reading of the director can act as a corrective to the received totalitarian, despotic image of the director. I urge for the rehabilitation of the director as a history and as a practice and I propose the emergence of this figure as being the outcome of a complex theatrical articulation entangled with the discipline of philosophy. Combining close readings of philosophical texts by Rose, Plato, Castoriadis, Badiou, Rancière, Laclau and Mouffe, among several other intellectual references in this study, I explore the director as a mode or trope of embodied philosophy. My argument also proposes the director as an Event, in Badiou's definition, and I trace this configuration as already taking place with the 'tragic' paradigm of the Athenian theatre. This Event of the director, I then argue, gets fully inaugurated in modernism as the Event of thought in theatre. I explore how the director acting as a mediator transforms theatre to what Puchner calls 'a theatre of ideas' while simultaneously philosophy becomes itself transformed to a theatre of thought. Chapter 1 outlines the key strands of Rose's thought and sets out the theoretical parameters of my examination. The chapter argues for a speculative reading of the director cross-examined with current positions within theatre historiography. The chapter paves a new understanding of the director, not historically, but conceptually, as a mode of embodied thought. Chapter 2 explores the relationship between the primacy and centrality of the aesthetic paradigm of theatre in philosophy and the role and practice of the poet - or 'chorodidaskalos' - who I consider as an early philosophical figuration of the modern director. I highlight speculative 'aporia' which in Rose indicates a path 'without a path' as the primary modality of thinking philosophically, already at work in tragedy, that renders the modernist director as a theatrical thinker. Chapter 3 puts forward the case of the director's mediating subjectivity by arguing for the Event of the director. I analyse Badiou's philosophy of the Event, making connections to speculative philosophy and illuminating the Evental dimension of this figure. Chapter 4 moves the examination to the Event of the director that I locate in Richard Wagner. My reading explores the philosophical dimension of Wagner as an artist and a thinker by which I rehabilitate his overtly negative image. I do this by reading Left Hegelianism, and anarchist philosophy more broadly, in Wagner's operatic works, writings, and political activism. Chapter 5 examines the 'speculative director' in the aesthetic project of Naturalism and Realism. The chapter includes a published section by which I explore the political mode of the director indirectly, by examining the articulatory discourse in Laclau and Mouffe's definition and the practice of affirmation. Chapter 6 looks at the avant-garde manifesto as a form of meta-language that seeks to actively re-shape theatre and the world as embodied, declaimed philosophy. The chapter repositions the avant-garde's aesthetic preoccupation with failure as a profoundly transformative project rather than as being incomplete. The included published article examines more closely the affinity between the Spartacus Manifesto by Rose Luxemburg (philosophy) and the more politicized forms of the Dada Berlin manifesto art (theatre). Chapter 7 is the concluding chapter by which I argue the case of the director finally having entered the theatre as a philosopher; that is, through Bertolt Brecht.
15
Roberts, Luke Graham. "The cinematic theatre : interpreting video director's opera". Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411054.
Texto completo
16
Hanna, Stephanie R. "The Assistant Director". VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1619.
Texto completo
17
Wright, Mathew. "RENT: A Director's Process". Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/106161.
Texto completoResumen
TheaterM.F.A.
RENT: A Director's Process describes the process a director undergoes in the creation of a piece of theater. It uses as its example Temple Theaters' 2010 production of RENT, and it examines how an MFA thesis production encapsulates the material garnered over three years' intensive study in a conservatory setting of the art and craft of directing. It explores the methodologies behind the pre-production process, including concept, approach, design, and casting, and continues into the production process, including rehearsal and performance. This thesis suggests a method of directing that is based on a formal approach, and shows this method to be as applicable to populist styles, such as musical theater, as it is to more experimental forms.
Temple University--Theses
18
Daniel, James Gray. "Technical director as problem solver West Virginia University Division of Theatre and Dance's production of A flea in her ear /". Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5531.
Texto completoResumen
Thesis (M.F.A.)--West Virginia University, 2007.Title from document title page. Document formatted into pages; contains iv, 61 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 23).
19
Readman, Geoffrey. "What does the Applied Theatre Director do? : directorial intervention in theatre-making for social change". Thesis, University of Northampton, 2013. http://nectar.northampton.ac.uk/7848/.
Texto completoResumen
This thesis critically interrogates the practice of artistic directors within applied theatre companies in the United Kingdom. ‘Applied theatre’ describes the process of theatre-making in which commitment to ethical, pedagogical, philosophical and social priorities are integral dimensions of theatre-making designed for specified participants, communities and locations. The research views the term director as encompassing any individuals with designated responsibility for the artistic coherence of theatre in both community and rehearsal room contexts. It argues that directorial processes in applied theatre have rarely been the focus of systematic research and that a theoretical framework to conceptualise practise will contribute new knowledge. The research design gathers evidence of directorial contributions, examining ‘why’ and ‘how’ interventions are constructed. The various theories, techniques and methods used by directors to shape and effect positive interventions are observed and interrogated, through a systematic research approach, in five director case studies. The case studies reflect discrete areas of theatre practice. Published research is sparse and literary evidence is occasionally drawn from historical, cultural and mainstream theatre contexts, from developments in Alternative and Political theatre and from Drama in Education praxis. The thesis concludes with a theoretical framework that articulates applied theatre directing as a process that shares some common ground with mainstream theatre directing, but which retains discrete alternative practices and philosophies that define an alternative directorial model.
20
Harders, Steven. "Staging The Illusion Director as Magician". VCU Scholars Compass, 1996. http://scholarscompass.vcu.edu/etd/4906.
Texto completoResumen
This thesis serves as an examination of the process I underwent to arrive at answers to those questions. Chapter I examines differences between Pierre Corneille's seventeenth century L'Illusion Comique and Kushner's modern-day adaptation. Chapter II takes a closer look at textual analysis specific to Kushner's adaptation. Chapter III documents pre-rehearsal and designer collaboration. Chapter IV follows the production process from casting to performances. This chapter also includes many of the problems encountered and solutions reached. Chapter V, the summary, includes an assessment of the entire process, including; rehearsals, production, and my role as director. A summary of audience evaluations also is included in this chapter. The appendixes follow with a transcription of the audience discussion, backward analysis, floor plan, photos, and the playbill.
21
Hoeane, Masitha. "New directions in theatre-for-development in Lesotho". Thesis, University of Leeds, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436093.
Texto completo
22
Papadopoulos, Dionysis. "Teacher as director : an investigation of theatre-making in Greek schools". Thesis, University of Roehampton, 2014. https://pure.roehampton.ac.uk/portal/en/studentthesis/teacher-as-director(548d773c-0e67-423c-b09e-78c3c5629943).html.
Texto completoResumen
This thesis centres on an analysis of two school theatre rehearsals that took place in Athens in 2010 directed by four classroom teachers: Katerina’s and Sophia’s direction of Iakovos Kambanelis’ “Fairytale without a name” for School A in Piraeus, Attica; and Petros’ and Maria’s direction of Mike Kenny’s “The boy with the Suitcase” for School B1, Attica. By examining the classroom teacher as director this project has two encompassing aims. The first is to analyse the micro-practices of rehearsals from week to week. In the analysis that follows, I will question the wider socio-cultural and institutional context, and explore the relationship between the micro-practices and the contexts2 in which they function. The second aim is to develop a framework which could then be adapted, modified or completed either by classroom teachers who put on school theatre productions, or by theatre practitioners involved with school theatre performances. After exploring rehearsal research methodologies adopted thus far in the professional theatre, the researcher advances a set of organising principles, drawn largely from ethnography, that constitute the theoretical framework of this thesis. From Chapter Three onwards, the thesis analyses the rehearsal, the teachers/directors and how they developed and produced the work. Data consists of recorded material, field notes and transcripts of interviews with the teachers/directors. The thesis then examines the rehearsal practices themselves—what it means to ‘work at the table' or ‘on the floor’ or ‘on the set’. The micro- and macro-practices and discourses with which they were framed are explored on their own terms rather than through recourse to notions of acting traditions. Teachers/Directors do not refer to any particular theatrical method but talk about approaches such as ‘discovering meaning in the script’, ‘discovering characters’ psychologies’ and ‘constructing a performance' coupled with the broader pervading discourses of ‘immigration', ‘and ‘political corruption’ in Greece. The thesis will examine how the two rehearsal processes studied are complementary to each other. Finally, the knowledge which emanated from the study is to inform model which classroom teachers might use in putting on theatrical productions in their schools.
23
Mitter, Shomit. "The great imitator : Peter Brook and the director in rehearsal". Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259462.
Texto completo
24
Records, Nathan D. Beard DeAnna M. Toten. "A director's approach to William Shakespeare's Hamlet". Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5082.
Texto completo
25
Nkoule, Nkoghe Carinne. "La mondialisation culturelle en Afrique francophone : le cas du cinéma à Libreville (Gabon)". Thesis, Université de Lorraine, 2014. http://www.theses.fr/2014LORR0176/document.
Texto completoResumen
Circulation des produits culturels, uniformisation des cultures, diversité culturelle, américanisation des cultures. Telles sont les théories véhiculées par la mondialisation culturelle. Toutefois, l’histoire démontre que la théorie qui fait l’unanimité en passant par les Sciences économiques, le Management des entreprises et la Sociologie est : la circulation des produits culturels, des services et des biens économiques à l’échelle planétaire. Au regard de ce fait, nous avons voulu l’expérimenter en Sociologie et plus précisément dans le domaine du cinéma au Gabon. A cet effet, nous avons relevé par le biais des programmes cinématographiques des chaînes de télévision, de la salle de l’Institut Français du Gabon et des vidéoclubs qu’il existe un panorama de films mondiaux (Américains, Français, Nigérians, Ivoiriens, Mexicains et Gabonais etc) qui circulent dans ce marché. Par ailleurs, il était aussi capital pour nous, de démontrer que la population gabonaise ne subit pas la mondialisation culturelle. C’est de ce pas que l’étude de la culture du cinéma au Gabon trouve tout son sens. Cette étude a confirmé que les Gabonais s’attachent particulièrement aux films qui se rapprochent de leur société (faits sociaux et cultures traditionnelles). Ceci explique le fait que les cinémas ivoirien, latino-américain, nigérian et ghanéen soient les plus préférés. D’autres cinémas (à l’exemple du cinéma américain) sont également bien reçus. Fort de tout ce qui précède, nous pouvons affirmer que le Gabon est véritablement dans la mondialisation culturelleMovement of cultural products, standardization of cultures, cultural diversity, Americanization of cultures. These are the theories which are conveyed by cultural globalization. However, History has shown that the theory which is approved unanimously by Economics, Corporate Management and Sociology is: the movement of cultural products, services and economic goods on a worldwide scale. For this reason, we wanted to experiment it in Sociology and more precisely in the area of cinema. For this purpose, we have noted down thanks to the cinema programmes of television channels, of the theatre room of the French Institute of Gabon, and of videoclubs that there is a panorama of world films (American, French, Ivoirian, Mexican, Gabonese, etc.) that are in circulation on the market. Furthermore, it was also important for us to demonstrate that the Gabonese people does not undergo cultural globalization. Therefore, the study of the cinema culture in Gabon makes sense. This study has confirmed the fact that the Gabonese are particularly interested in films which are close to their society (social facts and traditional cultures). This explains the fact that Gabonese people mostly prefer films from Ivory Coast, Latin American, Nigeria and Ghana. Other cinemas - the American one, for instance- are well accepted too. In light of this, we can say that Gabon is really in cultural globalization
26
Muller, Elizabeth R. "Between Scenic Designer and Director: The Collaborative Process of Four Productions". VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2550.
Texto completoResumen
This thesis presents the unique designs for four productions: Ain’t Misbehavin’, Is He Dead?, Dead Man’s Cell Phone, and Legacy of Light. Presented here are the research images, conversations, situations and their resulting designs represented in my renderings and photographs of the fully realized production. Throughout, I will state my objectives in bettering the quality of interaction with each director and my reflections on the ongoing process of creating a trusting and balanced collaborative process, one that expertly serves the production.
27
Ledford, Traci Elizabeth Castleberry Marion. "The ideal world of Edmond Rostand's Cyrano de Bergerac a director's approach /". Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5305.
Texto completo
28
Baker, Rebekah Christine Castleberry Marion. "A director's approach to Steve Martin's Picasso at the Lapin Agile". Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5324.
Texto completo
29
Taylor, Shanea. "DIRECTING AUTOBIOGRAPHICAL THEATRE". VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1935.
Texto completoResumen
This is an exploration of the director's role in autobiographical theatre. The director is in a unique position when storytelling on a personal level is being executed theatrically. I explored this topic over the course of directing three plays, each of which contained a strong personal storytelling element, which broadened my perspective of the director's role. The three plays were Slashtipher Coleman’s The Neon Man and Me, Birth by Karen Brody, and Will Power to Youth Richmond presents: William Shakespeare’s Romeo and Juliet. Traditionally, the director’s role includes a myriad of tasks. These tasks can include and are not limited to creating pictures on stage that reflect the story being told, coaching actors in their craft specific to the production, vocal and movement coaching, viii creating a concept, interpreting and translating the action, and being the intermediary amongst the creative team in reaching the overall artistic vision. However, when the director is presented with personal stories to shape and mold, this role changes; no longer can the director wear a traditional hat and assume that the story will tell itself through a series of pictures, but now the director dons different hats and accesses other skills that more closely reflect those of mentor, spiritual leader, psychologist, teacher, and friend. This thesis is a narrative of the explorative process that one director experienced when staging these three prototypes of autobiographical theatre.
30
Price, Jason. "Examining the efficacy of popular theatre forms for the contemporary director of didactic performance". Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/66553.
Texto completoResumen
This thesis seeks to offer a preliminary evaluation of the efficacy of popular theatre forms for the benefit of the contemporary director of didactic performance. Chapter One provides a rationale for the study by outlining the history of popular theatre forms in twentieth-century practices, focusing specifically on those that aimed to be didactic. The chapter then addresses the state of didactic performance at the present time and questions whether the right cultural conditions currently exist to reinvigorate didactic drama with popular theatre forms. The chapter concludes with an outline of my methodology for the development of three research projects designed to analyse the efficacy of popular forms. Chapters Two, Three and Four discuss the development of the research projects specifically. In these chapters I discuss how performers were trained in the popular forms, the development of the performance texts, and, crucially, how the forms were used in performance. The conclusion to each chapter addresses the audiences’ reception to the performances. Chapter Five collates the findings from the research through practice projects and seeks to offer advice to directors of contemporary didactic performance on how popular theatre forms can be used to entertain and educate audiences about issues of concern. This thesis is accompanied by four DVDs, which feature short films of performer training workshops and the research projects. The reader will be directed to the DVDs at specific moments throughout the thesis.
31
Inouye, Daniel Paul Castleberry Marion. "A director's approach to Jamie Pachino's Waving goodbye". Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4846.
Texto completo
32
Odzimkowska, Mariola. "La réception du théâtre polonais en France de 1989 à nos jours". Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040137.
Texto completoResumen
Le sujet posé a pour but d’identifier le théâtre importé de Pologne et de déchiffrer le rôle qu’il joue dans la vie théâtrale française ainsi que dans le contexte culturel de la France. La présence du théâtre polonais de 1989 à nos jours en France est conditionnée par plusieurs facteurs : les relations historiques et culturelles entre les deux pays, l'activité des institutions et des personnes médiatrices, la vie théâtrale française et ses composantes. Jerzy Grotowski et Tadeusz Kantor continuent à garder leur importance pour le milieu théâtral français. Il se crée dans la conscience du spectateur/critique français une opinion que le théâtre polonais, comme celui de Kantor et de Grotowski, est un endroit laboratoire, où le temps du spectacle est sacré. Ce sont les théâtres d'art de Krystian Lupa et de Krzysztof Warlikowski qui s'avèrent de nouvelles révélations artistiques. Leurs œuvres démontrent la complexité de l'homme. Leur réception s'élargit sur les stages, les créations avec les artistes français et les mises en scène d'opéra pour Warlikowski. Cependant, ces metteurs en scène viennent en France très rarement avec les adaptations d’œuvres dramatiques polonaises. Les auteurs dramatiques polonais ont donc une certaine réception en France, surtout Witold Gombrowicz, Stanisław Witkiewicz, Sławomir Mrożek qui passe par le chemin des traductions et des mises en scène proposées par des artistes français. La lecture de l'autre à travers le théâtre est supposée rester une lecture partielle, le récepteur n'ayant pas le même vécu historique que l'objet perçu. Néanmoins, malgré sa partialité, elle jette une nouvelle lumière sur le théâtre polonaisThis study represents an attempt to identify the Polish theater brought to France since 1989 and to analyse the role it currently plays in contemporary theatre in France as well as in the broader cultural context. Its very presence depends on several factors: historical and cultural relations between the two countries, related institutional and individual activity, as well as the French theatrical life itself and its components.Jerzy Grotowski and Tadeusz Kantor continue to maintain their iconic status in the French theater community. There is a well-rooted understanding of the Polish theater as an experimental space (by French theatergoers and critics alike and accomplished precisely through Kantor's and Grotowski's impact), where bearing witness to on-stage action is a sacred. Krystian Lupa's and Krzysztof Warlikowski's art theater appears to be the latest to date of artistic discoveries. Their works are seen as primarily dealing with complexities of human nature. What follows are internships, joint projects with collaborating French artists and opera productions (Warlikowski). Simultaneously these very same stage directors rarely bring their own adaptations of Polish drama repertoire to France.However, Polish playwrights in general do generate interest. This is particularly true for Witold Gombrowicz, Stanisław Witkiewicz, Sławomir Mrożek, but tends to happen another way through French translated and staged versions.Understanding the other through theater is often assumed to be an incomplete reading, as the reader does not have the same baggage of lived history as the object of his or her perception. Yet despite this obvious bias, this reading sheds a new light on the Polish theater
33
Aufort, Frédérique. "Le théâtre de l’accord. Le spectateur d’une scène a-dialectique, partenaire d’un acteur de la mise en question". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040018.
Texto completoResumen
Basée sur l’hypothèse que le théâtre est susceptible d’intervenir sur le « vivre-ensemble » des hommes, cette étude prend la mesure du bouleversement à l’œuvre sur les scènes théâtrales françaises contemporaines pour définir théoriquement ses potentialités. À cette fin, elle construit des correspondances entre deux objets : le rapport acteurs-spectateurs à l’œuvre dans quinze spectacles contemporains (2005-2008) et certains textes philosophiques de Georges Bataille et Michel Foucault. De l’« archéologie du présent » de Naissance de la biopolitique au geste de la « dépense » de La Part maudite, les deux philosophies, qui se complètent l’une l’autre, s’inscrivent en réaction à un « vivre-ensemble » fondé sur l’utilité et le jeu des intérêts particuliers. L’étude analyse de façon répétée un élément constitutif d’un ou de plusieurs spectacles pour ensuite le corréler à un point spécifique des deux pensées a-dialectiques. La réflexion s’élabore en trois étapes : la scène, le spectateur, l’acteur. Au fur et à mesure, un théâtre prend forme, fondé sur la co-existence des contraires et dévolu à la communication, qui, un temps, rompt l’isolement des êtres séparés. En conclusion, l’étude dégage les effets de fragilisation auxquels ce théâtre soumettrait notre mode d’organisation politique. La thèse comprend en annexe dix-neuf entretiens avec les artistes des spectacles du corpusThis research is based on the hypothesis that drama could potentially influence the « being together » among people. It measures the big change taking place in French contemporary theatres in order to define theoretically its capacities. The study aims at finding links between two notions : the actor-spectator relationship in fifteen contemporary performances (2005-2008) and philosophical texts by Georges Bataille and Michel Foucault. From the « archeology of the present » in Naissance de la biopolitique to the act of « spending » in La Part Maudite, these two philosophies which add one to the other stand as a reaction to a « being together » based on usefulness and the intervention of private interests. This study analyses repeatedly one element of one or several performances and correlates them to a specific point in the two a-dialectical thoughts. It has three parts : the stage, le spectator, the actor. A theatre gradually takes shape, based on the co-existence of opposites and dedicated to communication which puts an end to the isolation of separate beings for a while. At the end, the study highlights the fact that this theatre could undermine our political organisation. This thesis includes nineteen interviews with the artists from the performances of the corpus
34
Wurth, Paul Stephen. "The Director's Presence". VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1013.
Texto completoResumen
This text is partial record and narrative of the process and productions of Orphans by Lyle Kessler that opened on March 29th 2007 for a four day run ending on April 1st, The Pillowman by Martin McDonagh that opened October 28th 2007 for a three day run ending on October 30th, and Terra Nova by Ted Tally that opened on February 21st 2008 for a four day run ending on February 24th. The majority of the text follows the three shows from Spring 2007, Fall 2007, to Spring 2008, focusing on the process of direction of each production. Incorporated in the writing are the experiences, lessons, and complications that arose while directing the three shows. The text contains several notes on directing, acting, collaboration, choreography, casting, rehearsal and different perspectives on the creative process of the productions: all combined create an aesthetic inherent in the author's three years of study at the Virginia Commonwealth University Theatre Pedagogy Program with an emphasis in Acting and Directing.
35
Holden, Martin Lee Castleberry Marion. "A director's approach to Tom Stoppard's Rosencrantz & Guildenstern are dead". Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5064.
Texto completo
36
Hawkins, Barrie James. "Staged directions : the significance of indices for action in the dramatic text". Thesis, University of Warwick, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283485.
Texto completo
37
McManus, Erin. "THE SHOW IS IN THE DETAILS: LEARNING ABOUT A STUDENT DIRECTOR’S PROCESS FROM THE INSIDE". Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1303935673.
Texto completo
38
Snyder, Erin. "Planting: One director's approach to cultivating and nurturing within a female ensemble". VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/204.
Texto completoResumen
A director, just like a pastry chef, must be delicate. Actors are fragile, fearful human beings. And just like a pie crust requires the perfect balance of water and flour, an actor requires a similar balance in both comfort and companionship. Eryn Snyder worked for three months to create a space where her actors could live freely in the world of the characters. With a cast of four, rehearsals were intimate, demanding, and playful. Theatre requires a director to lay down the sort of soil that encourages growth. It nurtures, it listens, it plays, and it asks questions. A director’s job is to fall in love with a story and cultivate the safest space for discovery. When achieved, the words don’t matter. There is a life unlike any other between a group of courageous human beings. Strung together with letters and love, here is a story of some extraordinary planting.
39
McQuistion, Evin. "A Director's Approach to Annie Baker's The Aliens". Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/473.
Texto completoResumen
An exploration of Annie Baker's play The Aliens through the perspective of student directing. This includes the process of research, casting, rehearsal, and performance of the play in the Spring of 2017 at East Tennessee State University.
40
Bruce, Catharina. "An exploration towards a theatre praxis : the director as facilitator, looking through the lens of constructivism and multiple intelligences". Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/7786.
Texto completoResumen
Includes abstract.|Includes bibliographical references (leaves 74-79).As South African theatre artists we are both challenged and enriched by a diversity ofcultures, languages and traditions amongst both our practitioners and audiences. We are at the same time presented with a social environment that contains entrenched inequalities and divisions, profound trauma and unclear expectations. This affects us not only in the kind of theatre we create in response, but also in how we create theatre. Our rehearsal spaces and stages, like South African educational institutions, are concerned as much with integration and building communication bridges as with production.What I hope to glimpse at least, through this exploration, is a basis for practice that enhances the ability of an ensemble, no matter the degree of diversity, to actively participate in the process of interrogating the essence of a text or theme. I maintain that this collective process will develop open and authentic communication within the group,and that it will vitalize and enhance the impact of the resulting production by allowing the individual participants to make the concept, and its expression, their own.
41
Jackson, Amber McGinnis Beard DeAnna M. Toten. "Balancing the mythic and mundane a director's approach to Sarah Ruhl's 'Eurydice' /". Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5308.
Texto completo
42
Larson, Brianna J. "Process Metamorphosis, My Choreographic Journey". VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4845.
Texto completoResumen
Process Metamorphosis, My Choreographic Journey describes the journey from my initial interest in choreography to where I find myself as a choreographic artist today. Throughout the paper I look at different productions I have worked on, both professionally and within an educational setting, and different people I have collaborated with. Included will be thoughts from peers and mentors as well as my own observations from rehearsals and meetings. I will also be pulling information from my notes and journals while working on shows over the last twelve years.
43
Little, Suzanne Ruth. "Framing dialogues- Towards an understanding of the Parergon in theatre". Queensland University of Technology, 2004. http://eprints.qut.edu.au/15981/.
Texto completoResumen
This project argues for an elevation and a greater understanding of the importance of framing in theatre. In this respect, the study follows on from Derrida's famous deconstruction of Kant's parergon (frame) in his Critique of Judgement. Derrida's work exposes what he sees as a complicit desire to &qout;limit" the frame to the role of "decorative adjunct". Finding the frame to be "undecidable", Derrida asserts that the frame actively affects the work inside and the space outside while answering a "lack" within the work. Utilising Derrida's work on the parergon as a starting point, this study represents an attempt to formulate a theory of the frame for theatre asserting that the frame provides a prospective key towards understanding persistent "problems" within theatre studies. These include the complicated onstage/offstage and spectator/actor dialectics as well as the point where "reality" ends and theatre begins and also issues of agreed interpretation. Ultimately the thesis posits that theatre is in itself a parergon which virtualises the space in which it installs itself - a finding that goes some way to explaining and/or accommodating these "problems". The research methodology involves a detailed study of literature encompassing framing and related theories drawn from a diverse array of paradigms. A working theory of the theatre frame, along with a series of analogous approaches is developed and further examined through application to a variety of theatre performances. This thesis offers a theory of the theatre frame and a variety of framing research approaches that function to bridge the gap between the traditionally partitioned areas of performance analysis and reception studies. It also adds to our understanding of the frame and the theatre art form itself.
44
Davis, Cecil. "THE DESIGN PROCESS AS ASSISTANT ART DIRECTOR FOR THE FILM NATIONAL LAMPOON'S ROBODOC". Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3637.
Texto completoResumen
In this thesis, I will detail and analyze the production design processes for National Lampoon's RoboDoc, written by Douglas Gordon M.D., filmed and produced in Orlando, Universal Studios and Ormond Beach, FL, as experienced through the art department. The direction of the thesis will be based on how a background in architecture and theatre guides the design motivation(s) within a production team for film. My documentation will include a process journal written throughout the production of the film to include design meeting topics, research and design inspiration, sketches, budget and location concerns, coordination of scenic elements, crew team coordination, paperwork, and thoughts on working within the art department team as well as working with other teams of production. Photographic records will include pre-production allocation and storage, load-in scenarios, set construction, and final design in set and set dressing. Final comments will be based on a personal evaluation, evidence of my progression throughout the production, and how an advanced focus in design through education and practice affected the project.M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
45
Harkins, Michael Ashley. "Steel Magnolias: An Actor Directs". ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/356.
Texto completoResumen
This thesis is an endeavor to accurately document and define my actor coaching process as a director through Robert Harling's Steel Magnolias. The following chapters contain a record of the development of my actor coaching process in this production, including character & actor analysis, a rehearsal log that provides a daily track of my progress, and an evaluation of the process and resulting performance.
46
Smith, Whitney L. Beard DeAnna M. Toten. "Tackling difficult dialogues a director's approach to Rebecca Gilman's "Spinning Into Butter" /". Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5130.
Texto completo
47
Walsh, Justin P. "The technical director's process an account of WVU Division of Theatre & Dance's production of Into the woods /". Morgantown, W. Va. : [West Virginia University Libraries], 2006. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4648.
Texto completoResumen
Thesis (M.F.A.)--West Virginia University, 2006.Title from document title page. Document formatted into pages; contains v, 44 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 36).
48
Schebetta, Dennis Christian. "From Darkness to Light: Examining the Role of Playwright/Director on Obscura". VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1428.
Texto completoResumen
The aim and scope of my thesis is to examine the process of playwrights directing their own work, using the production of my play Obscura as an example of personal research, as well as examples of other dramatists. I will examine the advantages and disadvantages that playwrights face when directing their own work. I will compare several methods to my own production of Obscura. I wrote the play in the Spring of 2005 which culminated in a reading in April, followed by a workshop production in the Fall of 2005 in the Newdick Theater at Shafer Street Playhouse.
49
Trainytė, Nida. "Bendruomenės požiūris į mokyklinį teatrą". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070816_173652-74592.
Texto completoResumen
Lietuvoje nuo 1996 m. birželio 7 d. Švietimo ir mokslo ministro įsakymu Nr. 8 patvirtinta bendrojo lavinimo mokyklos programa, kurioje drama (teatras) įtraukta į mokymo planą kaip atskiras mokomasis dalykas. Nuo 2000 m. bendrojo lavinimo mokyklose įvedus profilinį mokymą, teatras pradėtas dėstyti kaip pamoka, kurios tikslas – moksleivių užimtumas, ugdant mokinius per teatro raiška, padedant formuoti vidinį pasaulį.
Teatrinis ugdymas – labai plati sąvoka. Jis jungia tris glaudžiai tarpusavyje susijusias ugdymo sritis: kūrybos, vertinimo ir dabarties bei praeities kontekstų pažinimą.
Šiame darbe nagrinėjamas mokyklos bendruomenės požiūris į mokyklinio teatro kūrimo poreikį Utenos rajono bendrojo lavinimo mokyklose.
Tyrimo tikslas – išanalizuoti mokyklos bendruomenės požiūrį į mokyklinio teatro kūrimo poreikį.
Tyrimo uždaviniai:
1. Atskleisti bendrojo lavinimo mokyklos bendruomenės formavimo specifiškumą, kaip prielaidą puoselėjant mokyklinio teatro tradicijas.
2. Apžvelgti neformalaus ugdymo sąlygas, kuriant mokyklinį teatrą bendrojo lavinimo mokyklos bendruomenėje.
3. Ištirti Utenos rajono bendrojo lavinimo mokyklų bendruomenių požiūrį apie mokyklinio teatro kūrimo galimybes.
Teorinėje dalyje apžvelgiama mokyklos bendruomenės samprata, sociokultūrinis ugdymas bendruomenėje, mokyklinio teatro kūrimo prielaidos mokyklai, kūrybiškumo problemos, neformalaus ugdymo sąlygos – ugdymo teatru Utenos rajono bendrojo lavinimo mokyklose remiantis darbo vadovų ir moksleivių apklausos... [toliau žr. visą tekstą]In Lithuania, the order No 8 of the Minister of Science and Education dated 7th June, 1996 approved the curriculum of general education where drama (theatre) was already included as a separate subject. Since 2000 after the profile education had been introduced in the schools of general education drama was started to be taught as a subject that aimed at keeping children occupied by educating them through the expression of drama, by helping to form their inner world. Drama education is a very wide concept. It unites three closely interrelated areas of education: creation, evaluation and the learning of the present and the past contexts. This thesis addresses the attitude of the school community towards the need for the establishment of a school theatre in the schools of general education in Utena district. The aim of the research is to analyze the attitude of a school community towards the need for the establishment of a school theatre. The following are the objectives of the thesis: 1. To reveal the peculiarity of the general school community formation as the prerequisite for the development of theatre traditions at school. 2. To make an overview of the conditions of non-formal education while establishing a school theatre in a community of a general school. 3. To explore the attitude of the communities of general schools in Utena district towards the possibilities to establish a school theatre. The theoretical part of the thesis makes an overview of the concept of a... [to full text]
50
Winters, James Clayton. "Transformational Directing: An Analysis on How Leadership Affects the Creative Process". VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3567.
Texto completoResumen
Leadership is often ascribed as a quality one either possess or doesn’t. We often hear phrases like “She is born leader” or “All eyes are on you”, these are thrown around without discretion in the classroom, conference rooms, social gatherings, and business meetings. This work contends that leadership and in particular leadership that grows and transforms its participants is less an inherent character trait, than an outlook and set of core principles that lead to transformation. Through the application of current and developing business leadership theory and its effect on creativity and a cross analysis of “Best in Class” theatre directors and choreographers that I have worked with, I intend to show that the surest way to a theatrically innovative and engaging production is through a dedication to collaboration, selflessness, and directorial clarity.