Thèses sur le sujet « Dramatic criticism – history »
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Li, Siu Leung, et 李小良. « Toward a theory of dramatic adaptation : with special reference to Shakespearean and Ming Qing adaptations ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1986. http://hub.hku.hk/bib/B31207352.
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Wright, Elizabeth Helena. « Virginia Woolf and the dramatic imagination ». Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.
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LaReau, Brandon. « Dramatic Themes : Active Learning and Thematic Teaching in the Theatre History Classroom ». VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5755.
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This thesis explores major texts dealing with pedagogical theory and active learning in the context of a theatre history class. By comparing a class which is taught in the traditional, chronological format relying heavily on lectures to a class taught in a newer, thematic format utilizing active learning the thesis defines what student-centered learning means. Active learning, its benefits, and its implementation are explained and explored, along with the advantages and benefits of teaching thematically instead of chronologically. All of this is applied to a theatre history class in the resulting syllabus in chapter three. The syllabus creates a curriculum which uses themes to teach theatre history, while incorporating active learning activities and assignments throughout, to the benefit of the student. Ultimately, student-centered learning and its importance are explained and demonstrated using research, observation, and creation.
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Allingham, Philip Victor. « Dramatic adaptations of the Christmas books of Charles Dickens, 1844-8 : texts and contexts ». Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28615.
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Although Dickens' familiarity with Victorian theatre has been explored with reference to his own playwrighting, amateur theatricals, style, and characterization, little work has been done on his actual
involvement with the adaptation of his works for the stage. For example, even though A Christmas Carol remains his most staged and filmed work, few critics have explored the degree of Dickens' involvement in the 'officially-sanctioned' adaptation by one of the Victorian theatre's most prolific adaptors, Edward Stirling. Dickens' letters shed some light on his involvement
in the staging of the various Christmas Books, but they do not indicate much about the adaptations
themselves.
Furthermore, neither Malcolm Morley in his series
of articles in the Dickensian nor F. Dubrez Fawcett in Dickens the Dramatist (1952) has considered the relationship between the final printed text of each novella, that of the corresponding official adaptation, and the original manuscript of the play that was submitted to the office of the Lord Chamberlain
for licensing.
While the intention of the following dissertation
is to reveal the methods employed by Dickens' stage adaptors, it occasionally reveals passages that, rejected for the final text of the novella, were retained in the drama, based as it was on early proof sheets. The most notable instance of such a phenomenon occurs in the Mark Lemon/Gilbert A'Beckett adaptation of the second of the Christmas Books, The Chimes (1844), in which Dickens seems to have modified the plot in the final stages in order to make it less controversial.
Although Dickens was not much involved in the staging of The Chimes, he appears to have worked closely with the company at the Royal Lyceum (his friends the Keeleys being both the comedic stars and managers of that theatre) and the adaptor, Albert
Smith. In the 1846 production of The Battle of Life Dickens made innovative suggestions about the staging, including the transformation scene and the use of a miniature coach advancing through the background,
climaxed by the appearance of a real carriage
on stage. Dickens' letters attest to his being the originator of these innovations; reviews in the contemporary press attest to their effectiveness.
Finally, despite their tremendous popularity in their own day, the dramatic adaptations of the Christmas Books seem to be accorded a place neither in studies of the early Victorian theatre nor in discussions of that most formative period in the literary
career of Charles Dickens, the 1840s. The Christmas Books and their theatrical progeny occupied a good deal of Dickens' time between Martin Chuzzle-wit and David Copperf ield, but only recently have the importance of the Christmas Books and the scope of Dickens' works on stage been fully recognized.
Another intention of this study is to reveal the extent of Dickens' role in the dramatisation of the Christmas Books through an examination of the texts of the sanctioned adaptations and the Christmas Books themselves. The dissertation has a two-fold structure in that it consists of a critical study of the plays and their contexts, as well as a (non-critical)
edition of Stirling's Christmas Carol and Lemon's Haunted Man, which exist only in manuscript. No previous writer on the subject of Dickens and the drama has attempted to bring together information on the adaptors, actors and actresses, theatres, play manuscripts and published texts. This dissertation provides an exhaustive study of what is known about these subjects while endeavouring to establish the extent of Dickens' involvement in the writing and staging of the officially-sanctioned plays based on the Christmas Books.
Would that Christmas lasted the whole year through, and that the prejudices and passions which deform our better nature, were never called into action among those to whom they should ever be strangers!
(Charles Dickens, Sketches By Boz, p. 210)Arts, Faculty of
English, Department of
Graduate
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Carson, Jo. « Teller Tales : Histories ». Digital Commons @ East Tennessee State University, 2007. http://amzn.com/082141753.
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Recounts the story of the Overmountain Men and the battle of King's Mountain, a tide-turning battle in the American Revolution. This title includes the stories of native Americans, settlers, explorers, and revolutionaries of early America.https://dc.etsu.edu/alumni_books/1018/thumbnail.jpg
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LAW, Ching. « 高行健之戲劇 : 理論與實踐 ». Digital Commons @ Lingnan University, 2006. https://commons.ln.edu.hk/otd/17.
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高行健的戲劇作品與理論，兼備中西文化主題（motifs），東西方劇場的手法，最適合作比較文學的範例。本文全面分析高行健的劇作與理論，從主題與形式兩方面，審度劇作中重複出現追尋自我的主題。其劇作包括《絕對信號》、《車站》、《野人》、《彼岸》、《冥城》、《逃亡》、《山海經傳奇》、《生死界》、《對話與反詰》、《夜遊神》、《周末四重奏》、《八月雪》、《叩問死亡》；五個現代折子戲包括《模仿者》、《躲雨》、《行路難》、《喀巴拉山口》、《獨白》；一個舞劇《聲聲慢變奏》共計十八部戲劇。又整理探究理論文集《對一種戲劇的追求》、《沒有主義》、以及《文學的理由》。作者的主體意識扣緊不同時期的逃亡經驗，經一番外求與內尋的過程，不斷抗衡與否定不同的「他者」。這種抗衡，固然呈現人類本質的狀態，卻缺乏主體的自主性，也展示主題的矛盾。因為無論「他者」怎樣不斷置換為集體、強權、中國、性、慾望等對象，也不能抹殺其先於主體的實存性，反倒確立了主體的依附性。所以他的主體都一貫逃避中心、集體、缺乏實質的內涵，卻又內外交困，無法安頓。這種不斷反詰的精神，又反映在劇作的「間離」的形式上。高行健以敘事、三重角色與儀式（rituals），間離觀眾與角色。雖然他追求戲劇本質，嘗試回復中國儺戲與戲曲的傳統，也緊隨現當代劇作家如布萊希特（Bertolt Brecht）、惹奈（Jean Genet），但是難以調動觀眾的直覺感知經驗，達至娛人的目的。更有甚者，因為敘事手法的視點所限，宣揚個人主義的目的，昭然若揭。他的儀式意在增強戲劇的假定性，不在於回歸中國的佛道傳統，但效果不彰。他的「表演三重論」源於中國戲曲與布萊希特，貢獻止於為表演的監控意識命名，缺乏系統落實的方法，故難以與斯坦尼斯夫斯基（Konstantin Stanislavsky）、以及格羅多夫斯基（Jerzy Grotowski）的表演系統相提並論。本文試以高行健的劇作與理論，與現當代的國際劇作家、以及劇場理論家的成就互相發明，以鑑定其戲劇地位。
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Weiss, Katherine. « Haunted by the Blitz : History, Trauma and Noel Coward’s Blithe Spirit ». Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/2257.
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Choate, Catie. « The Action to the Word, The Word to the Action : Teaching Shakespeare as Performance Litearture ». VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4234.
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This paper details a class taught in the Virginia Commonwealth Theatre Department in Fall of 2015 on the works of William Shakespeare. Within both the class and this paper, I attempted to form the beginnings of a pedagogy of Shakespearean literature that incorporated elements of literary criticism, historical context and performance theory. Dramatic literature, including Shakespeare, is a moving target, as the text is reimagine and reinterpreted on stage again and again. My goal with this paper is to examine both how dramatic literature can be taught and the special challenges present in teaching it using Shakespeare as a case study, and to explore what is particularly meaningful about Shakespeare in the classroom.
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Ben-Shach, Jane Respitz. « The false Messiah in Yiddish literature : a comparison between two dramatic works ». Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59384.
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This thesis discusses the role of the "false Messiah" in modern Yiddish Literature.The figure of the Messiah in Jewish religious imagination signifies the prophetic yearning for redemption at the end of days, but it also provoked hopes in a strong leader who will bring about social and political redemption. Based on historical models, literature from the twelfth to the twentieth century addressed these "false Messiahs" and in the modern period used them to define and illustrate contemporary catastrophe.
Shlomo Molcho by American Yiddish poet Aaron Glanz-Leyeles and Prince Reuveni by Soviet Yiddish author David Bergelson are two twentieth century poetic historic dramas based on two messianic figures of the sixteenth century. These two modern works are compared in relation to the respective authors' life and times, political and aesthetic outlook, and dramatic powers. The comparison shows the usefulness of the "false Messiah" in dramatizing and expressing difficult contemporary issues.
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Yantolo-Sotyelelwa, Betty Matase. « The portrayal of characters through dialogue and action in isiXhosa drama : dramatic and cultural perspectives ». Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/3361.
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Thesis (MA (African Languages))--University of Stellenbosch, 2005.This study aims at highlighting one of the crucial aspects of Xhosa drama: how women have been regarded by a variety of communities as being inferior to men. This stereotype pervades almost all spheres of life. The low status assigned to women find its way into literature as well. Ngewu’s drama “Yeha mfazi obulala indoda” and Taleni’s drama “Nyana nank’uNyoko” has been examined. In most Xhosa literature, women are portrayed as submissive, obedient and minor characters. The advent of Ngewu’s work changed this scenario by portraying women as independent characters. This has led to great conflict with male characteristics and this demonstrates clearly that partriarchal domination is deep rooted in Xhosa culture.
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Edelman, Charles. « The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare ». Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phe21.pdf.
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Simpson, Hope W. « The Invention and Impacts of Hell’s Atmosphere : A Study of the Influence of Sartrean Themes in Two Plays by Alfonso Sastre ». Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/168.
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In this thesis I will discuss the influence of Sartrean themes found in Jean-Paul Sartre’s plays: No Exit (Huis clos), Les Mouches (The Flies), and Dirty Hands (Les Mains sales), on the theater of Alfonso Sastre, particularly in the plays: Death Squad (Escuadra hacia la muerte), and In the Net (En la red). In No Exit, the famous quote “Hell is other people,” sets the standard for what type of discussion Sartre initiates in his theater. I will compare the historical context and the Hells that Sartre and Sastre both experienced during their time as active playwrights and how this influences the Hellish environments the two playwrights create for their characters in each of their plays. Following this study of context, I will compare the diabolical atmospheres created in the plays, how they are created and their impacts on the characters and text.
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Taghavie-Moghadam, Mariah. « A Miraculous Deliverance : An Adaptation Through Historical Criticism and Feminist Theory ». VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5740.
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This thesis attempts to reconstruct the narrative of Anne Greene, a young female servant in 1650 England that was wrongfully found guilty of infanticide and made into a spectacle by her peers as an example of what happens when one breaks societies gender norms and is met by the influence of the gender politics of the period. Her female body was objectified and placed on display by a ritual performance of the hangman’s noose and the criminal corpse to further the process of by maintaining fear among members of the population, especially rebellious women. Thus, making Anne Greene a subversive figure, victimized by a patriarchal society, a trope that remains relevant today. By way of literary adaptation, explorations of bodily practice, and engagements with the historical archive this thesis allows Anne Greene’s disembodied figure to unfold as a narrative and visual tool in history. This study and the accompanying original play text allow Anne Greene to become an essential figure to feminist studies and continuing struggles for equality in the era of the “Me too” social narrative.
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Weiss, Katherine. « The Plays of Samuel Beckett ». Digital Commons @ East Tennessee State University, 2013. http://amzn.com/140814557X.
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Beckett remains one of the most important writers of the twentieth century whose radical experimentations in form and content won him the Nobel Prize for Literature in 1969. This Critical Companion encompasses his plays for the stage, radio and television, and will be indispensable to students of his work.
Challenging and at times perplexing, Beckett's work is represented on almost every literature, theatre and Irish studies curriculum in universities in North America, Europe and Australia. Katherine Weiss' admirably clear study of his work provides the perfect companion, illuminating each play and Beckett's vision, and investigating his experiments with the body, voice and technology. It includes in-depth studies of the major works Waiting for Godot, Endgame and Krapp's Last Tape, and as with other volumes in Methuen Drama's Critical Companions series it features too a series of essays by other scholars and practitioners offering different critical perspectives on Beckett in performance that will inform students' own critical thinking. Together with a series of resources including a chronology and a list of further reading, this is ideal for all students and readers of Beckett's work.https://dc.etsu.edu/etsu_books/1072/thumbnail.jpg
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Satyo, Priscilla Nomsa. « Women in Xhosa drama : dramatic and cultural perspectives ». Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52615.
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Thesis (PhD)--University of Stellenbosch, 2001.ENGLISH ABSTRACT: This study aims at highlighting a crucial aspect of Xhosa drama: The portrayal of the role women have been forced culturally to assume in society. A selection of Xhosa plays from three periods (1958 - 1965; 1974 - 1982; and 1988 - 1997) is examined. In the process of the study, the analysis and the interpretation of these dramas as well as the depiction of women characters is examined. Authors of the ten dramas under study advocate change through the powerful forces of gender stereotypes and culture distortions. The attributes that the authors commonly ascribe to women characters are passivity, irrationality, compliancy and incorrigibility. An examination of the reasons behind this proliferation of these female stereotypes and the lack of realistic women characters is undertaken. The study posits reasons why particular stereotypes appear in the works of several authors over a period of time. The women characters are products of social conditioning, that is, ideals or counter-ideals of the prevailing values of the authors' culture. They are a symbolic fulfillment of the writers' needs. The broad cultural perspectives of the authors also shape the texts they produce. These dramas treat issues and themes, which become central to the formal and structural ordering of the drama. Such themes have an impact at times on form and structure. In each case the ideology of the class represented by authors under study is indeed reflected in the text, to its detriment. The dominating themes in the ten dramas are forced marriages and women abuse. The authors are so preoccupied with injustices against women that they distort certain cultural aspects by, for example, exaggeration. Women are constantly depicted as victims, while there are no indications in the authors' depictions of women that perceptions of their cultural role and status are in reality undergoing changes. The thesis is arranged as follows: Chapter 1 introduces the aim, the scope, the theories and the methods of the study. Chapter 2 deals with the development of plot within episodes in the dramas of the first literary period (1958 - 1965). These episodes depict the different phases of the dramas. A critical evaluation of the dramas by motivating their positive and negative aspects is undertaken. Chapter 3 deals with the development of plot within episodes in the dramas of the second literary period (1974 - 1982). As in the first literary period, a critical evaluation of the dramas by motivating their positive and negative aspects is examined. Chapter 4 deals with the development of plot within episodes in the dramas of the third literary period (1988 - 1997). A critical evaluation of the dramas by motivating their good and bad points is undertaken. Chapter 5 deals with woman as character in Xhosa dramas under study. A detailed analysis of the main woman character in each drama is undertaken. Furthermore, a critical summary of how the woman has been portrayed in the dramas is presented. Chapter 6 presents depiction of Xhosa culture in the Xhosa dramas. From each drama, certain selected aspects of culture are explored and an investigation of the portrayal of these aspects is undertaken. Chapter 7 summarizes the findings of the study.
AFRIKAANSE OPSOMMING: Die doelstelling van hierdie studie is om 'n kern aspek van Xhosa drama te belig: die rolle wat vroue kultureel gedwing is om te vervul in die gemeenskap. 'n Seleksie Xhosa dramas vanuit drie tydperke (1958 - 1965; 1974 - 1982; en 1988 - 1997) word ondersoek. In die loop van die studie, ontleding en interpretasie van hierdie dramas word die uitbeelding van vroue karakters ook ondersoek. Die skrywers van die tien dramas wat bestudeer word, betoog vir verandering deur middel van die sterk kragte van stereopites en kultureelverwronge voorstellings. Die eienskappe wat die skrywers algemeen toeskryf aan vroue karakters is passiwiteit, irrasionele optrede, gehoorsaamheid en deugsaamheid. 'n Ondersoek na die redes vir die proliferasie van hierdie vroulike stereotipes en die tekortkoming aan realistiese vroue karakters in Xhosa dramas word uitgevoer in die studie. Die studie voer redes aan waarom bepaalde stereotipes in die werk van verskeie skrywers oor 'n tydperk verskyn: hulle vrouekarakters is die produk van sosiale kondisionering, dit wil sêm ideale of teen-ideale van die heersende waardes van die skrywer se kulturele agtergrond en 'n simboliese vervulling van die skrywer se behoeftes. Die algemene kulturele perspektiewe van die skrywers beïnvloed en vorm ook die tekste wat hulle lewer. Hierdie dramas behandel naamlik vraagstukke tematies wat sentraalook bepalend is ten opsigte van die vorm en struktuur van die drama. Sodanige temas het gevolglik in bepaalde gevalle 'n invloed op die vorm en struktuur van die drama. Voorts word die ideologie van die klas verteenwoordig deur die skrywers in elke geval gereflekteer en die teks tot bepaalde nadele daarvan. Die prominente temas in die tien dramas is gedwonge huwelike en vrouemishandeling. Die skrywers is so gepre-okkupeer met die ongeregtighede teenoor vroue dat hulle bepaalde kulturele aspekte verwring deur, byvoorbeeld, buitensporige voorstellings. Vroue word voortdurend voorgestel as slagoffers, terwyl daar feitlik geen aanduidings is in die skrywer se voorstelling van vroue, dat persepsies oor hulle kulturele rol en status inderwaarheid besig is om veranderinge te ondergaan. Die proefskrif is soos volg gestruktureer: Hoofstuk 1 gee die doelstellings, omvang, teorieë en metodes wat in die studie gevolg word. Hoofstuk 2 behandel die ontwikkeling van intrige binne verskillende episodes in die dramas van die eerste literêre periode (1958 - 1965). Hierdie episodes gee 'n uitbeelding van die verskillende fases van die dramas wat in die studie ondersoek word. 'n Kritiese evaluering word van die dramas gedoen deur die positiewe en negatiewe aspekte daarvan te motiveer. Hoofstuk 3 behandel die ontwikkeling van intrige binne die episodes van die dramas van die tweede literêre periode (1974 - 1982). Soos vir die eerste literêre periode, word 'n kritiese evaluering gedoen van die dramas deur onder andere die positiewe en negatiewe literêre aspekte daarvan te motiveer. Hoofstuk 4 ondersoek die ontwikkeling van die intrige binne die episodes in die dramas van die derde literêre periode (1988 - 1997). Die kritiese evaluering van hierdie dramas sluit, soos vir die vorige periodes, 'n gemotiveerde beskouing in van die positiewe en negatiewe aspekte. Hoofstuk 5 ondersoek die vrou as karakter in die Xhosa dramas wat bestudeer word. 'n Gedetaileerde analise van die hoof-vroue karakters in elke drama word gedoen. Daarna word 'n kritiese oorsig aangebied van hoe die vrou voorgestel word in die dramas wat bestudeer is. Hoofstuk 6 bied 'n uitbeelding van Xhosa kultuur in die dramas wat ondersoek is. Bepaalde aspekte van kultuur word vir elke drama ondersoek en die uitbeelding van hierdie kultuur aspekte word behandel. Hoofstuk 7 bied 'n opsomming van die belangrikste bevindinge van die studie.
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Oxley, Natasha Emma Fortescue. « Talking taboos : the personal over the political ? : contemporary Polish playwriting : theme and dramatic technique in selected modern Polish plays ». Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:036a5a0e-aa99-40f9-b610-4a267bc1e533.
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The focus of this thesis is contemporary Polish playwriting after Poland's accession to the European Union in 2004. From a broad reading of plays by many new writers, four playwrights were selected for study on the basis of prominence and artistic merit: Pawel Demirski, Dorota Maslowska, Malgorzata Sikorska-Miszczuk and Przemys law Wojcieszek. Their plays were studied as texts and in performance, and twelve main plays became the focus of closer analysis. The thesis identifies and examines three major concurrent themes in the works of these playwrights. Remembering versus forgetting the past is discussed through the lens of selected aspects of memory studies, including Nora's lieux de mémoire, Hirsch's postmemory and Assman's mnemohistory. The playwrights are shown to share an endorsement of the de-politicisation of collective memory and to advocate a cessation of the passing down of trauma to post-war generations. The human body is highlighted as another concurrent thematic concern and is illuminated by certain tenets of Catholic doctrine as well as Merleau-Ponty's phenomenology. The playwrights' rejection of the tabooisation of the body is demonstrated and the shared notion of the body as both sentient and unifying is exemplified. Social marginalisation is examined as the final concern, with an emphasis on the notion of the 'other', particularly in relation to socio-economic status, sexuality, and religious beliefs. The plays are shown to support and promote a rejection of the myth of homogeneity in favour of openness to diversity. Major dramatic techniques are then closely examined. It is demonstrated that the plays share traits with Lehmann's theory of postdramatic theatre, including a rejection of Aristotelian unities. Key commonalities are evidenced, particularly comedy, bad language, intertextualities with the outside world, and an engagement with Polish social realities. The playwrights' approach to the spectator as a socio-political being is shown to be of paramount importance.
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Rogers, Jami. « Shakespeare and the thirties : representations of the past in contemporary performance ». Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/2855/.
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This thesis examines the performance history of Shakespeare focusing on those productions performed as a period analogue of the nineteen-thirties. It engages with the material in two ways. It first attempts to locate influences that have led to the development of this style of performance, finding correlations with both theatrical and televisual drama. It then examines the productions as performed, focusing on the construction of scenography and actor performances. Throughout the analysis, this thesis engages with shifts in the representation of the historical past on both stage and screen.
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Marcus, Reker Katherine B. « "Can We Do A Happy Musical Next Time?" : Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown : The Musical ». Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/876.
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This thesis proposes a critical study of the theoretical framework of Urinetown, asking the question of whether or not the show is truly a “Brechtian musical,” utilizing the tenets and beliefs of Bertolt Brecht. Set in a quirky, Gotham-like town where you have “to pay to pee” due to a severe drought, Urinetown follows a cast of absurdist characters as they navigate a society plagued by the perils of big business, ecological devastation, and the inequalities of capitalism. While the show appears to make a relevant social commentary, supporting a righteous rebellion to overthrow the evil Urine Good Company, in the end, by proving that revolution does not always succeed, writers, Kotis and Hollman invalidate these commentaries, proving that despite its Brechtian appearance, the show in its textual form is much more simply a comedic parody. However, Pomona College’s production, in which I played Hope Cladwell, takes on a much more severe tone, creating legitimate commentary by replacing many of the comedic, two-dimensional characters with living breathing, realities. In a text traditionally lacking authenticity, I approached Hope Cladwell with the intention of finding strength and satire in an otherwise vapid character.
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Benson, Fiona. « The Ophelia versions : representations of a dramatic type, 1600-1633 ». Thesis, St Andrews, 2008. http://hdl.handle.net/10023/478.
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Givens, Emma. « A Dull Soldier and a Keen Guest : Stumbling Through The Falstaffiad One Drink at a Time ». VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4826.
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Theatre history has long interwoven with the production, consumption, and peddling of alcohol. While the seedier aspects of our past generally go unremembered, we can find traces of them in the culture of the times. If we read Shakespeare through the lens of drinking culture, what can we discover about the play and what can that tell us about how to produce his works today? By looking at the rules and customs surrounding alehouses during the English Renaissance I have analyzed the three plays contained within the Falstaffiad (1 Henry IV, 2 Henry IV, and Merry Wives of Windsor).
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Griffith, Mary Peyton. « Power and Relationships in the Plays of Neil LaBute : Directing and Performing in Some Girl(s) ». Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/112.
Texte intégralRésumé :
This thesis explores the major works of Neil LaBute's career as a playwright and screenwriter, including the criticism he has received on theatrical and literary levels. The themes most prevalent in the thesis are the use of power and manipulation in the relationships between LaBute's characters and the ongoing maturation of his characters that coincides with the maturation of his work. The second section of the thesis follows the production, directing, and acting in LaBute's play Some Girl(s).
22
Goodall, Harrison M. III. « The Choreopolitics of Liberation and Decolonization ». Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/pomona_theses/160.
Texte intégralRésumé :
This thesis examines dance as a means of social and political revolt in the AIDS epidemic. The course of the AIDS epidemic within the United States was inexorably shaped by the way dancers and choreographers used their art form to rebel against concepts of masculinity, sexuality and disease transmission. Through confronting their audiences with the reality of their loss and humanizing themselves and their loved ones that passed away, dancers were able to change the image of the epidemic and push for necessary political and social reform. This paper also analyzes the ways that norms of masculinity and the stigma of effeminacy in modern society developed, through tracing the development and disappearance of the male dancers on stages across the world. This examination explores the connection between dance and queerness, as well as effeminacy and sexuality, and calls into question the ways in which our bodies and movements are colonized. These were concepts that were all explored during the AIDS epidemic as well as dance and social revolutions through out the earlier part of the 20th century.
23
Lane, Michelle I. « "Why do hurt people hurt people?" A SERIES OF CASE STUDIES EXPLORING ABUSIVE RELATIONSHIPS IN DRAMATIC TEXTS AND ONSTAGE WITH TONI KOCHENSPARGER'S MILKWHITE ». Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492704228702652.
Texte intégral
24
Little, Julianna. « “Frailty, thy name is woman” : Depictions of Female Madness ». VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3709.
Texte intégralRésumé :
Concepts of mental health and normality cannot be understood apart from cultural norms and values. The most significant of cultural constructions that shape our view of madness is gender. Madness has been perceived for centuries metaphorically and symbolically as a feminine illness and continues to be gendered into the twenty-first century. Works of art and literature and psychiatric medicine influence each other as well as our understanding and perception of mental illness. Throughout history, images of mental illness in women send the message that women are weak, dangerous, and require containment. What are the cultural links between femininity and insanity, and how are they represented? Through the lenses of disciplines such as theatre criticism, feminist theory, and psychiatry, this thesis examines the history of madness as a gendered concept and its depictions in art and literature. Additionally, it will explore the representation of female madness in contemporary dramatic literature as compared to the medical model used during the era in which it was written as well as the social and cultural conditions and expectations of the period. The three plays under consideration are: Long Day’s Journey Into Night, written in 1941 by Eugene O’Neill; Fefu and Her Friends, written in 1977 by Maria Irene Fornés; and
Next to Normal, produced on Broadway in its current form in 2009 and written and scored by Brian Yorkey and Tom Kitts. None of these plays tell a tidy story with a straightforward ending. In none do treatment facilities offer refuge or health professionals offer answers. Struggling characters resort to drug abuse, fall prey to internalization, or leave treatment all together, having been subjected to enough victimization. The relationship between patient and physician is depicted to be, at best, ambivalent. The themes in these plays illuminate women’s mental illness as an extensive problem with many contributing factors, and the origins of which are quite complex.
25
Watt, Linda Ann. « One-Third of a Nation, the Second Amendment, a Living Newspaper Play ». VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5704.
Texte intégralRésumé :
One-Third of a Nation, the Second Amendment, a Living Newspaper Play
Thesis By Linda Ann Watt for a MFA Degree in Theatre Pedagogy
Documentary theatre, including living newspapers and verbatim theatre, use socio-political commentary at critical moments in history to disseminate facts and offer ideological critique dramatizing the crisis through the lens of emotion, which can incite societal change. This thesis explores this didactic medium with a written play about the second Amendment and gun violence.
26
Dotson, Jessica N. « INTERDISCIPLINARY CONNECTIONS BETWEEN SCIENCE & ; THEATRE ». VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3725.
Texte intégralRésumé :
Abstract
INTERDISCIPLINARY CONNECTIONS BETWEEN SCIENCE & THEATRE
Jessica Nicole Dotson
A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University.
Virginia Commonwealth University, 2015.
Major Director: Dr. Noreen C. Barnes, Director of Graduate Studies, Associate Professor of Theatre
In the 1990s, astronomer Peter Usher was searching for new ways to teach his introductory astronomy class at Pennsylvania State University. He began to engage his students by searching for astronomical connections from other disciplines. His focus was turned to the arts, especially the works of William Shakespeare. Usher found, while searching through the canon of Shakespeare's work, astronomical references that explored the “new astronomy” of the Elizabethan age (Falk 171). This thesis will explore the writings of Usher, in regard to the astronomy of Hamlet, along with the interdisciplinary connections between art and science in and outside the classroom and museum theatre. From interdisciplinary classroom methods, to arts and scientists collaborating together for the betterment of man-kind, the use of theatre is a way of rediscovering the humanity of human history. The collaboration between the disciplines serves as one of theatre's greatest purposes, to educate and represent a living history of man.
27
Montecillo, Victoria. « The Naïve Ingénue, The Plucky Everyman's Hero, and the Ingénue Gone Awry : The Satirical Deconstruction of Theatrical Character Tropes in Urinetown : The Musical ». Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/868.
Texte intégralRésumé :
This thesis looks to explore Urinetown: The Musical through a critical and theoretical framework, analyzing the show's presentation and deconstruction of theatrical character tropes through musical satire. Using the theories of theatre theorists such as Bertolt Brecht, Peter Brook, and Augusto Boal, this thesis discusses the use of theatre as a device for political and social commentary. Additionally, this thesis focuses more specifically on the show's character of Penelope Pennywise as a new kind of character in the theatre: an "ingénue gone awry," within the context of approaching a performance of the character in a performance of the musical.
28
韋明月. « 當代澳門民眾戲劇先行者 : 周樹利 = The forerunner of contemporary Macau community theatre : Chow Shui Lee ». Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2101715.
Texte intégral
29
Pukszta, Claire A. « Myrrha Now : Reimagining Classic Myth and Mary Zimmerman's Metamorphoses in the #metoo Era ». Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1374.
Texte intégralRésumé :
This paper represents the final culmination of a theater senior project. The project consisted of an analytical research paper, performance in a mainstage department production, and supporting process documentation. I portrayed Myrrha, Hunger, Zeus, and others in a production of the play Metamorphoses.
Through research on Mary Zimmerman’s 1998 play Metamorphoses, adapted from the works of Roman poet Ovid, this thesis grapples with the historical meaning of the myth of Myrrha. A polarizing figure, Myrrha was cursed to fall in lust with her father. By exploring of portrayals sexual assault onstage, I tackle themes of audience relationships to trauma and taboo subjects. I seek to understand the importance of her story in a modern context, specifically considering the #metoo movement and increasingly public discussions around sexual violence, rape culture, and systematic oppression. I stress our responsibility to understand how codifying stories on stage impacts audiences.
This project also contains my conceptualization for the characters I portrayed in Metamorphoses, my rehearsal journal, and post-show reflections. In these sections, I detail the acting theory behind my characters as well as the steps we took to adapt Metamorphoses for our community.
30
« 台灣布袋戲 : 北管聲部音樂的硏究 ». 李麗虹], 1996. http://library.cuhk.edu.hk/record=b5895690.
Texte intégralRésumé :
李麗虹.論文(碩士) -- 香港中文大學硏究院音樂學部, 1996.
參考文献 : leaves 131-137.
Li Lihong.
Chapter 第一章 --- 前言 --- p.6-12
Chapter 第一節 --- 硏究地區之選擇
Chapter 第二節 --- 過去及當前之硏究
Chapter 第三節 --- 硏究目標
Chapter 第四節 --- 資料來源
Chapter 第二章 --- 台灣布袋戲的源流、發展及布袋戲名稱的由來 --- p.13-28
Chapter 第一節 --- 布袋戲名稱的由來
Chapter 第二節 --- 台灣布袋戲的源流及發展
Chapter 第三章 --- 布袋戲班的構成因素及《小西園》布袋戲班的介紹 --- p.29-49
Chapter 第一節 --- 布袋戲班的構成因素
Chapter 第二節 --- 小西園布袋戲班建團歷史及內部組織的硏究
Chapter 第四章 --- 布袋戲音樂在台灣的發展、演變及北管音樂的使用 --- p.50-72
Chapter 第一節 --- 布袋戲音樂的發展與演變
Chapter 第二節 --- 北管的範圍與分類
Chapter 第三節 --- 北管的演出形式
Chapter 第四節 --- 布袋戲伴奏的樂器
Chapter 第五章 --- 布袋戲北管聲部音樂的分析 --- p.73-104
Chapter 第一節 --- 艾倫´Ø洛馬克斯，歌唱測定體系（Alan Lomax Cantometrics)方法的說明
Chapter 第二節 --- 十首歌曲的分析硏究
Chapter 第三節 --- 十首歌曲聲響效果的總結
Chapter 第六章 --- 結論 --- p.105-107
附錄一 譜例 --- p.108-119
附錄二圖片說明 --- p.120-130
參考書目 --- p.131-138
31
« The environment of Hong Kong theatrical performance : foreign dramatic texts in local performance ». 2008. http://library.cuhk.edu.hk/record=b5893535.
Texte intégralRésumé :
Shaw, Yomei.Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 146-152).
Abstracts in English and Chinese.
Chapter Introduction: --- Definitions and Dimensions of Key Issues --- p.5-14
Chapter Chapter One: --- An Analytical Review of Translated Drama in Hong Kong --- p.15-26
Chapter Chapter Two: --- Authenticity and Text-based Theatre in Hong Kong --- p.27-78
Chapter Chapter Three: --- The Global Stage: the Performance of Other Modernities --- p.79-104
Chapter Chapter Four: --- Code-switching in Performance Contexts --- p.105-38
Chapter Conclusion: --- "Adaptation, Transformation and Future Directions" --- p.139-45
Bibliography --- p.146-51
Appendix I --- p.152-54
Appendix II --- p.155-72
32
Von, Hoff Bonnie E. « Vocal health and repertoire for the dramatic mezzo-soprano : a suggested course of study ». 2013. http://liblink.bsu.edu/uhtbin/catkey/1709343.
Texte intégralRésumé :
Vocal Health and Repertoire for the Dramatic Mezzo-Soprano: A Suggested Course of Study brings together the fields of vocal pedagogy and performance. This curriculum guide focuses on repertoire for the Dramatic Mezzo-Soprano, ages 18-30. The guide includes selections from the genres of art song (beginning, intermediate, and advanced levels), opera and oratorio arias, concert works, and song cycles. Selected art songs and arias are presented from a vocal health perspective, using McKinney’s eight principles of Good Vocal Sound. In addition, the Comprehensive Musicianship through Performance model is integrated via the identification of a focus skill for each song or aria.
This suggested course of study emphasizes proper vocal technique and offers suggestions when studying and singing the larger works of the Dramatic Mezzo-Soprano repertoire. These suggestions include recommendations gleaned from interviews with well-known mezzo-sopranos Mignon Dunn and Dolora Zajick concerning their opinions regarding repertoire, vocal health, and appropriate song and aria assignments for the Dramatic Mezzo-Soprano. The guide also includes insights into training methods for today’s young dramatic voices based on observations of The Institute for Young Dramatic Voices.
Key outcomes and implications are that Dramatic Mezzo-Sopranos must take the time to develop their voices before singing the more advanced arias of the standard repertoire, such as those by Verdi and Wagner, and this can be done through the study of art song. Further, Dramatic Mezzo-Sopranos must be strong technically in their approach to singing to help ensure vocal health and to avoid excessive strain on the vocal folds at all times. Dramatic Mezzo-Sopranos must also have strong skills in musicianship and performance in order to meet the demands of the repertoire for this voice type. The information presented in this curriculum guide will assist both voice teachers and performers in the teaching and singing of repertoire for the Dramatic Mezzo-Soprano.Review of literature -- Design and method -- Mignon Dunn, Dolora Zajick and the Institute for Young Dramatic Voices -- Curriculum guide -- Summary and recommendations.
School of Music
33
Hedley, Jocelyn School of English Media & Performing Arts UNSW. « The unpublished plays of Miles Franklin ». 2007. http://handle.unsw.edu.au/1959.4/40895.
Texte intégralRésumé :
With the publication of her novel, My Brilliant Career, in 1901, Miles Franklin became the darling of the Sydney literati. Great things were expected of the little girl from the bush. But five years later, nothing had eventuated; her talent, Miles thought, was barely recognised in Australia. In the hope of gaining greater writing opportunities, she shipped to Chicago where she became involved in social reform. It was hard work and ill paid, and though she bewailed the fact that it sapped her writing energy, she nonetheless felt a commitment to the cause such that she remained for almost a decade. In her spare time, though, she continued to write -- and not just prose. More and more she wrote for the theatre, attempting to push into a world of which she had always dreamed. Blessed with a beautiful singing voice, she had long desired to be on the stage. This was impossible, though; her voice, she believed, had been ruined by bad training in her youth. To write for the stage, then, though a poor substitute, was at least in the field of her original ideal. Miles' plays, though, are not remembered today, and are little thought of in scholarship, are considered, in fact, to have failed. This gives the false impression that they were always little thought of. Her correspondence, however, reveals that at least five of the plays were produced, indicating a certain level of success. Miles Franklin's theatrical work, then, is surely worthy of further examination. This thesis looks at five of the plays in the light of Miles' life and in the light of the society in which she found herself. In turn, it uses the plays to reveal something of the nature of the playwright herself and to show that Miles Franklin's theatrical writing did not fail as once thought. In addition, it provides a complete bibliography of the plays (inclusive of locations), lists the duplications as they appear under alternate titles and provides synopses of a large number. This will make up for a gap in Miles Franklin scholarship and will facilitate other scholars in accessing the plays. This thesis, then, is an introduction to a new facet of Miles Franklin scholarship.
34
Edelman, Charles. « The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare / Charles Edelman ». Thesis, 1988. http://hdl.handle.net/2440/18714.
Texte intégral
35
Mamdoohi, Nikoo. « Adapting for a New Audience : Ta'zieh-Between Two Rivers ». 2018. https://scholarworks.umass.edu/masters_theses_2/732.
Texte intégralRésumé :
This thesis is the written portion of my experience as a director, staging an adaptation of the traditional Iranian theater form, Ta’zieh, for my thesis project. I start with a brief description of our adapted performance, followed by the inspirations that led to the creation of the piece. I then trace the evolution of the idea from the initial stage to the final performance. I describe the adaptation process in three sections, the story, form, and practice. In each section, in a comparative manner, I write about the ways in which Ta’zieh is traditionally done and elaborate on our decisions while adapting it for a new audience. I explain the challenges of adapting and directing the play outside of its original context and discuss how I worked on making this performance an intercultural experience. I conclude to write how I think these artistic cultural exchanges can connect us between countries and cultures, shed a light on our shared struggles and hopes, and lead us to connect on deeper levels of understanding.
36
Bopape, M. L. (Malekutu Levy). « Northern Sotho historical dramas : a historical-biographical analysis ». Thesis, 1998. http://hdl.handle.net/10500/15524.
Texte intégralRésumé :
The main aim of the study is to make a historical-biographical analysis of four selected
Northern Sotho dramatic texts. Chapter one illustrates that the texts we have selected
are historical dramas since they deal with the life histories of historical characters. In
order to comprehend these texts, it is important to view them as evidence of oral history.
The chapter also discusses the approach used by Fleischman which consists of the
following parameters: authenticity, intention, reception, social function, narrative syntax
and finally narrator involvement.
Chapter two discusses the play Marangrang as a reflection of the consequences of
Shaka's imperialism and how this affected the Eastern Transvaal in 1820. The chapter
illustrates that in order to understand the life history of Marangrang, it is important to
discuss it in relation to this period, popularly known as difaqane. It is clear that
information about Marangrang has been deliberately distorted because of fear.
Chapter three deals with the destructive consequences of Western religion on the
traditional African religion. The chapter is based on the life history of Kgasane, who was
murdered in 1884, allegedly for his devotion to Christianity. The chapter shows the
importance of the need to make a re-interpretation of missionary writings, specifically
those surrounding the Berlin Mission Society in South Africa.
Chapter four focuses on the role of formal education in the destruction of the Bakgaga
ba GaMphahlele history. The chapter is based on the life history of Kgosi Mmutle Ill in
bringing formal education to the people of Mphahlele and how this destroyed certain
traditional institutions such as chieftainship.
Chapter five deals with the problems experienced by mineworkers and also shows the
sufferings of Africans at the hands of the government. The chapter is based on the life
of Serogole Mathobela, who once worked in the mine.
Chapter six is a conclusion where the findings of the previous chapters are made. The
reasons why the authors of these texts suspended certain information while highlighting
other information varies from fear to propaganda. In conclusion, it is observed that in
order to do justice to oral history more financial support is needed.African Languages
D.Litt. et Phil. (African Languages)
37
Van, de Ruit John. « On the inside writing out : the dramatic represention of the private boys' boarding school on the South African stage ». Thesis, 2001. http://hdl.handle.net/10413/9050.
Texte intégralRésumé :
This dissertation sets out to analyze the manner in which the writers of dramatic fiction
deconstruct the mythology and ideology of the private boys' boarding school in their
work. It also seeks to interrogate the sociological and philosophical notions that underpin
this fictional work. The central thrust of this dissertation is to explore the representation
of the private boys' boarding school experience on the South African stage, with
particular reference to writers whose work reflects their personal experiences within such
institutions.
Private boys' boarding schools promote the ideology that they provide a superior
education based on liberal and democratic principles. These institutions supposedly
oversee the development of the individual's mental, physical, spiritual, cultural and social
education. The projected ideology of the private boys' boarding schools has become
entrenched and has manifested itself as a pervasive mythology, which glorifies and
glamourises the social reality of such institutions.
This mythology is challenged and refuted by the appropriation of various sociological,
and philosophical theorists, including: traditional Marxist critiques such as the theories of
Samuel Bowles and Herbert Gintis (1976); structuralist theories such as those proposed
by Louis Althusser (1971) and Antonio Gramsci (1971), whose notions of hegemony
carry much relevance when considering private boys' boarding schools; and finally,
Michel Foucault's (1977) theories of power and power hierarchies (Lotringer, 1989;
Smart, 1985).
Since South Africa's democratization in 1994, a number of fictional works have emerged
that have engaged with the social reality of private boys' boarding schools. Most
notably, two plays, Anthony Akerman's Old Boys (2000) and John van de Ruit's War
Cry (1999), have highlighted issues surrounding private boys' boarding schools in South
Africa. Together with a variety of texts written for different media these works have
formed a critical base that, to some degree, has undermined the supremely positive
resonance of the entrenched private school mythology, and in so doing, challenge the
projected ideology. This dissertation's prime focus is on South African private boys'
boarding schools; however, it also includes texts that articulate the social reality of
private education in England and America. These texts are relevant firstly because the
South African private schools are modeled very closely on the English public school
system and secondly, because their inclusion adds weight and variety to the discussion.
Important areas of study within this dissertation will be the interpretation of the various
thematic concerns raised, and character constructions created by the various writers. This
will be underpinned by the theoretical framework, which analyzes systems of power and
power hierarchies, and the notion of hegemonic masculinity. Finally, the private boys'
boarding school will be examined as a site for hegemonic struggle where power and
privilege are continually contested in a relationship characterized by coercion and
consent. The critical discourse of the fictional texts and its theoretical underpinning will
be placed in opposition to the elitist mythology of the private boys' boarding school and
the ideology that these institutions espouse.Thesis (M.A.)-University of Natal, Durban, 2001.
38
Bhatti, Manjit Singh. « A Study of the Social and Political Implication of Friedrich Schlegel’s ‘Comedy of Freude’ ». 2009. http://trace.tennessee.edu/utk_gradthes/510.
Texte intégralRésumé :
Generally speaking, scholarship in the field of Germanistik has taken an interest in Friedrich Schlegel’s early publication, “Vom aesthetischen Werte der griechischen Komoedie” (1794), either because of its perceived influence on German Romantic Comedy [(Catholy 1982), (Kluge 1980), (Holl 1923), (Japp 1999)], or else because of its relevance as an example of Schlegel's still inchoate aesthetic philosophy [(Dierkes 1980), (Behrens 1984), (Schanze 1966), (Michel 1982), (Dannenberg 1993), (Mennemeier 1971)]. As a theory of comedy in its own right, Schlegel’s essay has garnered little attention, in part because of its supposed inapplicability to comedic praxis and at times utopian implications, in part because of its seemingly contradictory argument, and lastly in part because Schlegel himself abandoned the essay’s central premise soon after its publication. However, it is the central argument of the present study that Schlegel’s essay can be shown to be interesting and relevant precisely for the theory of comedy it contains. Through a close reading of Schlegel’s essay on Old Greek Comedy, as well as an examination of Schlegel’s early political and aesthetic beliefs, which will help render Schlegel’s theory more intelligible, it will be shown that Schlegel’s theory of comedy is novel in so far as it is one of the first aesthetic theories to claim that comedic practice is necessarily deprived of aesthetic validity unless it exists in a social atmosphere of freedom of expression, namely, such as that of the Athenians. The implication is that Schlegel here predicates an aesthetic theory upon one of society. Schlegel’s theory is also interesting for the peculiar type of comedy it advocates, namely a joyous comedy (Comedy of ‘Freude’), which stands in direct opposition to the ‘Satirische Verlachskomoedie’ of the Enlightenment and makes use of a comedic mechanism (joy) that is anathema to traditional negative comedic elements (satire, derision, mockery etc.). The conclusion discusses what the relevance and value of these implications might be for future research.
39
Pellegrini, Christina. « On the Contrary : Subverting the Canon with Ibsen's Hedda Gabler ». 2017. https://scholarworks.umass.edu/masters_theses_2/530.
Texte intégralRésumé :
This written portion of my thesis is aimed at documenting and synthesizing how I, as director, staged an adaptation of Henrik Ibsen’s Hedda Gabler through ongoing collaboration with a creative team comprised of dramaturges, designers, and actors.
I walk the reader through my exploration of Ibsen’s life and work through travel to the International Ibsen Festival in Oslo, Norway, and describe how I endeavored to lead the production’s creative team by applying feminist theories in directing and embracing the possibility of failure as a means of discovery. I discuss the casting process and establishment of an all-women ensemble, explore the major themes I identified in the play, and reflect on how the creative team strove to subvert the societal expectation of a historical production rooted in realism through designs and artistic choices inspired by the western canon’s ongoing grasp on contemporary theater programming.
40
Lunga, Majahana John Chonsi. « A critical analysis of Wole Soyinka as a dramatist, with special reference to his engagement in contemporary issues ». Diss., 1994. http://hdl.handle.net/10500/17262.
Texte intégralRésumé :
This dissertation is mainly on Wole Soyinka as a dramatist. It aims to show that
Soyinka, far from being an irrelevant artist as some of his fiercest critics have
alleged, is a deeply committed writer whose works are characterised by a strong
sense of concern with basic human values of right and wrong, good and evil.
Furthermore, the dissertation shows that although Soyinka is not an admirer of
Marxist aesthetics, he is certainly not in the art-for-art's-sake camp either,
I
because he is fully aware of the utilitarian value of literature. Soyinka's works are
much influenced by his social and historical background, and the dissertation shows
that Soyinka's socio-political awareness pervades all these works, although it will
be seen that in the later plays there is a sharpened political awareness. Although
largely concerned with his own country's issues, Soyinka also emerges as a keen
observer of humanity universallyEnglish Studies
M.A. (English)
41
Brew, Sarah A. « "Speak to me in vernacular, doctor" : Translating and Adapting Tirso de Molina's El Amor Médico for the Stage ». 2012. https://scholarworks.umass.edu/theses/806.
Texte intégralRésumé :
Considered one of the greatest playwrights of the Spanish Golden Age, Tirso de Molina (1580?-1648) lived something of a double life, alternating—much like the characters in his plays—between two separate and often conflicting lives. Though Tirso, whose real name was Gabriel Téllez, spent the greater portion of his life in the church as a Mercedarian friar, his dramatic output as a playwright was prodigious in scope. Fewer than 90 of his plays survive today, and only a handful have been translated into English. This M.F.A. thesis therefore presents the first-ever English-language translation and adaptation of one of Tirso’s plays, El amor médico, translated as Love the Doctor. The translation/adaptation is preceded by an introduction, as well as by chapters contextualizing the play in the writing of Tirso, the comedia, and the world of seventeenth-century medicine and cross-dressing. The thesis concludes by examining both the translational strategies and artistic choices made at various stages in the process of translating and adapting Tirso’s circa 1621 comedia
.
42
Brooks, Amy. « Cat on a Hot Tin Roof : 60 Years of American Dialogue on Sex, Gender, and the Nuclear Family ». 2016. https://scholarworks.umass.edu/masters_theses_2/316.
Texte intégralRésumé :
This thesis is a two-part work. Its components, a written paper and a one-night symposium/film screening event entitled Tennessee Williams: Gender Play in 2015 and Beyond, have been closely coordinated with my dramaturgical research for the February 2015 University of Massachusetts Amherst Department of Theater production of Cat on a Hot Tin Roof. The written inquiry is structured around a chronological, selected American production history of Cat; this history, rendered in a series of three case studies, will (1) synthesize preexisting analyses of Cat’s dramaturgical profile, its impact on American theater, and its position in Williams’s oeuvre; and (2) examine the interplay between this body of scholarship’s primary foci (e.g., gender, sexual identity, and family dysfunction) and the evolving cultural climate in which its subject, Cat, is perennially reinterpreted and restaged. In other words, my thesis reframes Cat as a series of inherently American—and potentially unanswerable—questions posed by Williams to his viewers; it then investigates the artistic and critical responses generated by sixty years of public engagement, or “dialogue,” with those questions. Ultimately, each case study will illustrate my central premise: that the value of Cat on a Hot Tin Roof lies in its ability to resonate, both in production design and reception, with the social, sexual, and domestic challenges of the period in which it is produced.
43
Miller, Mary-Corinne. « Interpreting Dreams : Directing an Immersive Adaptation of Strindberg's A Dream Play ». 2018. https://scholarworks.umass.edu/masters_theses_2/730.
Texte intégralRésumé :
This written portion of my thesis documents how I, as director, conceptualized, devised and staged an immersive adaptation of August Strindberg’s A Dream Play, with the support of a large team of collaborators including: assistant directors, dramaturgs, designers, stage managers, and actors. In this document I attempt to synthesize the discoveries I made in this process regarding the challenges and experience of directing immersive theater, including the importance of giving up directorial control and relying on my collaborators as partners in the creation of the production.
I begin with an introduction to the research I conducted into the field of immersive theater as well as my research on the work of August Strindberg, with a specific emphasis on the themes and context of A Dream Play. I then describe how I led my creative team through the process of designing a devised immersive theater production by encouraging open communication and fostering an atmosphere of trust. I also discuss the casting process and my efforts to establish an autonomous ensemble by allowing the actors to choose their own parts, write their own scripts, and devise their own scenes. I reflect on how I navigated the unpredictable nature of immersive theater, through a careful balance between detailed planning and free exploration, all the while embracing the possibility of failure as an expected part of the process. Finally, I attempt to assess the success of the production through examination of the impact it had on its audiences based on my own personal observations, as well as feedback collected through formal methods of survey.
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Bowie, Alison Jane. « We Are French. Et Anglais Nous Restons ». 2014. https://scholarworks.umass.edu/masters_theses_2/4.
Texte intégralRésumé :
French Canadian playwright Joseph Armand Leclaire (1888-1931) was very well known and respected in his time. Although he wrote over thirty plays, lyrics to several songs and an abundance of political poems, most of his work has been lost and Leclaire himself seems to have been forgotten. Several of his plays were produced at the time they were written, including his 1916 play La petite maîtresse de l'école (later published in 1929 as Le petit maître d'école), but none have been presented postumously nor have any been translated. This M. F. A. thesis presents the first ever translation and adpatation of Leclaire's play, titled in English as The Little Schoolmaster. The first half of the thesis provide historical context for the play's significance, as well as information about Armand Leclaire and the changes he made to his own work between the original 1916 version and the 1929 published version. The thesis then analyses the creative acts of translation and adaptation, proposing a new model of translation for a linguistically rich audience. Through this new model of translation-adaptation for a bilingual spectrum, the thesis concludes by demonstrating that dramaturgy can serve as a dynamic instrument for communities to engage in the exploration of bilingual and bicultural identity.
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Maungedzo, Avhurengwi Edward. « The detective story in Venda : an analysis with special reference to Bono la mboni and Nwana wa mme anga ». Thesis, 1999. http://hdl.handle.net/10500/23246.
Texte intégralRésumé :
Summary in EnglishThe purpose of this research is to make a literary appreciation of the detective story in Tshivenda. Chapter 1 is the introductory chapter which discusses the aim of study, the definition of detective story, methodology, detective noels in Tshivenda, background information regarding the authors, summaries regarding selected novels and the scope of research. Chapter 2 is devoted to the plot structure of the two detective novels, and outlines the diegetic and meta-diegetic stories. The elements of mystery and dramatic irony are also discussed. Chapter 3 concentrates mainly on the setting of the two selected detective novels and its influence on the crimes committed, the lives of the characters and the tools that are used. Chapter 4 deals with the depiction of the victims, suspects and detectives in the selected detective stories. Chapter 5 concludes the study and summarises the main findings of the appraisal.
African Languages
M. A. (African Languages)
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Tsambo, T. L. (Theriso Louisa). « The theme of protest and its expression in S. F. Motlhake's poetry ». Diss., 1999. http://hdl.handle.net/10500/16225.
Texte intégralRésumé :
In the Apartheid South Africa, repression and the heightening of the Blacks' struggle
for political emancipation, prompted artists to challenge the system through their
music, oral poetry and writing. Most produced works of protest in English to reach a
wider audience. This led to the general misconception that literatures in the
indigenous languages of South Africa were insensitive to the issues of those times.
This study seeks firstly to put to rest such misconception by proving that there is
Commitment in these literatures as exemplified in the poetry of S.F. Motlhake.
Motlhake not only expresses protest against the political system of the time, but also
questions some religious and socio-cultural practices and institutions among his
people. The study also examines his selected works as genuine poetry, which does not
sacrifice art on the altar of propaganda.African Languages
M.A. (African Languages)
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Hollows, Emma. « Kofifi/Covfefe : How the Costumes of "Sophiatown" Bring 1950s South Africa to Western Massachusetts in 2020 ». 2020. https://scholarworks.umass.edu/masters_theses_2/933.
Texte intégralRésumé :
This thesis paper reflects upon the costume design process taken by Emma Hollows to produce a realist production of the Junction Avenue Theatre Company’s musical Sophiatown at the Augusta Savage Gallery at the University of Massachusetts in May 2020. Sophiatown follows a household forcibly removed from their homes by the Native Resettlement Act of 1954 amid apartheid in South Africa. The paper discusses her attempts as a costume designer to strike a balance between replicating history and making artistic changes for theatre, while always striving to create believable characters.