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Tesi sul tema "European theatre"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

Salazar-Sutil, Nicolas. "Theatres of the Surd : a study of mathematical influences in European avant-garde theatre." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/4754/.

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This doctoral dissertation deals with the somewhat neglected relationship between mathematics and theatre. Specifically, the focus of this study is the penetration of modern mathematical thinking into European avant-garde theatre during the late 19th and early 20th century, particularly as regards the revolutionary experiments on scenic space and dramatic logic that occurred at the time. I will argue that modern European theatre underwent a period of crisis, whereby a number of avant-garde practitioners renounced the axioms of traditional theatre, particularly in relationship to the rule of mi

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2

Bucciarelli, Melania. "Italian opera and European theatre, 1680-1720 : plots, performers, dramaturgies." Thesis, King's College London (University of London), 1998. https://kclpure.kcl.ac.uk/portal/en/theses/italian-opera-and-european-theatre-16801720--plots-performers-dramaturgies(c1235462-b549-497d-aff7-34b0658ea912).html.

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3

Brown, Mark. "Modern Scottish theatre : the creation of a tradition." Thesis, University of Dundee, 2017. https://discovery.dundee.ac.uk/en/studentTheses/c8c2bf08-f3ad-470a-933e-613725aefddf.

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Scotland has enjoyed a late and significant flowering of theatre since the late 1960s. This project explores what I believe to have been a Renaissance that has occurred in Scottish theatre since 1969 and tests my thesis that at the core of this revival lie profound connections to the related concepts of Europeanness and Modernism. The work combines a considerable quantity of new material, generated through exclusive interviews conducted with major players in this Renaissance (both theatre directors and dramatists), with my own analyses and interaction with the existing critical and academic li

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4

Mur, Maria-Christina [Verfasser]. "The Physiognomical Discourse and European Theatre : Theory, Performance, Dramatic Text / Maria-Christina Mur." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2017. http://d-nb.info/1136247696/34.

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5

Chamberlain, Franc. "Embodying the spirit : Nihilism and spiritual renovation in the European theatre (1890-1914)." Thesis, University of East Anglia, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317568.

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6

Street, Anna. "Comedy of the Impossible : The Power of Play in Post-war European Theatre." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040179.

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En retraçant le développement des théories de la comédie dans la philosophie occidentale, cette thèse avance que des préjugés l’ont empêchée d’être reconnue comme un genre littéraire sérieux. Il est montré que la place donnée à la comédie comme genre mineur pendant plus de deux mille ans correspond à un modèle éthique qui affirme, en distinguant le réel de l'Idéal, une vision néo-platonicienne de l'existence. Partant de l’analyse d’un phénomène théâtral précis dans l’Europe de l’après-guerre et à travers de nombreux exemples choisis parmi des pièces de cinq dramaturges différents, cette thèse

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7

Bocianowski, Cécile. "Les dramaturgies du grotesque en Europe au XXe siècle." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040066.

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La thèse propose une lecture comparée de l’emploi du grotesque dans les théâtres français, polonais, belge francophone, germanophone, italien et espagnol. L’analyse comparée des écritures dramatiques comme du discours littéraire permet de dégager les spécificités du grotesque et de sa réception dans les diverses aires culturelles. La première partie est consacrée à la mise en place théorique de la notion dans les arts, des arts décoratifs à l’art dramatique, de la Renaissance au vingtième siècle. Une attention particulière est portée à la danse grotesque, jusque-là peu étudiée, ainsi qu’aux di

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8

Fearon, Fiona Kavanagh. "The Selection, Production and Reception of European Plays at the National Theatre of Great Britain from 1963-1997." Thesis, University of Sheffield, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486716.

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This research presents a diachronic and synchronic analysis of European plays produced at the National from 1963 to 1997 and seeks to situate their selection, production and reception within the socio-cultural context of Britain's changing relationship with the representation of Europe during that time, Building on the theoretical understanding of the selection, production and reception process suggested by Stanley Fish, Jauss, Susan Bennett and Maria Shevtsova, this thesis evaluates the relationship between the 'interpretive community' of the producers, critics and audiences of the National T

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9

Halfyard, Janet Katherine. "Only connect : European music theatre in the context of Wagner's Gesamtkunstwerk and the early twentieth-century avant-garde." Thesis, University of Birmingham, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397944.

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10

Dawood, Rasha Ahmed Khairy Hafez. "Critical discourse within European plays in the first half of the twentieth century and the manifestations of a similar phenomenon in modern Egyptian drama." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15359.

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This thesis closely examines the utilisation of dramatic characters’ comments on matters of literary and theatrical criticism. This phenomenon shaped a trend in European theatre during the first half of the twentieth century, and Egyptian theatre in the second half of the century. My main hypotheses are, firstly, that dramatic characters’ comments on literary and theatrical matters of criticism respond to specific problems that challenge theatre practice. Thus, my reading of literary and theatrical criticism within the dramatic texts studied in my thesis focuses on this criticism’s reformative

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11

Kiek, James Llewelyn. "An insight into the appropriation of European and Other musical signifiers in the music-theatre works of Lebanon’s Rahbānī Brothers." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/27994.

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There is a growing integration and translation of non-Western musical idioms into the works of Western composers. While we are familiar with the earlier Oriental borrowings of classical composers such as Debussy, Rimsky-Korsakov and Britten, non-Western idioms are now widely used in contemporary Western classical, motion picture, music-theatre and popular composition. During the mid to late twentieth century Lebanon's Rahbānī brothers integrated diverse Western musical idioms and traditional Lebanese dance and song forms into their Eastern Arabic art-music scores for theatre, television and

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12

Hill, Christopher Austin. "“We've All To Grow Old”: Representations of Agingas Reflections of Cultural Change on the Celtic Tiger Irish Stage." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365780726.

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13

McGillivray, Glen James. "Theatricality: A critical genealogy." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/1428.

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ABSTRACT The notion of theatricality has, in recent years, emerged as a key term in the fields of Theatre and Performance Studies. Unlike most writings dealing with theatricality, this thesis presents theatricality as a rubric for a particular discourse. Beginning with a case-study of a theatre review, I read an anti-theatricalist bias in the writer’s genre distinctions of “theatre” and “performance”. I do not, however, test the truth of these claims; rather, by deploying Foucauldian discourse analysis, I interpret the review as a “statement” and analyse how the reviewer activates notions of “

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14

Saraczynska, Maja. "Pour un "théâtre autobiographique". Exemples européens de la seconde moitié du XXe siècle." Thesis, Paris Est, 2012. http://www.theses.fr/2012PEST0031.

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Depuis les années mille neuf cent soixante-dix, l'autobiographie littéraire ne cesse de susciter un intérêt croissant et les travaux critiques à son sujet sont actuellement nombreux. Cependant, aucune étude théorique exhaustive sur l'autobiographie uniquement théâtrale n'existe à ce jour. Face à cet écart flagrant entre la pratique existante et la théorie manquante, il semble nécessaire d'apporter une contribution à la théorisation et à la classification de cette catégorie problématique. La présente thèse, dont le titre se réfère à l'ouvrage charnière de Philippe Lejeune Pour l'autobiographie,

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15

Golisano, Alice. "Les festivals internationaux de théâtre comme médiateurs culturels dans la construction de la cohésion européenne et leur rôle dans Diplomatie culturelle." Electronic Thesis or Diss., CY Cergy Paris Université, 2024. http://www.theses.fr/2024CYUN1275.

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Pour le but de mon projet, j'ai choisi de me concentrer sur trois festivals de théâtre européens: le Festival d'Avignon, le Festival international de théâtre de Belgrade (BITEF) et le Festival international de théâtre de Sibiu (FITS), qui représentent diverses cartographies européennes aux trajectoires géopolitiques et culturelles complexes. La thèse montre comment ces festivals ont réagi aux ferments historiques de l'Europe d'après-guerre, et comment les allégeances politiques et les politiques culturelles de leurs pays ont affecté leurs approches curatoriales. J'avais l'intention d'explorer

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16

Spedalieri, Francesca. "Seeing the Unseen, Staging the Unspoken: The Gender Politics and Political Language of Emma Dante’s Theatre in the Berlusconi Era (1994-2011)." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1480594504188268.

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17

Rossholm, Anna Sofia. "Reproducing Languages, Translating Bodies : Approaches to Speech, Translation and Cultural Identity in Early European Sound Film." Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2006. http://www.diva-portal.org/su/theses/abstract.xsql?dbid=1333.

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18

Filippini, Sally. "Le naturalisme européen au théâtre : une étude des rapports entre le roman et la scène." Electronic Thesis or Diss., Université Clermont Auvergne (2021-...), 2023. http://www.theses.fr/2023UCFA0065.

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Le travail de recherche se focalise sur l'étude de l'adaptation de romans naturalistes pour le théâtre. Phénomène largement répandu au XIXe siècle, les adaptations pour le théâtre promettaient la gloire aux romanciers qui tentaient une carrière littéraire. Par ailleurs, ils ont marqué une poussée vers un renouveau du théâtre lui-même sous toutes les formes possibles : interprétation, scénographie, thèmes. Pour cette raison, une étude comparative de plusieurs auteurs naturalistes européens (Zola, Goncourt, Capuana, Lemonnier, Galdós, Hardy) permet de construire un cadre général et d'identifier

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19

Tribble, Keith Owen. "European symbolist theater : conventions and innovations /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/6647.

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20

Burke, Devin Michael Paul. "Music, Magic, and Mechanics: The Living Statue in Ancien-Régime Spectacle." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1449258139.

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21

Leal, Cesar A. "RE-THINKING PARIS AT THE FIN-DE-SIÈCLE: A NEW VISION OF PARISIAN MUSICAL CULTURE FROM THE PERSPECTIVE OF GABRIEL ASTRUC (1854-1938)." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/30.

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Gabriel Astruc (1864-1938), a French impresario of Jewish background, is mostly known for his collaborative work as an impresario with Sergei Diaghilev and his Ballets Russes. His role within Parisian musical culture at the fin de siècle, however, was much broader. He was a critic, creator of a leading periodical, producer of musical and circus events, music publisher, and associate of many important cultural figures of his day. Although Astruc has been mentioned in scholarly literature, his multifaceted activities have never been carefully studied. Following the revisionist initiatives of pre

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22

Özer-Chulliat, Sibel. ""Se mettre en scène" dans les adaptations contemporaines de textes classiques : un point tournant dans l'art de la mise en scène ?" Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA133.

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Depuis quelques années, certains metteurs en scènes européens prennent des initiatives particulièrement audacieuses dans leurs adaptations de textes classiques, coupant le texte, modifiant l’ordre des monologues et allant jusqu’à injecter des morceaux de textes écrits par eux ou bien issus d’autres oeuvre littéraires. Ils n’hésitent plus à "se mettre en scène", c’est-à-dire à traiter avant tout leurs propres questions existentielles par l’intermédiaire des textes classiques, se libérant ainsi de toute pression exercée sur eux par les interprétations textuelles faisant autorité ou bien par les

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23

Wolf, Christa J. "A Descriptive Analysis of the Oberammergau Passion Play 2010." University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1374768702.

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24

Hester, Zoe. "Storytelling through Movement: An Analysis of the Connections between Dance & Literature." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/470.

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Movement and storytelling are the links between past and present; both dance and literature have the same artistic and primal origins. We began to dance to express and communicate, to worship and feel. We tell stories for the same reasons: to learn from the past and to be able to communicate in the present. This work explores the many connections between literature and dance through examinations of six dance forms: Native American, Bharatanatyam, West African, Ballet, Modern, and Post-Modern dance.

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25

Saxon, Belinda Sue. ""Borrowing from the east" a study of types of Western theater adaptations of Chinese opera, Japanese noh, and kabuki /." online access from Digital Dissertation Consortium access full-text, 1992. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?1351076.

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26

Carnwath, John Douglas. "The Institutional Development of Municipal Theatres in Germany, 1815--1933." Thesis, Northwestern University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3563698.

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<p> This dissertation examines the development of Germany's municipal theatres from an institutional perspective, focusing on the ways in which formal and informal agreements such as laws, contracts, and social conventions formed the institutional framework that characterizes this type of theatre. Since local government support is a defining feature of municipal theatres, the question why German cities started subsidizing theatres in the nineteenth and early-twentieth centuries receives close attention throughout this study. </p><p> The introductory chapter reviews theoretical arguments for

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27

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 fi

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28

Bahrami, Aida. ""Spectacles of woe" : Sadean readings of contemporary European drama." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/101937/.

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A distinctive feature of Sade’s writings is the amount of theatricality involved in libertine activities. Every episode of libertinage is charged with an awareness of performativity on behalf of the characters, and a conscious employment of theatrical vocabulary on the author’s behalf – e.g. the participants are often called actors, the events drama, and so on. At the same time, I have noticed how there are close resemblances in specific contemporary European drama to what constitutes Sadean intersubjectivity. These semblances occur most specifically when the dramatic text is addressing a para

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29

Murphree, Patrick D. "Crisis and continuity comedy during the French Revolution /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3337264.

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Thesis (Ph.D.)--Indiana University, Dept. of Theatre and Drama, 2008.<br>Title from PDF t.p. (viewed on Jul 28, 2009). Source: Dissertation Abstracts International, Volume: 69-12, Section: A, page: 4569. Adviser: Roger W. Herzel.

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30

Raith, Markus. "Erzähltes Theater : szenische Illusionen im europäischen Roman des 19. und frühen 20. Jahrhunderts /." Tübingen : Niemeyer, 2004. http://catalogue.bnf.fr/ark:/12148/cb39138969s.

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31

Swanson, Michael David. ""The Vehicle of Delight and Morality": Humor and Sentiment in the Plays of John O'Keeffe as a Reflection of Late Eighteenth-Century English Theatrical Comedy." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382014382.

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32

Romey, John Andrew III. "Popular Song, Opera Parody, and the Construction of Parisian Spectacle, 1648–1713." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1521213146521338.

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33

Albala, Pelegrin Marta. "De la peninsula Iberica a Italia| Concepcion y practica teatral de las primeras comedias castellanas." Thesis, City University of New York, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3601853.

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<p>In my dissertation, <i>De la península Ibérica a Italia: concepción y práctica teatral de las primeras comedias castellanas </i>, I analyze the formation of early modern Spanish comedia, in the context of Italo-Iberian cultural exchanges. My aim is to incorporate the most popular Spanish plays of the first half of the sixteenth century into the larger scenario in which they belong: one that we could name the "formation of the genre of comedy". Works such as Juan del Encina's<i> Eclogues </i>, <i>La Celestina</i> (<i>The Spanish Bawd</i>), and Torres Naharro's <i>

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34

Hill, Aaron. "Use Your Words| A Lyrical Guide to the Opera-Inspired Paraphrases of Antonino Pasculli (1842-1924) For Oboe and English Horn." Thesis, James Madison University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3702673.

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<p> There are currently ten available works by Antonino Pasculli (1842-1924) for solo oboe or English horn and accompaniment inspired by themes from nineteenth-century operas by Bellini, Donizetti, Meyerbeer, and Verdi. These pieces are so virtuosic that Pasculli has been dubbed the “Paganini of the Oboe.” The technical demands can be so high that performers can neglect to approach artistic and scholarly interpretation of his lyrical passages. Some editions of his music list the referenced act and scene number from the original source. No existing editions include complete text fro

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35

Gillette, Kyle. "Stages of locomotion : the space and time of railway travel in modern European and American theater /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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36

Ball, Rachael I. "An Inn-Yard Empire: Theater and Hospitals in the Spanish Golden Age." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281290896.

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37

Laguna, Alexis M. "“I Almost Hope I Get Hit Again Soon”: The Wartime Service and Medical History of Leon C. Standifer, WWII American Infantryman." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2620.

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The American GI’s experience in hospital during World War II is absent from official military histories, most scholarly works, and even many oral history collections. Utilizing the papers of WWII infantryman, Leon Standifer, this thesis offers the reader a rare glimpse of WWII military hospital life and chronicles one soldier’s journey from willing obedience to subversive action. This thesis compares the stated goals and procedures of the US Army medical department to the experience of Leon Standifer, an infantryman who served in northern France during the last year of the war and the American

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Lübbe, Dorothea. "Europera : innovation artistique et politique culturelle de théâtre musical contemporain en Allemagne et en France." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0315.

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Ce projet de recherche se concentre sur les conditions generales de politique culturelle sous lesquelles se créent les nouvelles formes artistiques du theatre musical contemporain en Allemagne et en France.Le travail de recherche sur le présent thème est dédié aux tentatives d'innover et n'a pas pour objet de mettre la crise en évidence. L'intérêt de ce domaine de recherche réside dans la recherche de solutions en discutants des reformes et innovations tout en s'appuyant sur des études de cas tirées de la pratique actuelle du theatre musical en Allemagne et en France. Les pressants travaux rep

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Reininghaus, Frieder. "Die Funktion von Musik(theater) im europäischen Seelenhaushalt des 19. Jahrhunderts." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71838.

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40

Klinek, Eric William. "The Army's Orphans: The United States Army Replacement System in the European Campaign, 1944-1945." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/268724.

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History<br>Ph.D.<br>Military historians have been debating the U.S. Army's World War II replacement system for decades, but no one has completed a detailed study of the War Department's policies and practice. Authors have focused primarily on how combat units overcame the system's limitations, but they have not conducted an in-depth examination of its creation, structure, and function. Nor did they question why infantry divisions had to devise their own replacement policies in the first place. The extant literature is too celebratory of the army and utilizes ultimate victory as a measure of ef

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41

Bolte-Picker, Petra [Verfasser]. "Die Stimme des Körpers : Vokalität im Theater der Physiologie des 19. Jahrhunderts / Petra Bolte-Picker." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2012. http://d-nb.info/1042422281/34.

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42

Đokić, Marija [Verfasser], Wessel Martin [Herausgeber] Schulze, and Ulf [Herausgeber] Brunnbauer. "Eine Theaterlandschaft für Belgrad : Verflechtungen nationaler und europäischer Theaterpraktiken 1841–1914 / Marija Đokić." Göttingen : Vandenhoeck & Ruprecht, 2019. http://www.v-r.de/.

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43

Li, Min-Yuan. "Apports des traditions scéniques orientales dans les théories esthétiques et les pratiques du théâtre européen au XXe siècle." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20029/document.

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Dans la dernière dizaine années du 19ème siècle, les créations de Lugné-Poe et d’Antoine expérimentent de nouvelles esthétiques de représentation et voient dans la mise en scène l’essence de la création théâtrale. Le metteur en scène devient lui-même auteur, au point de jouer parfois un rôle prédominant. Tout au long du 20ème siècle, cette évolution de la mise en scène, en s’accélérant parfois brutalement, a pu atteindre une certaine anarchie. C’est pourquoi l’esthétique de la tradition scénique orientale, qui passe par des formes artistiques reproductibles, voire stéréotypées, a pu fournir de

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44

Idrissi, Nizar. "Stephen Poliakoff: another icon of contemporary British drama." Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210559.

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This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama.<br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished

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Panaite, Cristian P. "The Rise and Fall of Peter Earring... The Making of a Romanian Historical Play." Miami University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=miami1179942628.

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46

Groomes, Joshua Benjamin. "The Impact of the United States Army Nurses Corps on the United States Army Fatality Rate in the Mediterranean and European Theater of Operations during World War II." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3980.

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World War II was the most devastating war in human history in terms of loss of life. The Japanese attack on Pearl Harbor on December 7, 1941, plunged the United States into war. Less than seven thousand military nurses were on active duty at the time of the attack. By the end of the war, there were over fifty-thousand active-duty nurses. The army nurses performed under fire in field and evacuation hospitals, on hospital trains and ships, and as flight nurses on medical evacuation transport aircraft. The skill and dedication of the Army Nurses Corps insured a 95% survival rate for the wounded s

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Schuster, Frank M. "Between all fronts: The impact of World War I on Eastern- European Jewry." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2016. https://slub.qucosa.de/id/qucosa%3A34818.

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Lupo, Melissa Cecelia. "The Political Repercussions of Homosexual Repression of Masculinity and Identity in Martin Sherman's BENT." Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1294870010.

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Carnevali, Davide. "Forma dramática y representación del mundo. Apuntes sobre la noción de fabula en el contexto teatral europeo contemporáneo." Doctoral thesis, Universitat Autònoma de Barcelona, 2015. http://hdl.handle.net/10803/287992.

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El trabajo se centra en el análisis de la evolución de la forma dramática y el papel desempeñado por la textualidad en el teatro de los últimos veinticinco años en el ámbito europeo, con el fin de entender de qué manera el texto puede servir ahora a un teatro que ha dirigido la búsqueda de nuevas formas lejos del drama. La hipótesis es que este cambio en la concepción del hecho teatral está vinculado a la necesidad de buscar nuevas formas de representación del mundo y nuevos lenguajes para interpretarlo; y que esta exigencia, a su vez, depende los cambios que se han producido en el mundo occid

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Moreland, Kathleen A. "Of Thee We Sing: Roots of the American Songbook." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1428148686.

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