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Tesis sobre el tema "Theatre"

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Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 30 de julio de 2024

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1

Rutherford, Cassandra. "Building theatres/theatre buildings : reinventing Mull Theatre". Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5254/.

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Mull Theatre is a professional touring theatre company based on a small island off the west coast of Scotland. In 2008 the company relocated from a small converted cow byre which seated 42 people to a new purpose-built venue –Druimfin - on a different part of the island. The move was made possible through a grant from the Scottish Arts Council in 2006, which was awarded on the expectation that the new building would be a ‘production centre’ as opposed to a theatre. That is to say the emphasis in the design of the new space was to be placed on the production rather than the reception of the theatrical event. This stands in contrast to the expectation of many theatre attendees that the new space would continue as it had been – as a place to go and see a theatre production - but that it would do so out of a much larger, more comfortable and better equipped venue. Building Theatres/Theatre Buildings stems from a three year Collaborative Doctoral Award between Mull Theatre and the University of Glasgow, which was funded by the Arts and Humanities Research Council (AHRC). Using the partnership that emerged from this award, the thesis explores what was potentially lost and gained in the move in order to draw conclusions about the wider relationship between spaces of performance and the creation of theatrical meaning in relation to small and medium scale touring theatre. It also uses the company’s dual identity as a touring company with its own permanent building to extend the discussion and to examine the wide range of venues which currently form the rural touring circuit in Scotland. By bringing together primary fieldwork from a pivotal moment in the company’s identity alongside current dialogues regarding theatre space and touring theatre, this research provides new knowledge about this often overlooked theatre company, its buildings and its role within contemporary Scottish theatre and small scale rural touring.
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2

Olmez, Husniye Nihan. "The Analysis Of Theatre Plays For Children Staged By The State Theatre And Private Theatres In 2008-2009 Theatre Season In Bursa". Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12611061/index.pdf.

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The aim of this study is to investigate theatre plays for children staged by the State Theatres and private theatre companies in one specific theatre season in Bursa in terms of their essential language, physical, educational, entertainment and social characteristics. More specifically, the present study examines appropriateness of theatre plays for children in term of these essential characteristics stated by the experts and also opinions of audiences, parents, teachers, and professionals gained by interviews. Twelve preschool children between the ages of 5 and 6, ten parents who had 5 or 6-year-old children, and two preschool drama teachers were asked about their opinions after attending one or more of the theatre plays which were chosen for the study. The theatre plays which were chosen for the study were also scored according to the five different essential characteristics by two coders by using the &ldquo
theatre for young audiences evaluation rubric&rdquo
which was developed by the researcher based on the literature. The study presented the composition of the information gained from the interviews and the characteristics scores of each theatre play. The results revealed that As an outcome, this study documented general information about the existing, required and desired characteristics of theatre plays for children
specific information about the current status of theatre plays for children in Bursa
and also implications and suggestions for parents, educators, playwrights, theatre directors and further studies.
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3

Siersch, Clara. "Theatre for growing - growing Theatre". Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391713.

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Reflektujeme význam neutrality zkoumáním práce s neutrální maskou jakožto nástroje k docílení utišení výrazu obličeje, čímž se stimuluje fyzické povědomí vnitřního neutrálního centra. Povědomí o těle a fyzická vnímavost vyvíjí základní výhody a vlastnosti pro kreativní vývoj a ve výcviku herce, a také v Gestalt terapii. Soustředení se na předpokládanou neutralitu, kterou se myslí centrální referenční bod, umožňuje exploraci neznámých oblastí osobnosti a charakteru, což se může využít při vývoji nových hereckých rolí a také v řešení osobních konfliktů. Vlastní zkušenosti s představeními s maskami, a s maskami použivanými v terapii se porovnávají s teoretickým pozadím práce s maskou a filozofickými nápady o neutralitě. Předpoklad je ten, že v nicotě je pojmuto všechno. Žádný stres.
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4

Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914". Thesis, The University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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5

Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914". University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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Doctor of Philosophy
'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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6

Smith, Rodger W. "Hidden theatre : corporate theatre in America /". free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841336.

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7

Gallagher, Kelsey B. "So Much Better: A Lighting Design Approach for a Production of Legally Blonde: The Musical". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555414324698267.

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8

Harris, John Rogers Sr. "The performance of black masculinity in contemporary black drama". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054742668.

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9

Placenti, Stefania. "Theatre and conflict : the occupied theatres movement in contemporary Italy". Thesis, University of Bristol, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.752800.

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10

Crouch, Kristin A. "Shared Experience Theatre exploring the boundaries of performance /". Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054738772.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains xi, 365 p.; also includes graphics. Includes abstract and vita. Advisor: Lesley K. Ferris, Dept. of Theatre. Includes bibliographical references (p. 353-365).
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11

Lupo, Virginie. "Le theatre de camus : un theatre classique ?" Nice, 1999. http://www.theses.fr/1999NICE2013.

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Le theatre de camus est une partie de son oeuvre trop meconnue, ou du moins trop souvent delaissee. On oublie que si celui qui recut le prix nobel en 1957 fut un essayiste, un romancier et un nouvelliste, il fut aussi un homme de theatre. C'est pourquoi nous avons decide de travailler sur le theatre en general, et sur la recherche d'une tragedie moderne en particulier. Cette question a toujours beaucoup interesse camus. Sa conference prononcee a athenes sur l'avenir de la tragedie en 1955 en est la preuve : il souhaitait apporter sa tragedie a son epoque. Ainsi, nous retracerons les premiers pas de camus au theatre, avec la creation a alger de deux compagnies - le theatre du travail et le theatre de l'equipe. Nous etudierons ensuite la notion de mise en scene dans ses differentes oeuvres (creations aussi bien qu'adaptations) avec ses diverses influences (celle de jacques copeau, son << seul maitre >>, et celle d'antonin artaud), son approche des decors, des costumes, et son gout du geste et du mouvement. L'etude des personnages nous permettra ensuite de montrer que bien que conservant le << classicisme >> du personnage de theatre - c'est-a-dire qu'il n'y a chez camus, contrairement a ce que l'on nomme couramment le << theatre de l'absurde >> ni deconstruction du personnage, ni infirmite, ni decheance - camus renouvelle certains elements de la tragedie grecque, comme par exemple le choeur antique. Et comme il n'est pas de tragedie sans langage, nous montrerons a quel point ce dernier reste classique. Chez camus, foin de destruction du langage, ni de trivialites : le langage est beau, il se respecte, il est noble. Il restera toujours un moyen de communication, le vehicule d'une pensee coherente. On peut donc dire que tout en respectant certaines regles du classicisme. Camus apporte sa touche a l'edifice de la recherche d'une tragedie moderne. On peut alors qualifier son theatre de << classicisme moderne >> ou de << modernisme classique >>.
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12

Hight, Hartwell Keith. "Professional Theatre in the Academic Theatre Setting". VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/655.

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Abstract: The purpose of this study is to discuss the dynamic of continued employment for the theatre instructor. Surprisingly, very little is written about continued employment for the theatre instructor. In the present study, the terms instructor and teacher carry the same meaning. Because theatre builds successful human beings, a theatre program must allows students, graduates, and other interested candidates the opportunity to work closely with experienced professionals in their field.
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13

Tanner, Pamela Graham. "The LSUNO Workshop Theatre: The Little Theatre That Could". ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/635.

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This brief history of the Workshop Theatre at Louisiana State University in New Orleans (LSUNO -- now UNO) relates events that played an important part in defining the racial integration of all student extracurricular activities at the university and the genesis of the current University of New Orleans (UNO) Department of Film, Theatre, and Communication Arts, during the period between the early 1950s and the early 1970s. The origin of the university is discussed briefly to inform the reader about the university's origin, its location, and how racial integration was advanced by actions at the Workshop Theatre. The remainder of the thesis traces the development of a major department of the university, its location on campus, the measures taken to extend the budget, and the faculty and students involved in the Theatre in the period prior to the construction of the Performing Arts Center on the UNO campus.
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14

Marchant, James Charles. "Plato Would Hate This: Two Theatres with Successful Controversial Work". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1288706705.

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15

Shrader, Angela D. "A Comparison of Audience Response to Live and Recorded Theatre Performances". Marietta College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1430070781.

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16

Wilson, Jarod Douglas. "A Lighting Design Process for a Production of Aida, with Music by Elton John and Lyrics by Tim Rice". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306296781.

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17

Davis, Amanda Sutton. "Delta Theatre Productions: A Start-up Theatre Company". ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/aa_rpts/133.

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This report is the result of a year-long internship with a new theatre company in New Orleans, Delta Theatre Productions, currently operating under the name Delta Productions. I functioned as the Managing Director for this start-up, building organizational infrastructure from the ground up, guiding the process of its first production from idea to final product, and creating the branding of the organization in order to set it apart from its competition and establish it as a viable and healthy theatrical company for the New Orleans community. This report tells the story of how the organization began, reports on my duties as an intern, analyzes the successes and failures of the first year of operation, relates guidance from the best practices of other theatrical organizations around the nation, and finally offers practical recommendations for Delta Productions as it pursues growth and sustainability.
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18

Connick, Rob. "Rethinking Artaud's Theoretical and Practical Works". Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300457063.

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19

Charoni, Eugenia. "From Motherhood and Marriage to Symbolist Theater and Revolutionary Politics: French and Spanish Women's Theatre, 1890's to 1930's". University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377871014.

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20

Wolgast, Amanda. "EMULATING THE SWEDES: AN EXPLORATION OF THE DEVELOPING TRENDS IN SWEDISH THEATRE FOR YOUNG AUDIENCES". Master's thesis, Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002172.

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21

Iadevaia, Jennifer Sarah. "Exploratory Theatre Activism| Implementing Theatre Pedagogy in Educational Landscapes". Thesis, Prescott College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10102199.

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For the purposes of this thesis, I begin with an overview of theatre for social change in the introduction and then focus on the literature review as a way to introduce authors, ideas, theory and knowledge as background for the reader. This includes anecdotal accounts, reasoning for research and methodologies for carrying out research. I look at feminist theory, community-based theatre, education for liberation and decolonizing knowledge as a basis for my continuing ideas and theories. My emphasis is how to use expressive arts theatre as a way to connect people through dialogue in communities. One of the many ways is implementing curriculum through public school venues. I use theatre techniques that have been used successfully in a variety of global communities that help aide in focusing on certain issues a community is experiencing. I conducted a Women's Theatre Workshop that consisted of an intergenerational community of women whom embarked on a journey engaging in profound material exploring issues that women face. We found that this work was powerful in a variety of ways for them, some highlighting emotional abuse, oppression and double standards as well as theatre being a tool for non-traditional therapeutic use.

Keywords: praxis, theatre, education, freedom, decolonizing, feminist, theatre for social change

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22

Fitzgerald, Keith G. "Theatre Triad: An Approach to Devising Collaborative Ensemble Theatre". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2971.

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Theatre Triad is a new approach to devising collaborative ensemble theatre starting with the three main components of Performance: Voice, Movement, and Text. These components were deconstructed and reconstructed in pairs as the basis for the devising process. The performance process begins with creating an ensemble followed by four steps: exploring the theatrical genres affiliated with the pairings of Voice and Movement, Movement and Text, Voice and Text, and completed with reintegrating all three components. Through this process many things occur, a new play is created, ensemble members focus on exploring the elements of acting and performance, and a strong foundation of acting skills is laid for young actors. Theatre Triad can also be used as a method for teaching a number of courses in Devising Theatre or Acting classes. In this paper you will learn how Theatre Triad works as both a production approach and method in actor training.
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23

Lauritzen, Chareen Hardy. "The Roberta Jones Junior Theatre : a model children's theatre /". Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2882.pdf.

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24

Plummer, Kris Bronwyn. "Contemporary dramaturgy in theatre for young people : the conceptual shape of displacement and installation". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/32454/1/Kris_Plummer_Thesis.pdf.

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This thesis investigates Theatre for Young People (TYP) as a site of performance innovation. The inquiry is focused on contemporary dramaturgy and its fieldwork aims to identify new dramaturgical principles operating in the creation and presentation of TYP. The research then seeks to assess how these new principles contribute to Postdramatic Theatre theory. This research inquiry springs from an imperative based in practice: Young people under 25 years have a literacy based on online hypertextual experiences which take the reader outside the frames of a dramatic narrative and beyond principles such as linearity, dramatic unity, teleology and resolution. As a dramaturg and educator I wanted to understand the new ways that young people engage in cultural products, to identify and utilize the new principles of dramaturgy that are now in evidence. My research examines how two playwright/directors approach their work and the new principles that can be identified in their dramaturgy. The fieldwork is scoped into two case studies: the first on TJ Eckleberg working in Australian Theatre for Young People and the second on Kristo Šagor working in German Children’s and Young People’s Theatre (KJT). These case studies address both types of production dramaturgy - the dramaturgy emergent through process in devised performance making, and that emergent in a performance based on a written playscript. On Case Study One the researcher, as participant observer, worked as production dramaturg on a large scale, site specific performance, observing the dramaturgy in process of its director and chief devisor. On Case Study Two the researcher, as observer and analyst, undertook a performance analysis of three playscripts and productions by a contemporary German playwright and director. Utilizing participant observation, reflective practice and grounded analysis the case studies have identified two new principles animating the dramaturgy of these TYP practitioners, namely ‘displacement’ and ‘installation.’ Taking practice into theory, the thesis concludes by demonstrating how displacement and installation contribute to Postdramatic Theatre’s “arsenal of expressive gestures which serve as theatre’s response to changed social communication under the conditions of generalized communication technologies” (Lehmann, H.-T., 2006, p.23). This research makes an original contribution to knowledge by evidencing that the principles of Postdramatic Theory lie within the practice of contemporary Theatre for Young People. It also contributes valuable research to a specialized, often overlooked terrain, namely Dramaturgy in Theatre for Young People, presented here with a contemporary, international and intercultural perspective.
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25

Mekeel, Lance. "From Irreverent to Revered: How Alfred Jarrys Ubu Roi and the "U-Effect" Changed Theatre History". Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371827527.

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26

Neumann, Aubrey Helene. "Co-Creating Capital: Rural Youth, Stigma, and Applied Theatre Practice". The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618766734832468.

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27

Sollish, David S. "Musical Theatre in the Mountains: An Examination of West Virginia Public Theatre's History, Mission, Practices, and Community Impact". Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276802020.

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28

Gatrell, Miles Miles. "I have no process: a detailed and required explanation of my process". Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6107.

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This is William Miles' Gatrell's relatively short diatribe about the inherent flaws in theatre academia followed by an examination of how fear stifles art. It concludes with a cliffhanger.
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29

Varghese, Gabriel. "Theatre's counterpublics : Palestinian theatre in the West Bank after the Oslo Accords". Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/21795.

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Since the 1990s, Palestinian theatrical activities in the West Bank have expanded exponentially. As well as local productions, Palestinian theatre-makers have presented their work to international audiences on a scale unprecedented in Palestinian history. By tracing the history of the five major theatre companies (Al-Kasaba Theatre, Ashtar Theatre, Al-Harah Theatre, The Freedom Theatre and Al-Rowwad) currently working in the West Bank, this groundbreaking project examines the role of theatre-makers in the formation of ‘abject counterpublics’. By placing theories of abjection and counterpublic formation in conversation with each other, this dissertation argues that theatre in the West Bank has been regulated by processes of social abjection and, yet, it is an important site for counterpublic formation. In this way Palestinian theatre has played an integral role in the formation of an abject counterpublic, a discursive and performative space in which theatre-makers contest Zionist discourse and Israeli state practices. What tactics, I ask, do theatre-makers use to disrupt, subvert and/or bypass the Zionist public sphere? What counter-discourse emerges from this site? How is such a counter-discourse articulated in performance spaces? And how does Palestinian theatre, in the logistical sense, work against a dominant discourse of erasure as well as continue to operate under conditions of settler-colonialism? This dissertation is the first major account of Palestinian theatre covering the last thirty years. Taking the end of the first intifada (1993) as its point of departure, and using original field research and interviews, this project fills a major gap in our knowledge of contemporary Palestinian theatre in the West Bank up to the present. The original contribution of my research to the fields of theatre studies and Palestine studies are twofold. Firstly, Reuven Snir’s Palestinian Theatre (2005) is currently the only book-length study up to the end of the first intifada. Whereas Snir’s book is limited to archival sources, my arguments rest upon original fieldwork (interviews, participant observation, performance analysis and case studies) carried out in the West Bank in 2014 and 2015. As such, it provides a richer, bottom-up analysis of theatre-making. Secondly, by introducing the term abject counterpublics and by placing the voices of theatre-makers at the centre of its enquiry, this study broadens discussions on abjection and counterpublic formation in Palestine.
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30

Shelton, Rebecca S. "Paint manager for 2008-2009 academic year and paint charge for three sisters and twelfth night". [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1241724077.

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31

Marman, Deborah Tebogo. "Empowering communities through theatre : an applied theatre model for Botswana". Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/74881/.

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My doctoral research comprises a combination of theory and practice. Its main aim is to develop forms of political theatre, with focus on the intersections between documentary theatre and theatre for development (TID). The practice interrogates the relationship between TID, documentary performance and forum theatre in the search of models of practice I can develop in a Botswana context to inform, create awareness, dispel myths and engage communities. My research is interdisciplinary focusing on themes that cut across political, geopolitical and sociological issues, as well as the concerns of applied theatre and theatre for development. My doctoral research brings together local, national and international perspectives from the UK, Kenya, Botswana, and Africa. A major part of my research was the creation of an immersive performance that engaged the audience in a shared experience that was responsive and dialectic. Hence, the practice was used to explore the potential of applied theatre for establishing platforms that enable participants' voices to be heard. Through this research, I evoke the sense of immediacy and relevance in relation to unfolding political and social events. Duration was a central key of the performance, which was 'perceived' and 'experienced' in real time and not conceptual time. Through this cross-fertilizing of the different aesthetic disciplines, I sought to establish radical experimentation through the development of a hybrid form of theatre that drew on mixed-media and installation performance. The written component of my thesis comprises an analysis of the devising and working methods used by relevant UK theatre companies who work within social and political contexts, with a particular focus on the work of Actors For Human Rights (AFHR) and Cardboard Citizens Theatre Company. These are theatre companies whose work engages with the marginalised, such as the homeless, migrants and the undocumented. AFHRs, whose work specialises in human rights issues, have been very significant in this research work. The results of this study are invested in the future as the forms will be adapted and grown further in Botswana to address social issues of national concern such as health, agriculture and economics.
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32

BOFILL, CONDOM JOSEP MARIA. "Le theatre de la these. Autoformation a travers le theatre". Paris 8, 1986. http://www.theses.fr/1987PA080170.

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Theatre representation psycodrammes mise en abyme processus itineraire errance derives voyage mise en evidence du rituel de gestation d'une these et du theatre que l'on joue en realisant la these. Recherche d'un objet de recherche. L'ici et maintenant est le debrayeur de ma recherche qui commence sans plan determine d'avance. Analyse du contexte de mon travail : le lieux, le temps, l'entourage, circonstances personnelles, mes rapports a l'institution universitaire (directeur de recherche, normes, diplome, seinaire d'analyse institutionnel), l'autoanalyse. Je montre l'influence et l'apport a la recherche du journal de recherche (converti en theatre-journal), des reves en rapport a la these, des derives, de l'analyse des brouillons et des projets abandonnes. Je mets au centre ce qui est peipherique. Je transforme en objet de recherche ce qui est a cote, le contexte. Le theatre de la these est le processus de creation de la these, la vie de la these. C'est la demarche que je fais et que j'ai fait pour elaborer la these. C'est l'observation et connaissance de mon parcours, des caracteristiques methodologiques et d'autres habitudes qui me sont propres et que j'ai decouvert par l'analyse. Il convient de comprendre le mot theatre dans ces autres sens : - theatre comme representation, jeu. J'utilise la forme theatrale (theatre, psy- chodrame) comme moyen d'expression, d'analyse, de creation, de formation. -theatre, comme lieu d'un evenement, comme scene de l'observation, de l'action, de la recherche. -theatre comme le fond de la these (la gestalt). L'environnement, le contexte de la these.
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33

Fourie, Ilse. "Towards theatre remix : a net generational perspective on theatre making". Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/13445.

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Includes bibliographical references (leaves 37-41).
My research explicates the process of remix, normally associated with digital media, and contemplates how it could be applied to live performance in order to create a 'theatre remix'. I locate my own subject position as a theatre maker within what is termed the Net Generation and regard remix as part of the Net Generation's creative expression. This paper outlines the characteristics, significance and mindset of the Net Generation to provide context for and to enable a better comprehension of remix as a creative expression for the Net Generation. Remix is regarded as a conscious process used to innovate and create through means of copy, transformation and combination. The possible cultural implications of remix are considered as a challenge to notions of originality, a larger cultural need to celebrate re-appropriation and laying claim to cultural inheritance by making use of popular culture as a source for new creative works. It is acknowledged that we live in a convergence culture (as posited by Henry Jenkins 2006), where content moves between different forms of media. For example an image, song or narrative is transferable across a range of media such as television, cinema, the Internet or theatre. A possibility to converge digital sources with live performance in order to create a 'theatre remix' lies in seeking the similarities between these seemingly different media. I contend that what could possibly be most enticing about remixing digital media with performance is that, due to performance's liveness, it offers something other remixes cannot-presence. Remixes are predominantly digital such as music, remixing clips from movies to create faux trailers for hypothetical movies and setting remixed movie clips to remixed music. Therefore they are mediated and cannot be experienced in the same way one would experience a live event.
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34

Sikhafungana, Zuko Wonderfull. "Theatre formations: Rethinking theatre and its spaces in Cape Town". University of Western Cape, 2020. http://hdl.handle.net/11394/7550.

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Magister Artium - MA
Scholarship on theatre in South Africa has shown how under the Apartheid government theatrical practices were divided into different genres such as protest theatre, township theatre, black theatre, mainstream theatre etc. In many ways theatre today presents the same fractures and polarisations: community and mainstream theatre. This study investigates ways in which black theatre artists from marginalised and disadvantaged communities with and without formal training negotiate themselves within theatre spaces in Cape Town. Discussing and analyzing the works and the trajectories of two case-studies: the Ukwanda Puppet and Design Company and the Back Stage Theatre Production Company, I attempt to demonstrate how works of arts that awkwardly sits with labels such as “community” or “mainstream” theatre are emerging more and more in the Cape Town theatre scene.
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35

Lawver, Kimberly. "SWOT Analysis of Theatre 8:15, A Children's Community Theatre". University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1336245437.

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36

Lindstrom, Frederick J. "Dogwood Dell: a repertory theatre or a theatre of proscenia". Thesis, Virginia Polytechnic Institute and State University, 1990. http://hdl.handle.net/10919/53264.

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The possibility for a design of a performance theatre to emerge from the following statements was explored and investigated. The proscenium plane is an essential structural element of the theatre: it is the heart of the theatre artistically, philosophically and physically in all of its' manifestations The building is conceived from this element, it is also made of this element. The proscenium plane is repeated and paired in a series to form the dialogue of the theatre. The proscenium, physically, is the opening or surround that separates the audience from the stage. It acts as a window or frame for the audience to view the action of the play through. A proscenium does not have to be a physical manifestation, it can be, literally, the separation between the actor and the audience. The proscenium plane is the wall, visible or invisible that separates and defines the actor and the audience. It becomes the symbolic frame for the action of the play: the audience is seated in reality, the dramatic event is not. Philosophically, the proscenium plane defines a relationship of an author to his characters, and the actor to the audience. It presents the threshold between the place of viewing and the place of narration. It becomes a portal through which the audience must go mentally and physically to comprehend the story and characters of the play. With this design, I present to both the actor and the audience a place to pass through the multiple planes of proscenia to play their respective parts in the event known as THEATRE. The design proposal takes in to consideration the chosen site's existing conditions, relationship to the topography and future potential as a performance center in the city.
Master of Architecture
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37

Madzik, Christine y Christine Madzik. "Sojourn Theatre Company: A Case Study in Community-Based Theatre". Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12372.

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This thesis examines contemporary community-based theatre processes and efficacy through a case study of Sojourn Theatre Company. Chapter II overviews Sojourn's production history and explores the company's style. Chapter III discusses the theatre-making process, from project conceptualization to performance. Chapter IV examines approaches for assessing Sojourn's efficacy. The research was based on company interviews, primary observation, archive materials, and audience reviews. The results of the study indicate that Sojourn relies heavily on audience engagement and community participation to assess its work. In addition, both a production's purpose and its target audience play a large role in determining efficacy.
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38

Al, Hinai Kamla Alwaleed. "Children’s theatre in Oman 1970- 2007: towards a developed theatre". Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41016/1/Kamla_Al_Hinai_Thesis.pdf.

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Children’s theatre exists along with other theatrical forms in the cultural life of the Sultanate of Oman. Despite the fact that Omani Children’s Theatre started its life at the beginning of the 1970s, many challenges and obstacles continue to face its ongoing development. A significant landmark in this development was the first Omani Children's Theatre Festival which took place in 2007, thirty-five years after the first Omani children’s play was produced in 1972. This festival represents a new era in the history of Omani theatre in general and the history of children’s theatre in particular. This study investigates how Children’s Theatre in the Sultanate of Oman can become a viable and valued form of art for the future. It outlines the historical background and the present situation of Omani children’s theatre and, through discussions with interviewees, defines the obstacles it presently faces and suggests ways to overcome them. The study provides a clear vision for a strong children’s theatre culture in Oman and outlines recommendations for achieving this vision. Presently, there is little written documentation about children’s theatre in Oman. This study provides the first comprehensive historical overview.
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39

Walling, Carl Harry III. "Exhibiting Scenographic Identities at the 2007 & 2011 Prague Quadrennials". Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1419006710.

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40

Schiele, Jinnie. "Post war theatre in Camden : a study of three theatre enterprises (the Bedford Theatre, the Open Space Theatre, the Round House), between 1949 and 1983". Thesis, London Metropolitan University, 1987. http://repository.londonmet.ac.uk/2943/.

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The thesis presents a study of three theatres in Camden: the Bedford Theatre, the Open Space Theatre, and the Round House. Each section contains details of the theatres' histories, their managements and their artistic achievements. The amount of detail varies according to the availability of material and in each case the emphasis is different. In all three sections particular periods have been discussed at length because they represent a significant achievement on the part of the management and artistic directors. At all times the author has stressed the importance of the repertoire which each organisation presented and casebook studies of key productions have been written to illustrate the use made of the available stage space.
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41

Oliver, Sarah Miranda Londré Felicia Hardison. "Kansas City's Community Children's Theatre a history /". Diss., UMK access, 2008.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2008.
"A thesis in theatre." Typescript. Advisor: Felicia Hardison Londreʹ Vita. Title from "catalog record" of the print edition Description based on contents viewed Sept. 12, 2008. Includes bibliographical references (leaves 118-120). Online version of the print edition.
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42

PINTO, ALUES COSTA ISABEL. "Le desir de theatre l'instinct de jeu theatral comme donnee anthropologique". Paris 3, 1997. http://www.theses.fr/1998PA030065.

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Ma reflexion s'articule autour de l'idee fondatrice que le desir/passion de theatre est chez l'homme, qu'il soit acteur, auteur ou spectateur, un instinct elementaire (max reinhardt). Cette idee eclaire toute ma recherche. Elle est le fil conducteur de ma demarche actuelle. Mon travail s'organise en deux parties. La premiere partie pose toute la problematique concernant les jeux a faire +comme si; des enfants de trois a six ans. C'est, en effet, a cet age-la qu'on peut observer la manifestation spontanee des competences theatrales des enfants. Nous observons comment les enfants trouvent/decouvrent l'objet du desir et rencontrent les formes - les jeux a faire +comme si; - pour qu'il puisse s'exprimer. Des lors nous assistons a l'enfance du theatre. Les differentes situations de jeu presentees, montrent clairement que les jeunes enfants utilisent, des l'age de trois ans, une gamme diversifiee et codifiee de procedes qui peuvent etre analyses, comme je me suis efforcee de faire, dans les termes habituels de l'analyse theatrale. Dans la deuxieme partie, j'ai essaye de comprendre la puissance de cette pulsion vers la theatralite (denis guenoun), ludique ou grave, qui a sans aucun doute anime tout un chacun dans leur enfance ou adolescence (parfois plus tard). Ainsi j'ai suivi l'enfant dans son processus qui va du desir de theatre le plus enfantin jusqu'aux marches du metier - celui d'acteur, celui d'auteur ou celui de spectateur -, et les conditions d'existence qui permettront a tout un chacun de continuer a vouloir son desir. Le desir de theatre renvoie a la vie - le theatre est une manifestation de vie - et c'est pourquoi il peut etre reprime, detourne mais non detruit. Dans ce cheminement vers l'art de vivre (pierre voltz), les enfants ont souvent besoin de la complicite des adultes. Mais, pour qu'il puisse s'etablir entre eux un systeme en miroir, il faut que les adultes retrouvent les lumieres de l'enfance (patricia attigui)
My thesis deals with the fundamental idea of teatre wish/passion for men, being actor author or spectator an elementary instinct (max reinhardt). This idea lights all my research. This is the conducting wire of my actual developing work. The thesis has two parts. The first part poses all the problemating the games - to make belive - of the three to six years children. It is in fact at this age that one may observe the spontaneous manifestations of children competencies. We may observe how children find/discover the target of yhe desire and reach the ways - the games to make belive - for it to expresses. Then we are standing by to the childood of the theatre. The different situations of the presented games clearly show that children use since three yeares old diversified and codified ranges of procedures which can be analysed like the author tried to do using the usual terms of the theatre analysis. In the second part the author tried to understand the power of this instinct towards thesatrality (denis guenot) ludricous or serious that with no doubt has lived in each of us during his/hers childhood or youth (sometimes later). So we followed children in their process since the wish of the most childish theatre up to the professional steps - actor, author or spectator - and the existence conditions permiting to each one to continue wishing his desire. The teatre desire sends back to life - theatre is a life manifestation - and that is why it may be repressed, deflected but not destroyed. On this way towards the art of living (pierre voltz) children often need the complicity of the adults. However for them to establish a mirror system among them adults must retrieve the candles of their own childood (patricia attigui)
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43

Miller, Laurie Kathleen. "Theatre of perception". Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/21591.

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44

Bacon, P. "Dryden's Heroic theatre". Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304416.

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45

McCaw, Richard Newton. "Bakhtin's other theatre". Thesis, Royal Holloway, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407668.

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46

Luther, Carola. "South African theatre". Thesis, University of Leeds, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375957.

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47

Steward, Caty. "Theatre Baton Rouge". ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/197.

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This report details an internship with Theatre Baton Rouge, where I served as Marketing and Development Coordinator. In this paper I will provide an overview of the organization’s history, programming, and outreach along with a description of my 480 hour internship. This report outlines the workings of the theatre’s operations through investigation of strengths, weaknesses, opportunities and threats, and industry best practices. This analysis will lay the groundwork for recommendations to Theatre Baton Rouge that will address leveraging the strengths, as well as use opportunities to combat the issues currently hindering the company from continued growth.
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48

Šlajs, David. "Site-specific theatre". Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79063.

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In his master thesis David Šlajs presents the five years activity of the artistic group Depresivní děti touží po penězích (Depressed children long for money), the main part of this work documents the theatre cycle staged in the Vítkov Monument in 2006, called The Nights in the Mausoleum. The diploma thesis deals with the approach of Depresivní děti to the spaces where they stage their performances, their approach to the site-specific phenomenon and particular stenographic work of David Šlajs on particular projects. On this project above mentioned project there is demonstrated the way how the realisation team incorporates the character of the place of the Mausoleum to the dramaturgy of the cycle, the stage and visual form and way how spectators were involved actively in the performances. This thesis, describing work of existing, living artistic company, opens doors to discussion about further existence of the group and various concepts of site-specific in creative work.
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49

Weller, Samantha Joanne. "The Lake Theatre". Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/53947.

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At the beginnings of this thesis, the importance was solely focused on the design of an independent multipurpose theater and the transitions between the public area and backstage. As the year and project progressed, it changed to become a realization and study of architectural experiences within a space. After choosing a site within the Snoqualmie National Forest in Seattle overlooking Lake Serene, decisions were made to design a theater that would not hinder the natural landscape but immerse the audience in it. Years of backpacking, camping, and hiking, I have personal experiences and memories of walking through the shafts of light shining through the canopies of the trees or feeling the dampness that sticks to clothes as you roam through the fog rolling off the mountains. The orientation and exterior choices were made as to not take away from an audience member's experience of the natural surroundings of the area. Blending the building within the mountain hides it from view as to not over take the landscape behind it, the bridge connects the two mountains to each other and the building itself creates an axis towards the lake. The movement through the lobby was designed as a natural progression towards the view as a canopy of timber surrounds the audience, mimicking the trees outside. How we perceive architecture is how we experience it. Creating a space that would not only flow with its natural environment but also have movement inside to assist each individual, whether it is a visitor, stagehand, technician, or performer was my end goal. Focusing my efforts on the visitor, I was able to learn the importance of moments and the simplicity of details. Taking ultimately what Juahani Pallasmaa is quoted saying that "the architectural experience calls for the senses of balance, movement, orientation, continuity, time, self, and existence."
Master of Architecture
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50

Willoughby, A. "Video Game Theatre". VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2424.

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Video games are becoming the fastest growing and most lucrative form of entertainment across the globe. The goal of this project was to take gaming to the next level; to the theatre. I have devised an original piece of theatre using the CIC’s of video gaming: Creativity, Interaction, and Community and put on a production from members of the VCU community. Aside from the project, I have detailed why video games are growing in popularity at an alarming rate and why they belong in the category of ‘Art.’ With new technology and new stories being told, the gaming industry is now an entertainment force to be counted. The project was exposed to the VCU community involving gamers from many different areas of study through theatre as our medium allowing us to convey our thoughts, emotions, and message to an audience. This experimental project is an exploration into bridging the world of gaming into the laps of an awaiting audience.
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