Tesi: "European theatre"

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 mimesis, representation, and verbal speech. Theatres of the Surd argues for a penetration of symbolic languages in the wake of a decline of word-based textuality in the theatre, combined with a cultural shift toward more abstract, technologically mediated and autonomous forms of theatrical practice. This work focuses on three seminal theatre practitioners of the late 19th and early 20th century avant-garde; namely, Alfred Jarry, Stanislaw Witkiewicz and Samuel Beckett, and the impact of non-Euclidean geometry and modern mathematical logic in their work. I will claim that the mathematisation of cultural practices in the late modern era marked a crucial watershed that played an important role in the transformation of the axiomatics of theatrical practice, and the emergence of a truly modern, post-Aristotelian and post-representational form of theatrical praxis. Thus, mathematics may be said to function within the ambit of cultural dynamics, insofar as its penetration into culture discourse and practice has helped modernise the way theatre is conceptualised and visualised.

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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 literature. The thesis begins with a Preface addressing various facets of European Modernism and their relations to the development of Scottish theatre since the late Sixties. Chapter 1 of the work offers a detailed consideration of the role played in Scottish theatre's revival by Giles Havergal's thirty-four year reign as artistic director at Glasgow's Citizens Theatre, and explores the manner in which Havergal's work was, or was not, taken forward by his successors Jeremy Raison (2003-2010) and Dominic Hill (2010 to the present).Moving on from the establishing of a European Modernist aesthetic at the Citizens in the 1970s, the thesis contends (in Chapter 2) that this aesthetic was disseminated more widely in Scottish theatre in the 1980s, and that the driving force in that dissemination was Communicado theatre company. Chapter 3 addresses the emergence of a generation of Scottish theatremakers in the 1990s whose work, arguably, represents the clearest and strongest reflection of European Modernist aesthetics in new theatre produced in Scotland. This chapter comprises interviews (in question and answer format) with the five artists who I consider to be the leading figures in the "golden generation" of the Nineties, followed by analyses of the interviews. The interviewees are writers David Greig, Zinnie Harris, David Harrower and Anthony Neilson, and the auteur director/designer Stewart Laing. Finally, in Chapter 4 and the Conclusion, the thesis considers the way in which the National Theatre of Scotland (established in 2006) has mapped onto and contributed towards the European Modernist strand in Scottish Theatre. This is followed by an analysis of the possible future for this tradition in live drama in Scotland.

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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 propose trois principaux critères de la comédie : le statut ontologique des personnages comiques, la relation paradoxale de la comédie au monde des apparences, et son aptitude à permettre l'impossible. Opérant ainsi un renversement total des systèmes de valeurs et remettant en question une vision binaire, la comédie brouille les clivages entre l’abstrait et le concret, le mécanique et l’organique, et au bout du compte entre la vie et la mort. Il est démontré comment ce renversement s’accomplit de manière linguistique, métaphorique ou encore dramaturgique. L’étude conclut que la comédie bouleverse l'ordre socio-symbolique qui repose sur la logique du possible
By tracing the development of theories of comedy within Western philosophy, this thesis claims that anti-comic prejudices prevented comedy from being recognized as a serious genre. Comedy’s inferior status for over two thousand years is shown to correspond to an ethical model that distinguishes the real from the Ideal and affirms a Neo-Platonic vision of existence. Through numerous examples taken from a particular phenomenon of post-war European theatre comprising five different playwrights, this thesis proposes three primary characteristics of comedy: the ontological instability of comic characters, comedy’s paradoxical relation to the world of appearances, and comedy’s willingness to accommodate the impossible. By throwing binaries into question and promoting a complete reversal of dominant value systems, comedy blurs the lines of distinction between the abstract and the concrete, the mechanical and the organic and, ultimately, between life and death. Demonstrating how this reversal is accomplished linguistically, metaphorically, or dramaturgically, this study concludes that comedy subverts the socio-symbolic order that relies upon the logic of possibility

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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 divergences entre les discours critiques occidental et oriental. La seconde partie constitue le cœur du travail par l’étude comparée des procédés grotesques selon trois axes : la déformation, la démesure et l’hybridité. Celle-ci permet de mettre en valeur les fonctions dramatiques de l’emploi de la marionnette et de la pantomime ainsi que l’inspiration des arts du cirque, de la foire et du cabaret. La troisième partie analyse l’hypothèse du genre dramatique grotesque en Europe au vingtième siècle. Une fois établi le cadre théorique de la réflexion sur le genre et au regard de la production dramatique la plus contemporaine, l’étude s’achève sur la détermination de la place du grotesque dans la création artistique comme dans la critique littéraire actuelle. En remettant en cause la périodisation traditionnelle du théâtre européen du siècle dernier, la thèse entend rendre sa place au grotesque dans la critique dramatique contemporaine comme mise en forme du difforme
This thesis proposes a comparative reading of the use of grotesque in French, Polish, French-speaking Belgian, German-speaking Italian and Spanish theatre so as to determinate the specificities of the grotesque and its reception in different cultural areas. It focuses in the first part on the theory of the notion in arts, from decorative to dramatic art, from Renaissance to the twentieth century. Special attention is given to the grotesque dance, which has been thus far insufficiently studied, and to the discrepancies between western and eastern critical discourses. The comparative analysis of the grotesque is conducted along three axes: deformation, excessiveness and hybridity. It emphasises the function of marionette, pantomime and the inspiration of circus, carnival and cabaret. The last part of the thesis concentrates on the hypothesis of a grotesque dramatic genre in Europe in twentieth century. Once established the theoretical basis of the reflexion upon genre, and in view of contemporary dramatic production, the thesis closes with the determination of the place of the grotesque in the creation and in the criticism. By calling into question traditional periodisation of European twentieth theatre, this thesis aims at giving its place to the grotesque in contemporary dramatic criticism as the shaping of the misshapen

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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 Theatre, This analysis has been undertaken through three main activities. Firstly I have examined the selection process of the three Artistic Directors between 1963 and 1997 through interviewing the main participants, Sir Peter Hall and Sir Richard Eyre, as well as research into published letters, diaries and autobiographies, Through access to the Tynan and Olivier Archives in the British Library, it has been possible to closely examine the selection process between 1963 and 1973. The process of production has been examined through the analysis of Prompt Books, programmes and photographs that are held by the National Theatre Archive, as well as biographies and autobiographies. The reception process has been examined through two interpretive communities, that of the critics and the audience: firstly by comparing the reception of the interpretive community of critics who received the productions for British newspapers and periodicals between 1963 and 1997, and then by contrasting that reception with the actual number of people who attended each production. I have accessed the Box Office returns, Annual Reports, Board Minutes and Director's reports at the National Theatre Archive in order to complete this analysis. This research explores Britain's relationship with Europe through qualitative and quantitative analysis, and proves the effectiveness of reception analysis as a methodology for understanding historical and contemporary culture.

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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 function to rectify the crisis that faces theatre practice in general, rather than playwrights’ individual motives, such as responding to their critics. Secondly, socio-political, economic, and cultural aspects shape historical circumstances, which influence the current state of the theatre industry. Therefore, although Egyptian plays are noticeably influenced by European metatheatre, Egyptian playwrights utilise these borrowed techniques to highlight specific problems of Egyptian theatre such as the corrupt administration of governmental theatre and censorship. Finally, while Egyptian plays exploit European metatheatrical techniques, Egyptian playwrights claimed their works as a revival of intrinsically anti-illusionist traditional forms of entertainment such as the shadow play and Karagöz. This claim reflected increasing calls for pure Egyptian theatre, as part of the anti-Western jingoistic discourse of the political regime of the 1950s. In order to examine these assumptions, my theoretical approach draws from the fields of metatheatrical studies; literary and performance studies of parody and intertextuality; the history of European and Egyptian theatre; sociological, political and cultural studies; theories of modern criticism, and critical reviews. My contribution to the field of metatheatrical studies is in highlighting the reformative function of literary and theatrical criticism, whether as a discourse or a metatheatrical device, within a group of European plays that belong to different movements of the avant-garde during the first half of the twentieth century. More significantly, my study investigates the same phenomenon in Egyptian plays that, since the 1980s, have gradually been marginalised as fringe theatre and neglected by academic studies.

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11

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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12

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, s'interroge dans un premier temps sur la crise des genres (autobiographique et théâtral) afin d'analyser l'histoire et la genèse de l'autobiographie dramatico-théâtrale à partir du Drame de la vie de Restif de la Bretonne. Cette recherche se doit cependant non seulement de défendre un genre déprisé, mais également de plaider pour son existence.Étant donné l'essor du théâtre autobiographique après la Seconde Guerre mondiale (dont l'Histoire générale ne cesse de contaminer l'histoire intime des autobiographes en question), ce travail porte sur l'insertion de l'autobiographie dans les drames et les spectacles européens de la seconde moitié du XXe siècle. Les exemples choisis mettent en lumière les créateurs investis entièrement dans la mise en espace de leur propre histoire : de l'écriture, en passant par la scénographie et la mise en scène, jusqu'au jeu et / ou présence scénique. Les critères de sélection des œuvres du corpus (six cas d'études principaux : Anouilh, Duras, Grumberg, Ionesco, Kantor, Różewicz) portent sur le rapport direct des écrivains dramatiques à la conception du spectacle vivant, et soulèvent par là la question de la création totale, de la transformation des genres, de l'(ir)représentabilité de l'autobiographie sur scène et de la (re)construction de soi et de son passé par le biais d'un spectacle théâtral. Le dialogue constant entre l'histoire personnelle de l'auteur (autobiographie mise en forme) et l'Histoire générale (mémoires subjectivisés) constituera donc le motif privilégié de cette étude.Cette étude a ainsi pour vocation d'apporter non seulement une contribution à la définition et à l'évolution du théâtre autobiographique, en démontrant les spécificités et les caractéristiques communes des œuvres théâtrales de soi, mais aussi – ou avant tout – d'identifier ce que le théâtre apporte au genre autobiographique et par quel(s) moyen(s) il permet de le renouveler. Le cheminement proposé permet d'observer la genèse et l'évolution du théâtre autobiographique dans lequel la matérialité de la scène occupe une place grandissante : l'histoire du genre dans la première partie, la réécriture d'une autobiographie en prose en une pièce dramatique (par Duras et Ionesco) mise en scène par un artiste associé et accompagné dans la seconde partie, la participation active de l'autobiographe à la mise en scène collective de sa pièce intime (Anouilh, Grumberg) dans la troisième partie, la déconstruction du texte dramatique préexistant cédant le premier rôle au plateau (Różewicz, Kantor, Podehl) dans la quatrième partie. C'est ainsi que le mélange de l'onirisme et de la plasticité (Mądzik, Znorko) constitue en quelque sorte l'aboutissement de cette forme d'expression de soi et permet de saisir au mieux l'essence-même du théâtre autobiographique qui ne doit plus raconter la vie de l'autobiographe, mais la recréer dans l'espace
Since the Seventies of the twentieth century literary autobiography has been arousing deep interest among the researchers and a plethora of critical works have been written on the issue. Yet to this day there is no comprehensive resarch work on the subject. In consideration of a surprising discrepancy between the existing theatre practice and the missing theory, theorisation and classification of this problematic category seems indispensable. This doctoral thesis, the title of which refers to the work of Philippe Lejeune entitled « Pro the autobiography », sees the crisis of forms (the dramatic and theatre forms) and literary genres (the autobiographical genre) a reason for the genesis of dramatic-theatrical autobiography, the story of which will be followed starting with Restif de La Bretonne's « The life's play ».Taking into consideration the development of the autobiographical theatre after the Second World War (the general history of which influenced formation of the intimate history of the autobiographical authors subjected to analysis), the present thesis takes on the task of analysis of the relationship between autobiography and the European theatre of the second half of twentieth century. The selected works present the profiles of dramatic authors fully dedicated to staging the story of their lives : starting with the process of writing a play, through stage design and stage direction to acting or/and stage presence. The selection criteria regarding the analysed works (the six principal playwrights being Anouilh, Duras, Grumberg, Ionesco, Kantor, Różewicz) are based on the direct relationship between the dramatic writers and a theatre performance and take up the issues of total creation, form-genre metamorphosis of works situated on the border between (auto)biography, historical memoirs and diary as well as the possibility of staging the autobiography and reconstruction of one's self and one's past through the medium of a performance.The aim of this treatise is not only presentation of theorisation and periodisation of the autobiographical theatre through distinction of the specifics of each of the analysed works and pointing out the common features but also presenting the elements the theatre introduces to the autobiographical genre and the way it enables its renewal. The suggested way of subject presentation allows to follow the development of the autobiographical theatre where the stage materiality plays increasingly significant role : the first part is dedicated to the analysis of the genre history, while the second one – to the issue of transcribing and transforming the autobiographical prose into a stage play (based on the example of Duras and Ionesco) directed by a thrid party in presence of the author, the third one – to the issue of active participation of the author in the process of collective staging of his autobiographical work (based on the example of Anouilh and Grumberg), the fourth one – to the issue of deconstruction of a dramatic text giving way to the theatre stage (the theatre of Różewicz, Kantor, Podehl). Thus the symbiosis of onirism and graphicality (the visual theatre of Mądzik or Znorko) becomes in a way the crowning of this form of personal statement and allows to capture the essence of autobiographical theatre the aim of which is not telling life but its reconstruction in the space
Since the Seventies of the twentieth century literary autobiography has been arousing deep interest among the researchers and a plethora of critical works have been written on the issue. Yet to this day there is no comprehensive resarch work on the subject. In consideration of a surprising discrepancy between the existing theatre practice and the missing theory, theorisation and classification of this problematic category seems indispensable. This doctoral thesis, the title of which refers to the work of Philippe Lejeune entitled « Pro the autobiography », sees the crisis of forms (the dramatic and theatre forms) and literary genres (the autobiographical genre) a reason for the genesis of dramatic-theatrical autobiography, the story of which will be followed starting with Restif de La Bretonne’s « The life’s play ».Taking into consideration the development of the autobiographical theatre after the Second World War (the general history of which influenced formation of the intimate history of the autobiographical authors subjected to analysis), the present thesis takes on the task of analysis of the relationship between autobiography and the European theatre of the second half of twentieth century. The selected works present the profiles of dramatic authors fully dedicated to staging the story of their lives : starting with the process of writing a play, through stage design and stage direction to acting or/and stage presence. The selection criteria regarding the analysed works (the six principal playwrights being Anouilh, Duras, Grumberg, Ionesco, Kantor, Różewicz) are based on the direct relationship between the dramatic writers and a theatre performance and take up the issues of total creation, form-genre metamorphosis of works situated on the border between (auto)biography, historical memoirs and diary as well as the possibility of staging the autobiography and reconstruction of one’s self and one’s past through the medium of a performance.The aim of this treatise is not only presentation of theorisation and periodisation of the autobiographical theatre through distinction of the specifics of each of the analysed works and pointing out the common features but also presenting the elements the theatre introduces to the autobiographical genre and the way it enables its renewal. The suggested way of subject presentation allows to follow the development of the autobiographical theatre where the stage materiality plays increasingly significant role : the first part is dedicated to the analysis of the genre history, while the second one – to the issue of transcribing and transforming the autobiographical prose into a stage play (based on the example of Duras and Ionesco) directed by a thrid party in presence of the author, the third one – to the issue of active participation of the author in the process of collective staging of his autobiographical work (based on the example of Anouilh and Grumberg), the fourth one – to the issue of deconstruction of a dramatic text giving way to the theatre stage (the theatre of Różewicz, Kantor, Podehl). Thus the symbiosis of onirism and graphicality (the visual theatre of Mądzik or Znorko) becomes in a way the crowning of this form of personal statement and allows to capture the essence of autobiographical theatre the aim of which is not telling life but its reconstruction in the space

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13

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

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14

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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15

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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16

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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17

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 previous scholars (e.g., Pasler, Huebner, Garafola, Fauser), this project offers a new understanding of Parisian cultural life between 1880 and 1913. Rather than focusing on valued composers such as Debussy or selected avant-garde repertoire, this dissertation considers the panoramic perspective of the Parisian cultural milieu as understood by a well-positioned impresario who participated in diverse, but often intersecting, music circles. It reveals rich interconnections between Astruc’s entrepreneurial, managerial, and publishing endeavors that linked private fêtes and soirées that he produced in elite homes with his ambitious concert series, La Grande Saison de Paris, 1905-1913 – organized through his firm La Sociéte Musicale – and with compositions and contents published in Musica, the magazine he co-founded in 1902. It questions Astruc’s aesthetic preferences and argues that he helped to shape Parisian culture through the promotion, publication, and programming of balanced, eclectic repertoire of new and old, national and international, and light as well as weighty works. This study also chronicles the development of the Théâtre des Champs-Élysées, Astruc’s culminating project that was intended to embrace symphonic, operatic, and chamber performance and to experiment with new juxtapositions and integrations of the arts. Research for this dissertation centered on a compilation and a comparative analysis of wide-ranging materials found in Astruc’s collections at the Archives Nationales and New York Public Library. Unlike earlier studies of fin-de-siècle Paris, this project utilizes previously unexamined publications, musical criticism, published literature, and manuscript material, all originating from or related to Astruc’s diverse activities and observations.

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18

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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Abstract (sommario):

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 représentations de ces textes dans l’imaginaire collectif, et emmenant les textes classiques dans un "ailleurs" très personnel. Leurs mises en scène dépassent la fragmentation et le désordre propres au théâtre postmoderne et s’attachent au contraire à raconter une histoire cohérente, centrée sur les préoccupations intimes du metteur en scène. Ce nouveau type de mises en scène s’appuie sur des influences diverses, depuis André Antoine jusqu’à Heiner Müller, en passant par Stanislavski, Artaud et Brecht, et constitue une nouvelle étape dans le processus d’autonomisation de l’art de la mise en scène à l'oeuvre depuis le XIXème siècle. Le corpus de cette thèse comprend quatre récentes adaptations (réalisées entre 2008 et 2011) de textes classiques : Hamlet de Thomas Ostermeier, Hamlet de Nikolaï Kolyada, Roméo et Juliette d’Olivier Py et Un tramway de Krzysztof Warlikowski (à partir de Un tramway nommé Désir de Tennessee Williams). Il comprend également une mise en pratique sous la forme d’une adaptation, Pygmalion - J’ai créé une femme (à partir de Pygmalion de George Bernard Shaw), réalisée par l’auteur de la thèse en 2014 au sein des Théâtres Nationaux de Turquie, et ayant permis de tester les arguments et conclusions tirés des analyses précédentes
In recent years, some European directors are taking particularly bold initiatives in their adaptations of classic texts, cutting the text, changing the order of monologues and even injecting pieces of texts written by them or from other literary works. They do not hesitate to "stage themselves", that is to say, to treat primarily their own existential questions through the classic texts, thus releasing any pressure exerted on them by the authoritative textual interpretations or by the representations of these texts in the collective imagination, and taking the classic texts in a very personal "elsewhere". Their stagings exceed the fragmentation and disorder specific to postmodern theater and focus instead on telling a coherent story, centered on the intimate concerns of the director. This new type of staging draws on diverse influences from André Antoine to Heiner Müller through Stanislavski, Brecht and Artaud, and represents a new stage in the empowerment process of the art of staging at work since the nineteenth century. The corpus of this thesis includes four recent adaptations (conducted between 2008 and 2011) of classic texts: Thomas Ostermeier’s Hamlet, Nikolai Kolyada’s Hamlet, Olivier Py’s Romeo and Juliet, and Krzysztof Warlikowski’s A Streetcar (from A Streetcar Named Desire by Tennessee Williams). It also includes a practical application in the form of an adaptation, Pygmalion - I Created A Woman (from Pygmalion by George Bernard Shaw), directed by the author of the thesis in 2014 in the Turkish State Theatres and having tested the arguments and conclusions from previous analyzes

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19

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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20

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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21

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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Abstract (sommario):

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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22

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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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.

The introductory chapter reviews theoretical arguments for and against public arts subsidies and develops a rigorous typology of theatres in nineteenth and early-twentieth century Germany. Chapter 2 traces the development of the theatre industry in Germany between 1875 and 1929 based on the annual publications of the German Stage Workers' Union (Genossenschaft deutscher Bühnen-Angehöriger). Statistical analysis of the relationship between the emergence of publicly subsidized theatres and variables such as population size, employment, religion, and geographic location informs the selection of a diverse set of case studies.

The case studies are presented in paired comparisons in chapters 3, 4, and 5. Chapter 3 examines two major commercial centers, Hamburg and Frankfurt a.M.; chapter 4 focuses on two industrial cities, Krefeld and Chemnitz; and chapter 5 compares two smaller municipalities, Bautzen and Passau. Each chapter begins with an overview of the cities' respective theatre histories, which is followed by detailed analyses of the debates that took place at key turning points in the institutional development of the municipal theatres. To close, each chapter highlights factors that significantly shaped the developments in each case.

The final chapter concludes that subsidized municipal theatres were not introduced as part of a cohesive cultural policy; rather, municipal governments granted support for theatres in response to specific, local predicaments. Funding decisions were often reached as short-term solutions to immediate concerns, with little thought given to theoretical justifications or long-term consequences. Organizational deficiencies in joint-stock theatre companies, the growing influence of labor unions, heightened nationalism and the controlled economy during World War One, and the political rise of the working class all significantly contributed to the institutional development of municipal theatres.

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23

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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24

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 paradoxical concept, where paradox is defined as that which confronts common opinion or doxa. The intention of this research is, first, to establish what comprises Sadean theatricality, and second, to examine how Sadean intersubjectivity is represented in selected dramatic texts. This objective calls for a comparative approach and a focus on meta-theatricality. I begin with exploring definitions of libertinage before and through Sade, with particular attention paid to performative and theatrical properties of libertinage. Next, I proceed to investigate, in each chapter, one aspect of libertine intersubjectivity in certain dramatic texts. The main challenge in this research is to create a balanced dialogue between two analyses which occur simultaneously. Even so, I have found that studying Sadean intersubjectivity in parallel with contemporary drama facilitates the isolation of those elements within the Sadean text which are required for a paradigm to be formed. Similarly, observing contemporary dramatic texts through a Sadean lens offers a novel way of looking at concepts such as violence, apathy, and a self/other interaction that feeds on the desire for absolute autonomy. A dialectic conversation between the two narratives, I maintain, generates a better understanding of how Sade’s paradoxical ethics is theatrically represented in our time.

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25

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.
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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26

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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27

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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28

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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29

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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Abstract (sommario):

In my dissertation, De la península Ibérica a Italia: concepción y práctica teatral de las primeras comedias castellanas , 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 Eclogues , La Celestina (The Spanish Bawd), and Torres Naharro's Tinellaria and Soldadesca are seen in this light as milestones in a complex thread of contributions leading to the development in the seventeenth century of a Spanish Golden Age "national theater", and specifically in Lope de Vega comedia nueva, as well as to the Italian commedia erudita. Such a reconstruction has long been neglected due to the constitution of the Hispanic and the Italian literary studies, and the asymmetry between the Spanish and the Italian literary traditions, especially regarding the primacy of Italian "comedies" and "authors" in the constitution of a history of "western comedy".

The formation of the genre of comedy it is seen in a new light within a textual and bibliographical history, grounded in the relationships among authors, printers, and readers. Cultural and merchant networks established between the Iberian and Italian Peninsulas helped to widespread not only books as commodities, but ideas and forms (genres) contained within them that would appeal to new audiences and readers. In my second chapter, I have reconstructed the possible ways in which these plays could have been represented, in contexts such as Alba de Tormes and Rome, by means of the analysis of internal text evidence (prompts, or configuration of the different scenes) and the extant records, both about its actual performances, and other contemporary spectacles. In order to make sense of the scarce available data, I have delved into architectural treatises (Vitruvio, Alberti, Peruzzi, Serlio), woodcuts, and extant Roman documents on contemporary theatrical performances. As a result of this reconstruction, Encina's latest plays, as well as Naharro's Soldadesca and Tinellaria, appear as deeply rooted in the avant-garde conception of the urban Roman scene, they share both techniques, and scene conceptions with avant-garde Italian authors. In my third chapter, I studied the function that comedies, such as Naharro's Tinellaria and Soldadesca, had at the time, insisting on the religious and political denunciations contained in them, as well as in their relationship with some discourses originating in the Lateran council. As a result of that, I have been able to delimit the circles, critical with the papacy of Julius II, in which these ideas originated, together with the political interests of those that voiced them.

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30

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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Abstract (sommario):

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 from the original vocal excerpts or the context from the plots of each respective opera. This volume contains the complete text of the vocal excerpts Pasculli uses, insights from the dramatic plot context, and advice to performers on how to apply such information to an instrumental performance.

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31

Doe, Connor Bartlett. "Puppet Theater in the German-Speaking World". PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/88.

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This work begins with a brief history of puppet theater in Germany. A look at important social aspects, pertinent philosophical discussions and the significance of puppet theater in the German literary tradition follow. The final chapter looks at Peter Schumann, a German puppeteer and artist who lives in America. In Germanistik, German puppet theater deserves a devoted place in the field of legitimate study in terms of its history, content and influence. Puppet theater's historical development in Germany represents the larger evolution of Germany. From ancient times up to the present day, this artistic form of representation has enjoyed an audience in the German-speaking regions. The evolution of puppet theater parallels Germany's quest for legitimacy as a nation and desire for cultural unification. A study of puppet theater thematizes the issue of popular cultural history. For most of its existence in Germany, puppet theater served as popular entertainment. The conception of folk art and folklore - which includes puppet theater - by the German Romantics led them to believe that folk artists possessed a mysterious authenticity inaccessible to Classicists and their narrowly-defined world of high art. Much German literature and thought from the 19th century onward shows a fondness for the Volk aspect of puppet theater. Puppet theater and its reception in German Romanticism helped to shape literary and philosophical themes that would lead to further recognition of puppetry as an art form and an integral aspect of German culture. In the 20th century, puppet theater took on bold new forms. Adapting to film, television, academia and the avant-garde, respected proponents of puppet theater brought the art form into the light of day. No longer did it merely consist of vulgar or mildly artistic street performances or as a vehicle for Romantic-era nostalgia. German puppet theater in the 20th century moved into the realm of mass culture with film and, more effectively, with television. It also gained footing in academia, eventually becoming a fully-recognized field of study as well as a performance medium with infinite possibilities. One can only hazard a guess as to where puppet theater will go in the future. The ability of the art form to uncannily reflect the human condition is well known. How the human condition will change and how the performers of puppet theater will respond remains to be seen.

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32

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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33

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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34

Valladares, Susan. "English Romantic theatre during the Peninsular War". Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:a6dc8702-5827-41c9-bb82-94a52ecb5dee.

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Abstract (sommario):

Between 1808 and 1814 England was committed to an expensive and bloody campaign against the French invasion of the Iberian Peninsula. The Peninsular War, as it came to be known, was initially celebrated as a war of national independence that attracted widespread support. Soon after, it was characterised by political scandal and public controversy. Literary scholars have devoted much attention to the political, social and cultural effects of the French Revolution, but have written surprisingly little about the later years of the campaign against Napoleonic France. The principle objective of this thesis is to offer the first in-depth study of English theatre during the Peninsular War. It considers the most popular plays in performance, and asks what their staging, publication, and reception history reveal about a nation’s literary tastes and its political self-awareness. Sheridan’s Pizarro, a play about the Spanish conquest of Peru, was one of the most successful plays on the Romantic stage. A close analysis of this play considers its popularity between 1799 and 1815, and what it suggests about the flexibility of the contemporary repertoire system. Audiences’ ability to ascribe topical inflections to old plays helps explain the demand for Shakespeare and the bard’s political import to wartime audiences. This thesis explores the London patent stages and popular minor theatres, where programmes were restricted to song, dance, and spectacle. It also offers a case study of provincial theatre in Bristol, underscoring the significant limitations in assumptions that the metropolitan stage was representative of national trends. Archival research on the London and Bristol stages has been crucial to this study, which is based on an examination of playbills, memoranda, letters, playtexts, and prints. The newsprint and cartoons discussed offer an important political and historical framework, suggestive of the cultural expectations likely to have influenced contemporary playgoers.

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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 occupation of Bavaria, whose service was marked by several periods of protracted hospitalization. Over the course of five hospitalizations, during which Standifer was treated for bullet wounds, trench foot, and pneumonia, he consistently wrote letters to his family describing his experience. A careful reading of Standifer’s wartime correspondence in conjunction with his published and unpublished writings, secondary source material, and military records, suggest that while isolated in the hospital, after killing and experiencing the death of his comrades, Standifer lost his desire to fight. He began to make calculated decisions based on his knowledge of the military medical system in an attempt to ensure his survival and control the remainder of his military service.

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36

Polser, Brian G. "Theater nuclear weapons in Europe : the contemporary debate /". Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2004. http://library.nps.navy.mil/uhtbin/hyperion/04Sep%5FPolser.pdf.

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Abstract (sommario):

Thesis (M.A. in Security Studies (Defense Decision-Making and Planning))--Naval Postgraduate School, Sept. 2004.
Thesis Advisor(s): Jeffrey Knopf, Peter Lavoy. Includes bibliographical references (p. 111-117). Also available online.

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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 reposent sur une étude des sept cas exemplaires. Les exemples choisis couvrent aussi bien le domaine des théâtres traditionnels en tant qu'institution que celui de la structure des collectifs. Il conviendra de montrer s'il existe un lien entre les libertés laissées par la politique culturelle et les innovations esthétiques, si l'on peut discerner des recoupements franco-allemands et si un intérêt pan-européen en matière de politique culturelle peut résider dans une reforme
This research project is concentrated to focus the general conditions of cultural policy which are responsible for the creation of new artistic forms of contemporary music theatre in Germany and France. For this the research is focussed on innovations and not on the analysis of the crisis. The aim is to find solution and discus different reforms in the artistic practices. The field work include the analysis of 7 case studies, traditional institutions and structures of the free landscape of contemporary music theatre in Germany and France. It will be shown in the analysis that there is a link between cultural policy and innovation of arts

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38

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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39

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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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
Ph.D.
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 efficiency and effectiveness. Such a myopic view has prevented these earlier studies from evaluating how the replacement system affected the overall course of the European war. This dissertation breaks new ground by presenting a comprehensive overview of the replacement system--from the War Department down to the squad, and from the last days of World War I through the post-World War II years. It will elucidate a process of failed administration and implementation at the highest levels of the War Department and army, but it will also relate a "grassroots" story of success at the divisional level and below. The War Department's managerial approach to the utilization of military manpower was both inefficient and wasteful. The army largely overlooked the impact of individuality, morale, psyche, experience, and training on a soldier's performance. Its insistence on rushing men to the line once combat operations began meant that it often neglected to train, orient, and equip replacements in a manner conducive to their favorable and effective integration into combat units. The GIs at the front, both veterans and replacements alike, suffered for this oversight.
Temple University--Theses

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41

Đokić, Marija [Verfasser], Wessel Martin [Herausgeber] Schulze e 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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42

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.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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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 des repères et des garde-fous. Paul Claudel est le premier à en avoir une réelle connaissance grâce à ses longs séjours en Asie. Il intègre les traditions, les cultures et les philosophies orientales dans son écriture théâtrale, et propose une nouvelle forme épique et lyrique de la dramaturgie, comme dans Le Soulier de satin et Christophe Colomb. Dans une proposition de théâtre symboliste, il met en scène de véritables poèmes reflétant sa cosmologie et sa vision poétique, en réalisant pratiquement le « théâtre total » dont rêve Jean-Louis Barrault. Au début du 20ème siècle, plusieurs expositions coloniales introduisent l'Orient en Occident. Elles donnent aux Occidentaux l'occasion d'un contact direct avec les traditions scéniques orientales. Les jeux formalistes, sacrés et esthétiques, de la poésie symbolique, séduisent les intellectuels et les artistes. En particulier, les représentations de Sada Yacco et Mei Lan-Fang déclenchent l’enthousiasme. Les théoriciens-metteurs en scène sont passionnés par les jeux expressifs et métaphoriques de leurs corps robustes, agiles et bien proportionnés, par leurs attitudes modérées et discrètes, tous façonnés selon la tradition séculaire orientale. Bien qu'il y ait des nuances entre les divers théâtres asiatiques, on les regroupe sous la dénomination usuelle de « théâtre oriental ». C'est la raison pour laquelle nous avons analysé à la fois les chocs provoqués par les trois grands événements qu’ont été, en Europe, successivement la visite de la troupe de Sada Yacco en 1901, l’Exposition Coloniale en 1931, et l’arrivée de Mei Lan-Fang en 1935, sur le théâtre occidental, mais aussi les origines et les caractères communs des théâtres asiatiques .Dès lors que les artistes innovants découvrent le théâtre oriental, ils sont subjugués par l’authenticité de sa théâtralité et l’opposent au théâtre occidental, dont ils dénoncent les défauts de la convention théâtrale. Les traditions scéniques orientales leur présentent des esthétiques paradoxales : des embellissements dépouillés mais enrichissants sur le plan métaphorique, des jeux artificiels stylisés mais révélant les détails réalistes, des créations contraintes par la tradition mais libérées par le talent des artistes, des représentations courtes mais requérant un long temps d’apprentissage, un seul art théâtral intégrant divers arts. Se référant à ces formes caractéristiques orientales, Craig cherche à trouver une « forme définie », Meyerhold tend à établir une nouvelle convention de théâtralité, Brecht approfondit sa théorie et son écriture visant à l'effet de la « distanciation » et Artaud désire « en finir avec les chefs-d’œuvre » et faire parler le propre langage scénique. Après ces innovateurs qui ont découvert la source de l’Orient, les metteurs en scène suivants, tels Grotowski, Barba, Brook et Ariane Mnouchkine, orientent leur recherche spirituelle et introspective vers l'Orient, en engendrant leur propre esthétique réalisée par la pratique. De la sorte, cette dernière ne relève plus d’une unique tradition orientale ou de la convention occidentale, mais d’une fécondation née de leur appropriation de l’Orient mêlée à leur propre personnalité, leur « tribu » et leurs préférences culturelles
In the last decade of the 19th century, works of Lugné-Poe and Antoine experiment a new aesthetic representation and search the essence of the theatrical invention in the mise en scène. The director (metteur en scène) becomes the author; toa certain extent, sometimes, s/he takes the predominant role. Throughout the 20th century, the evolution of the directing (mise en scène) accelerates abruptly and it is so violent and sometimes it reaches to a state of anarchy. This is why the aesthetics of oriental scenic tradition, which goes through reproducible art forms, even stereotypical, could provide beacon and safeguards.Paul Claudel is the first person who acquires knowledge about the Orient due to his long stays in Asia. He incorporates the oriental traditions, cultures and philosophies in his playwriting, and proposes new epic and lyric forms in theater, likeone sees in The shoe of satin and Christophe Columbus. Proposing a symbolist theater, he had staged real poems which reflect his cosmology and his poetic vision. Claudel had achieved what Jean-Louis Barrault dreamed of -the "total theater."In the early 20th century, several colonial exhibitions introduced the East to the West. They gave Westerners an opportunity of directly absorbing the oriental scenic tradition. The formalists acting— sacred and aesthetics— in symbolic poetry attractsintellectuals and artists. Particularily, the representations of Sada Yacco and Mei Lan-fang were most enthusiastically received. The theoretical directors were passionate about the expressive and metaphorical acting of their robust,well-proportioned yet flexible bodies, about their moderate and discreet attitude, which were shaped by the ancient Eastern traditions. Although there were slight differences among various Asian theaters, they were grouped under the common name of "Oriental Theatre". In this sense, I would like to analyze the impacts caused by three major events of the western theater history in Europe: the successive visitings of troupe Sada Yacco in 1901, the Colonial Exhibition in 1931, and the arrival of Mei Lan-Fang in 1935. At the same time, we should trace the origins and common characteristics of Asian theaters.When the innovative artists discovered the eastern theater, they were overcame by the authenticity of its theatricality and they mirror the Western theater in opposition to the Eastern theater, in which they denounce the shortcomings of Westerntheatrical convention. The oriental scenic tradition shows them the paradoxical aesthetic: (1) unornamented decoration yet enriching in the metaphorical layout; (2) stylized artificial acting but realistic-details revealing; (3) short performance butrequiring long-term training; (4) creations constrained by tradition but set free by the talent of artist; (5) one theatrical art integrating various arts.Referring to these oriental characteristic forms, Craig seeks to find a "definite form", Meyerhold tends to establish a new convention of theatricality. As for Brecht, he goes further into developing theory, and his writing aims to produce the effect of"alienation." Artaud, on the other hand, wants to "terminate the masterpieces" and allow real stage language to speak for itself.After these pioneers who discovered sources from the Orient, directors who follow these doctrines such as Grotowski, Barba, Brook, and Ariane Mnouchkine turn their spiritual search and introspective towards the Orient, in hopes of generating their own aesthetics which could be realized in practice. Therefore, their creations reflect not merely Eastern traditions nor do they apply only Western conventions, but they are fertilized and born out of their appropriation to the Orient, mingled with these directors’ own personality, their "tribe" and their cultural preferences

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44

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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45

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 soldiers who received medical care in a field or evacuation hospital. Two hundred and one nurses lost their lives during World War II and sixty-seven nurses were captured and held as prisoners of war. Sixteen hundred medals, citations and commendations attest to the nurses’ courage and dedication.

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46

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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47

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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48

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 occidental en las últimas décadas. Europa es un ejemplo: desde la caída del muro de Berlín hasta la crisis financiera aún en curso, la conformación del espacio geográfico, político, social, identitario, ha ido mutando rápida y radicalmente. La forma dramática clásica, expresando la fe en una realidad coherente y orgánica, expresa una visión lógica del mundo que parece inadecuada para hablar de ciertas características del modus vivendi occidental actual. Como se explica en el primer capítulo, el drama clásico hereda del mythos aristotélico aquellos principios que garantizan la coherencia de la fabula, y que llegan hasta el drama moderno y el drama brechtiano. Estos principios son, básicamente: la unidad orgánica de la fabula como totalidad autónoma, separada de la realidad; la organización de los elementos de la fabula en una estructura dispositiva; la fabula como sistema de relaciones que funciona según principios de necesidad y versemblanza formal (causalidad, finalidad, cronología lineal). El drama, si quiere expresar la crisis de la coherencia lógica que se produce en la contemporaneidad, debe hacerlo renunciando a la coherencia que la fabula le garantizaba. Sin embargo, negando la coherencia de la fabula, el drama se desestructura a sí mismo, perdiendo gradualmente la prerrogativa de la dramaticidad. Así, paradójicamente, el drama que mejor expresa esta nueva visión del mundo será algo así como un drama “ya no dramático”. Las obras analizadas en los capítulos 3 y 4 (El chico de la última fila, de Juan Mayorga; Supermarket e Historias de familia, de Biljana Srbljanović; los Dramas fecales, de Werner Schwab; Attempts on Her Life, de Martin Crimp; Far Away, de Caryl Churchill; la producción entera de Sarah Kane) presentan una fabula cuya naturaleza ya no es totalmente lógica. Demuestran así una homología estructural entre una determinada manera de entender el mundo y su forma de representación; ese mundo ha perdido la fe en la lógica y esta pérdida se expresa en una fabula que pierde su característica de conjunto de leyes estables, su prerrogativa de estructura dispositiva y su posibilidad de garantizar la autonomía de la obra. Estos dramas “ya no totalmente dramáticos” nos dicen, por lo tanto, que la idea de una realidad comprensible es una ficción generada por una visión del mundo positivista, que nuestro sistema social, político y económico ha impuesto como hegemónica. Dichos dramas estimulan modalidades de recepción diferentes de la interpretación lógica, afirmando así la necesidad de una nueva modalidad, por parte del individuo, de experimentar la realidad en la que vive.
The work focuses on the analysis of the evolution of the dramatic form and the role of the text in the theater of the last twenty-five years in Europe, in order to understand how the text can now serve a theater who looks for new forms away from drama. The hypothesis is that this change in the conception of theater is linked to the need to find new ways of representing the world and new languages to interpret it; and that this necessity depends on the changes that have occurred in the Western world in the recent decades. Europe is an example: since the fall of the Berlin Wall until the financial crisis still ongoing, the shape of the political, social, identity and geographic space has been changing rapidly and radically. The classical dramatic form, expressing faith in a coherent and organic reality, expresses a logical worldview, which seems inappropriate to speak about certain characteristics of current Western way of life. As explained in the first chapter, the classical drama inherited from the Aristotelian notion of mythos the principles that guarantee the coherence of the fable and transmits them until modern and brechtian drama. These principles are basically: the organic unity of the fable as an autonomous product, separate from reality; the organization of the elements of the fable in an ordering and ordered structure; the fable as system of relations operating according to principles of necessity and formal verisimilitude (causality, finality, chronology). If the drama wants to express the crisis of logical coherence that occurs in our times must renounce to the coherence that the fable ensured him. However, denying the coherence of the fable, the drama deconstructs itself, gradually losing the prerogative of the dramatic. Thus, paradoxically, the drama that best expresses this new worldview is something like a “no more dramatic” drama. The plays analyzed in chapters 3 and 4 (El chico de la última fila, by Juan Mayorga; Supermarket and Family Stories, by Biljana Srbljanović; the Fäkaliendramen, by Werner Schwab; Attempts on Her Life, by Martin Crimp; Far Away, by Caryl Churchill; the production of Sarah Kane) present a fable whose nature is no more entirely logical. So, they show a structural homology between a certain way of understanding the world and its form of representation : the world has lost faith in logic and this loss is expressed in a fable that loses its characteristic of ensemble of stable laws, its prerogative of organizing and organized structure and its ability to ensure the autonomy of the play. These “no longer dramatic” dramas tell us, therefore, that the idea of an understandable reality is a fiction created by a positivist worldview that our social, political and economic system has promoted as hegemonic. Thus these plays stimulate a mode of reception alternative to the logical interpretation, asserting the need, for the individual, of a new experience of the reality in which he lives.

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49

Donato, Carla di. "Alexandre Salzmann et le théâtre du XX siècle". Paris 3, 2008. http://www.theses.fr/2008PA030146.

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Alexandre Salzmann (S. ) est un « protagoniste paradoxal » du théâtre des premières années du XX siècle: on ne le voit jamais vraiment parmi les protagonistes, mais on le trouve toujours dans des évènements de tout premier plan, dont il constitue semble-t-il un des moteurs secrets. Inventeur de génie (dans la triade qu’il forme avec Appia et Dalcroze) d’un système d’éclairage ad hoc pour le spectacle chef d’oeuvre Orphée et Eurydice acclamé par tous les réformateurs et les artistes inquiets du début du Vingtième, S. Est célébré dans toute l’Europe comme le maître des lumières (Craig) et des variations les plus imperceptibles dans les tonalités de couleurs. Son itinéraire, et celui de sa femme Jeanne, épouse ensuite celui de Gurdjieff et de son Institut pour le Développement Harmonique de l’Homme (Fontainebleau-Avon, 1922). La reconstruction historiographique de l’activité de S. à Hellerau, d’abord, et de sa collaboration avec Gurdjieff, ensuite, trouve dans cette étude ses bases dans la recherche du lien existant entre sa première activité et celle avec Gurdjieff, au delà du rapport avec sa (future) femme Jeanne, et des liens existant entre les évènements et les relations qui, pour le théâtre qui ne termine pas dans le spectacle (Grotowski), l’a amené directement au centre de la “science du Mouvement”, fondement de la science du processus créatif, coeur quant à elle du théâtre du Vingtième. En conclusion, dans l’histoire du théâtre, le cœur du parcours de S. Se trouve dans les croisements entre personnes, évènements et lieux, en regardant, volontairement, dans la direction inverse: avec un regard “tête en bas”
Alexandre Salzmann (S. ) can be considered a «paradoxical protagonist» of the beginning of the XX Century theatre: he can never be clearly identified among the protagonists, but he can always be discovered in all major events, which he appears to be one of the hidden engines of. Genial inventor (in Hellerau triad with Adolphe Appia and Émile Jaques-Dalcroze) of a lighting system created ad hoc for the masterpiece performance Orphée et Eurydice (1913), highly praised by all the theatre reformers and restless artists of the first half of the XX Century, S. Is celebrated all over Europe as maître des lumières / master of lights (Craig) and of the most imperceptible variations between shades of colours. Afterwards his itinerary (together with his wife, Jeanne) joins the one of Gurdjieff and his Institute for the Harmonious Development of Man (Fontainebleau-Avon, 1922). In this research the historical reconstruction of S. Professional experience in Hellerau, first, and collaboration with Gurdjieff, then, has its foundations laid in the following questions: how were the two mentioned experiences linked, out of his relationship with his (future) wife Jeanne? Which was the junction of events and relationships that, as per the theatre that does not end into the performance (Grotowski), led him straight to the centre of the “science of the Movement”, as hinge of the science of the creative process, heart of the theatre of the XX Century? To conclude, in the history of theatre the core of S. Itinerary can only be intercepted in the complex entanglement of people, events and sites, while intentionally looking at it with an “upside-down” approach

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Martz, Kuhn Émilie. "Ecritures scéniques de la catastrophe humaine dans le théâtre contemporain : Etude de cas et recherche-création". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030062.

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Cette thèse de doctorat en littérature et arts de la scène et de l’écran examine les écritures scéniques de la catastrophe humaine dans le théâtre contemporain. Elle explore les dynamiques qui sous-tendent la représentation de la barbarie au sein de formes spectaculaires marquées par une forte dimension visuelle. Divisé en deux volets – un premier, critique et un second, pratique –, le travail s’articule d’abord autour d’un corpus composé de trois spectacles : Kamp du collectif Hotel Modern, Rwanda 94 du Groupov et Rouge décanté signé par Guy Cassiers. En observant les oeuvres à la lumière de la complexité et en les abordant à l’aide d’une approche systémique,l’étude tente de révéler les mouvements – esthétiques, perceptifs et thématiques – qui animent ces écritures hétérogènes. La seconde partie de la thèse rend compte d’un processus d’expérimentation mené dans l’espace scénique. Ce dernier, consacré à esquisser une création artistique originale, questionne les mémoires occidentales du génocide des Tutsi du Rwanda.L’expérience pratique fait écho à plusieurs des problématiques soulevées par l’investigation critique et propose une autre forme de réflexion, menée directement sur le plateau
This doctoral thesis in performing arts looks into scenic writings of human disasters incontemporary theatre. It examines dynamics underlying the representation of barbarism withinspectacular forms imprinted with a visual dimension. Split into two parts – a first one, critical anda second one, practical -, the work is firstly structured around a corpus composed of three shows :Kamp of the Hotel Modern group, Rwanda 94 of Groupov and Rouge décanté by Guy Cassiers.Through the observation of the works in the light of the complexity and by analysing it with asystemic approach, the study attempts to reveal the moves – aesthetic, perceptive and thematic –that drive these heterogeneous writings. The second part of the thesis deals with a process ofexperimentation led in the scenic space. The latter, dedicated to outline an original artisticcreation, questions occidental memories on the Tutsi genocide in Rwanda. The practicalexperience echoes back to several issues raised by the critical investigation and proposes anotherform of reflection, directly led on the stage

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Tesi sul tema "European theatre"

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