Rozprawy doktorskie: „Theatre for all audiences”

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Taylor, Crispin. "‘It’s All in The Timing’ – A Research Project that explores the complexities in the relationship of Actor to Audience, in Musical Theatre". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2434.

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This research project is interested in the communicative transaction that occurs between actor and audience, in theatrical performance, and how this relationship can differ within nonmusical, and musical theatre. In non-musical theatre, for example, there can be a very intimate and immediate “dialogue” between actor and audience, that can alter each moment of a performance, making possible a unique co-creation between the two entities. In this way, no two performances are ever alike, the actor “reads” the audience and adjusts their performance according to specific responses from them. This communion allows a flexible elasticity in the outcome, and the actor, in this case, can have absolute control of the timing. In musical theatre, however, control of timing can be taken out of the hands of the actor, the integrity of the transaction between them and the audience can be compromised, and therefore the performance can lose its potential for uniqueness and originality. Music itself, with its inherent structure, rhythm and tempi can dictate the flow of many elements during a musical theatre performance often compromising, or even disallowing flexibility or any sense of improvisation for the performer/s. This makes the musical theatre performer’s task - that of, creating a seemingly spontaneous and organic performance, guided by each audience’s unique contribution, marrying at least three disciplines of acting, singing, and dance - a much more challenging task. The project has investigated the ways in which the musical theatre performer, the actor/singer/dancer negotiates these hurdles, as compared to the actor in non-musical theatre. How does this performer navigate the requirements of each discipline to create a performance with the same sense of integrity as the non-musical performer? How too, can one create a production of a musical that enables the same sense of audience investment as in a nonmusical production? Finally, how can we train our musical theatre students to have a greater understanding of the actor-audience relationship, particularly given the limitation of the number of actual performances for each production? The cornerstone of my “Practise as Research” was a production used as a vehicle to explore and exercise my findings. At the Western Australian Academy of Performing Arts (WAAPA), with the assistance of nine 2nd Year Music Theatre students, I reimagined a production of David King and Nick Enright’s musical Mary Bryant. An audio/visual recording of one of the performances is included as part of this thesis. I directed the original professional production of Mary Bryant at Sydney’s Ensemble Theatre in 1998. Although favorably reviewed and a financial success, I was at the time, unsatisfied with the results, particularly with concern to the performer to audience interaction. This new production therefore tested and demonstrated ways of improving and responding to these shortcomings through original and unique processes, bringing about some expected but also unexpected results. The findings will be of interest to directors of musical and non-musical theatre, and to teachers of musical theatre, particularly those teaching the acting component.

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Wijesiri, Narayana Don Nimal Wijesiri. "Representation of identity in Sinhala theater: The impact of the religious/charity model". Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/235387/1/Nimal%2BWijesiri%2BThesis%2B%282%29.pdf.

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This study used a critical disability studies analysis of historical and contemporary theatre work, informed by interviews with theatre practitioners and spectators to understand how disability, ethnic, racial, gender, and sexual identity is being representing in Sinhala theatre in Sri Lanka. The thesis explored how theatre practitioners and audiences want to see identity representations evolve in future, to create change in Sri Lankan society.

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Trabelsi, Rabeb. "Spatialité, scénographie et imagination créatrice dans quatre créations tout-public de Joël Pommerat : Le Petit Chaperon rouge, Pinocchio, Cendrillon et Contes et Légendes". Electronic Thesis or Diss., CY Cergy Paris Université, 2024. http://www.theses.fr/2024CYUN1287.

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Cette recherche a pour but l'étude du processus de création de Joël Pommerat dans quatre créations « tout-public » à savoir Le Petit Chaperon rouge, Pinocchio, Cendrillon etContes et Légendes et la place de la scénographie dans l'œuvre de Joël Pommerat. Comment cet artiste revisite-t-il les contes de fée afin de donner de nouvelles interprétations à ces textes anciens à travers le théâtre ? Quels éléments nouveaux apparaissent dans Contes et Légendes ? De quel manière le metteur en scène permet-il au spectateur d'avoir un regard nouveau sur la société actuelle en traitant des sujets de notre quotidien ? Les éléments scénographiques dans l'œuvre de cet artiste jouent un rôle primordial dans l'originalité de ses créations à travers l'élaboration d'espaces scéniques à la fois féeriques, fictionnels et même futuristes. La scénographie représente une passerelle ou un pont amenant cette « métamorphose » de la tradition à l'actualité (dans les trois adaptations théâtrales de contes) et de l'actualité au futur proche (dans Contes et Légendes). Notre artiste déploie alors son imagination créatrice à travers une approche singulière et contemporaine. Cette recherche tente de montrer comment Pommerat exploite l'espace merveilleux du conte ou l'enquête de terrain pour créer de nouveaux espaces, tout à la fois politiques et fictionnels. Comment le conte devient-il un outil de problématisation de la crise sociétale d'aujourd'hui et une porte à de nouvelles créations de notre artiste ? À quels degrés l'esthétique cinématographique chez Pommerat participe-t-elle à la stimulation de l'imagination du spectateur ? Comment les éléments scénographiques participent-ils à la création d'un espace visuel moderne ? Quelles méthodes utilise Pommerat pour orienter la perception et la réflexion du spectateur dans ses spectacles tout-public ?
This research aims to study the creative process of Joël Pommerat in four creations for all audiences, namely Little Red Riding Hoood, Pinocchio, Cenderella and Tales and Legends and the place of scenography in Joël Pommerat's work. How does this artist reinterpret fairy tales to provide new interpretations of these ancient texts through theatre ? What new elements emerge in Tales and Legends ? In what way does the director allow the spectator to have a fresh perspective on contemporary society by addressing everyday subjects ?The scenographic elements in this artist's work play a key role in the originality of his creations through the development of scenic spaces that are both magical, fictional and even futuristic. Scenography represents a gateway or bridge bringing about this "metamorphosis" from tradition to current events (in the three adaptations of tales) and from current events to the near future (in Tales end Legends).This research aims to demonstrate how Pommerat exploits the wonderful space of the tale or fieldwork to create new spaces, at once political and fictional. How does the tale become a tool for problematizing the societal crisis of today and a gateway to new creations by our artist ? At what levels does cinematographic aesthetic in Pommerat's work contribute to stimulating the spectator's imagination ? How do scenographic elements participate in the creation of a modern visual space? What methods does Pommerat employ to guide the spectators' perception and reflection in his all-age creations ?

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Asiedu, Awo Mana. "West African theatre audiences : a study of Ghanaian and Nigerian audiences of literary theatre in English". Thesis, University of Birmingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288805.

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This thesis examines the question of who the main audiences of West African literary theatre in English are and what they expect from literary theatre performances. Through a survey of audiences at performances in Ghana and Nigeria, it shows that the main audiences of literary theatre in English in this region of Africa are mainly students and the educated elite. The language of these plays and the main venues of performance are largely seen as responsible for this limited but important audience. The study concludes that since playwrights and their audiences see theatre as a medium for social change and edification respectively, this category of audiences are strategic targets. The study, however, sees the role of other theatre practices, such as Theatre for Development and Concert Party Theatre, which are in local languages and target the larger, less educated sections of society as more relevant but complementary to literary theatre in English. This thesis also highlights the lively interaction of West African audiences with theatre performances. Theatre practitioners encourage the active participation of their audiences by casting them in concrete roles or by directly addressing them, thus insisting on their participation.

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Hayes, S. "Building community : a sociology of theatre audiences". Thesis, University of Salford, 2006. http://usir.salford.ac.uk/2034/.

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This thesis is an ethnographic study of theatre audiences and the ways in which they experience community. It is positioned within current debates on the mediatization and globalization of society, and the ongoing discussion as to whether social change has an adverse effect on community experience. Methodologically it emphasizes the investigation of audience contexts and collaborative practices among actors and theatregoers and between researcher and respondents. Audiences’ own terminology is considered vital to understanding what community means to them. The thesis examines community experience across the whole trajectory of the theatregoing event, from theatregoers’ backgrounds, through interactions at theatre performances, to discussion outside the auditorium and in their everyday lives. It argues that while theatre audiences conform to the perception that they tend to be middle aged and predominantly female, there are modifications to Bourdieu’s findings that cultural consumption is closely related to social class gradations. In particular, mainstream theatregoers extend across the spectrum of the middle class and their tastes in theatre are eclectic. Similarly, the research finds that there are other ways than through habitus that theatregoers acquire cultural tastes and practices. A close consideration of interactions at theatre performances, and the physical contexts in which they take place, identifies features of interaction and auditoria that encourage or discourage community, and relates them to interaction in everyday life. An investigation of why theatregoers prefer live to mediatized performance, and an examination of changes in audience perception and how much they are shared with others, contribute to an assessment of the transformative power of theatre and of how far face-to-face community is perennial in society.

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Betzien, Angela Jane. "Hoods : creating political theatre for young audiences". Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/19238/1/Angela_Betzien_Exegesis.pdf.

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My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative practice developed I came to understand the great complexity of Brechtian theory and the extreme difficulty of creating effective political theatre, that is, theatre that changes the world. Brecht’s theories have been so thoroughly absorbed into contemporary theatre practice that we no longer identify the techniques of Epic Theatre as necessarily political, nor do we acknowledge its radical origins. I have not yet seen a professional production of a Brechtian play but I’ve absorbed on countless occasions the brilliant reinterpretations of Brecht’s theories within the work of contemporary dramatists. My approach to creating political drama is eclectic and irreverent and I’m prepared to beg borrow and steal from the cannon of political theatre and popular media to create a drama that works, a drama that is both entertaining and provocative. Hoods is an adaptation for young audiences of my original play Kingswood Kids (2001). The process of re-purposing Kingwood Kids to Hoods has been a long and complex one. The process has triggered an analysis of my own creative practice and theory, and demanded an in-depth engagement with the theories and practice of key political theatre makers, most notably Brecht and Boal and more contemporary theatre makers such as Churchill, Kane, and Zeal Theatre. The focus of my exegesis is an inquiry into how the dramatist can create a theatre of currency that challenges the dominant culture and provokes critical thinking and political engagement in young audiences. It will particularly examine Brecht’s theory of alienation and argue its continued relevance, exploring how Brechtian techniques can be applied and re-interpreted through an in-depth analysis of my two works for young people, Hoods and Children of the Black Skirt. For the purposes of this short exegesis I have narrowed the inquiry by focusing on four key areas: Transformation, Structure, Pretext, Metatext.

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Betzien, Angela Jane. "Hoods : creating political theatre for young audiences". Queensland University of Technology, 2007. http://eprints.qut.edu.au/19238/.

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My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative practice developed I came to understand the great complexity of Brechtian theory and the extreme difficulty of creating effective political theatre, that is, theatre that changes the world. Brecht’s theories have been so thoroughly absorbed into contemporary theatre practice that we no longer identify the techniques of Epic Theatre as necessarily political, nor do we acknowledge its radical origins. I have not yet seen a professional production of a Brechtian play but I’ve absorbed on countless occasions the brilliant reinterpretations of Brecht’s theories within the work of contemporary dramatists. My approach to creating political drama is eclectic and irreverent and I’m prepared to beg borrow and steal from the cannon of political theatre and popular media to create a drama that works, a drama that is both entertaining and provocative. Hoods is an adaptation for young audiences of my original play Kingswood Kids (2001). The process of re-purposing Kingwood Kids to Hoods has been a long and complex one. The process has triggered an analysis of my own creative practice and theory, and demanded an in-depth engagement with the theories and practice of key political theatre makers, most notably Brecht and Boal and more contemporary theatre makers such as Churchill, Kane, and Zeal Theatre. The focus of my exegesis is an inquiry into how the dramatist can create a theatre of currency that challenges the dominant culture and provokes critical thinking and political engagement in young audiences. It will particularly examine Brecht’s theory of alienation and argue its continued relevance, exploring how Brechtian techniques can be applied and re-interpreted through an in-depth analysis of my two works for young people, Hoods and Children of the Black Skirt. For the purposes of this short exegesis I have narrowed the inquiry by focusing on four key areas: Transformation, Structure, Pretext, Metatext.

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Woods, Penelope. "Globe audiences : spectatorship and reconstruction at Shakespeare's Globe". Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8299.

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This thesis uses evidence gathered from conversations with audiences carried out before and after performances at Shakespeare’s Globe 2009-10, and contextualized through interviews with performers and creatives, archival data and critical scholarship to establish new understandings of current spectatorship at the Globe Theatre. This exploratory and inductive research into current audiences at the reconstructed Globe establishes new areas of inquiry for both current and early modern audience research. In cultural terms the position of Shakespeare's Globe is contested, it is read and used (sometimes simultaneously) by audiences as: theatre, tourist site, reconstruction and experiment. In academic terms the reconstruction is also contested, for its capacity to uncover new insights into early modern performance and reception or not. The significance of the physical conditions of performance and reception at the Globe, being a shared-lighting performance space, almost in-the-round, open-air and seasonal, are made apparent through reconstruction. These material and cultural conditions combine to produce a porous and contingent site of interaction between performer, building, weather, play and audience. These conditions alter and subvert current norms of audience passivity and quiescence today and illuminate new areas of consideration in early modern audience research. The four chapters of this thesis use four Shakespeare’s Globe productions as case studies: Chapter 1 draws on Troilus and Cressida (dir. Dunster, 2009) to consider issues of history and space for audiences; Chapter 2 considers Romeo and Juliet (dir. Dromgoole, 2009) and the place of audience work in performance; Chapter 3 takes Macbeth (dir. Bailey, 2010) to examine the production of illusion and audience affect, and Chapter 4 employs The Frontline (dir. Dunster, 2009) in a consideration of community-formation amongst audience. Themes of intimacy, hospitality, antagonism, the face-to-face encounter and laughter comprise sites of sustained critical concern with current spectatorship throughout the thesis. These areas receive some consideration in relationship to evidence of early modern spectatorship from plays and other primary sources.

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Groschel, Uwe. "Audiences and participants : researching theatre users at Contact, Manchester". Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/audiences-and-participants-researching-theatre-users-at-contact-manchester(ed0dbc91-5fc5-44ea-a7c8-627691ab8e1e).html.

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When people 'go to the theatre' we know that they are audiences. When young people go to Contact, however, they might be audiences, performers and/or theatre makers - they might play all three or more roles. Contact's users blur existing concepts and terminology. When we want to know more about theatre audiences, audience research offers models based on the distinction between audiences and theatre makers. If we want to know more about Contact's users, however, a model reflecting the blending of audiences and theatre makers' roles has yet to be developed. This thesis engages with Contact's users. It maps some of their multiple roles and experiences by asking two main questions: What are the practices of the people attending Contact and how can these practices be researched? A range of qualitative methods is necessary in order to investigate the wide variety of Contact's users' roles and experiences. Individual and group interviews are drawn from audience research, creative workshops are drawn from communication studies, and participant observation and visual research from the social sciences. Finally, a new method, Walking Fieldwork, is adapted for the use in theatre. A number of case studies are employed to investigate Contact's users. These case studies involve the observation of young actors during rehearsals and performances, the observation of participants in an outreach project, the investigation of audiences' experiences of two productions, and several short post-show interviews with general Contact audiences. This study found evidence that the relationship between theatre makers and audiences is changing. The term 'theatre user' is introduced as it opens up an area of overlap between the two and fits contemporary practices at Contact more closely. Contact's users function as communities, participants and co-creators. The descriptions of these roles and experiences contained in this thesis are understood as an initial exploration into practices of contemporary theatre users. However, further research is needed to build a more detailed understanding of these practices. In terms of research methods, this study found that the academic field of audience research needs to develop methods which are sensitive to both the backgrounds of theatre users and the theatrical context. The argument is put forward that audience research should become more aware of methods for the investigation of human experience and should enter into a 'methods-dialogue' with other academic fields of study.

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Soulstein, Seth Koozel. "Macbeth as Avatar : fandom in British Romantic theatre audiences". Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/41995.

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This study aims to place two previously disconnected areas of academic inquiry, Romantic theatre studies and fandom studies, in dialogue with one another, to the mutual benefit of both fields. Towards this end, I focus on a particular manifestation of fan behavior, the deployment of popular iconography and mythology as a protest strategy – a mode of fandom recently codified as “Avatar activism” by Henry Jenkins, a leading fan scholar – and look for its existence in a specific moment in time in Romantic London: the 1809 Old Price Riots. Fandom studies, as a discipline, looks at active media audiences, and the ways in which they build upon source media texts. In the first chapter, I give an overview as to the history of this relatively young branch of scholarship, which brings us to the current moment, in which Avatar activism can be considered a mode of fan behavior. Following that, I focus on the Romantic period for the remainder of the thesis. In the second chapter, I choose three various case studies of engaged audiences – Sarah Siddons as celebrity icon; hippodrama and genre fandom; and intertextuality, transmedia, and what David A. Brewer has called “imaginative expansion” - which set the stage for the idea that fan behavior was alive and well in the early nineteenth century. In the final chapter, I focus on the Old Price Riots, and the rioters’ use of Shakespeare-as-icon and Shakespearean mythology as a Romantic manifestation of Avatar activism. With this study, I aim to provide a larger historical context for modern conceptions of fandom, as well as to offer greater insight into audience/text dynamics that existed in Romantic London.

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Wood, Andrew. "Theatre spectatorship and the "apraxia" problem". Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59834.

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Some recent work of Suvin (indebted to Merleau-Ponty's Phenomenologie de la perception) asserts that two fundamental aspects of the praxis of theatre spectatorship--the non-tactile, inactive physicality of the spectator, and her/his imaginative cognitive participation in the apperception of the performance text--might better be understood when examined with regard to the "apraxias," neurological disorders of purposive physical movement. This thesis follows up this line of thought in examining clinical material on apraxia, both temporally previous and subsequent to Merleau-Ponty's discussion. Additionally, it is contended that various paradigms in Bergson and within modern cognitive science (Edelman, Schacter) may be applied with some utility to the praxis of theatre spectatorship. This may lead to a better understanding of the mental participation of the spectator in the performance text as a modulation of present perception and past subjective experience. Such an understanding is compatible with a semiotic "encyclopedia" (Eco), possibly buttressing it with arguments extrapolated from neurology.

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Scollen, Rebecca. "Building new theatre audiences: Post performance audience reception in action". Thesis, Queensland University of Technology, 2002. https://eprints.qut.edu.au/36428/1/36428_Digitised%20Thesis.pdf.

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The aim of this research is to arrive at an effective method for gathering and analysing nontheatregoers' reception of theatrical performance. It is anticipated that this method will provide insight into non-theatregoers' reasons for non-attendance, their reactions to theatre productions, and the likelihood that they might change their attitudes towards theatregoing and become theatre attenders in the future. A combined methodical approach to audience reception is created by adapting and combining the methods of Sauter (1986), Lidstone (1996), Knodel (1993) and Krueger (1994), and the model of Miles and Huberman (1984). This approach consists of a collection of questionnaires, a series of post performance group discussions, and analytical methods designed for examining qualitative data. This approach is tested and refined across three studies: a 1997 Pilot Study, a 1998 La Boite Theatre Study, and a 2000 Queensland Theatre Company Study. The primary result of this research is the emergence of the Scollen Post Performance Audience Reception (SPP AR) method for audience development. This method is the refined final version of the rigorously tested combined approach. Other results include the formation of a non-theatregoer profile; an understanding of how non-theatregoers perceive performances; the discovery that gender, age, and income have no direct impact on theatre attendance or reception of theatrical performance; confirmation that exposure to performance and an arts education increases interest and confidence in theatregoing; and that self and peer education is an effective way for non-theatregoers to learn about theatre.

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Morris, Amanda. "Investigating the 'Audience' in Theatre for Young Audiences: The Call for Artistic Educators". Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2199.

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Theatre history provides little information on theatre audiences and how the concept of an audience has changed over time. Through the investigation of theatre history texts, theatre theorists' manifestos, and interviews with workers in the field of theatre for young audiences, this thesis outlines the theatre audience from the first performance to the present and examines how the history of the concept of "child" and young audiences has developed in recent years. Opposing views exist on the subject of how a child is perceived as well as the purpose and role of a theatre audience. In this thesis, I investigate the classical, romantic, realist, modern, and current theatre movements and how scholars and theorists have perceived or written about their audiences in an effort to cultivate an understanding of what an audience is today and how the concept of theatre etiquette has or has not changed throughout history in order to relate these findings to experiences of audiences today. I began this thesis with a general knowledge of "audience," from a personal perspective as a performer and audience member. However, through my collected data, I find that audiences are valued in distinctive ways throughout various movements in theatre history. With this understanding, I wrote a short book to help young audience members to understand what the present conventions are as a theatre audience member.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

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Hoppe, Meredith. "BREAKING TRADITION: REACHING FOR THE AVANT-GARDE IN THEATRE FOR YOUNG AUDIENCES". Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2673.

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This thesis seeks to unearth the concept of breaking tradition in the field of Theatre for Young Audiences (TYA) in the United States by applying the avant-garde theory of Arnold Aronson as a lens through which to investigate the current development of US TYA. After formulating an approach in which to negotiate the concept of the avant-garde, I draft five tenets that currently define tradition in the field of US TYA. Situating these five tenets against AronsonÂ s theoretical framework, I examine three contemporary US TYA plays from the past two centuries: Black Butterfly, Hush: An Interview with America, and Atypical Boy. Within these scripts, I probe for moments where these five tenets break to manifest possible tendencies toward the avant-garde. I then conclusively reflect and problematize these findings in order to raise questions about each scriptÂ s relationship to the avant-garde and significance to the development of the field, ultimately provoking further discourse surrounding the role of avant-garde methodology within US TYAÂ s current position and state of progression.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

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

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Tauscher, Bryanna Nicole. "Theatre for Young Audiences and Educational Study Guides: Design, Implentation and Teachers' Perceptions". Thesis, The University of Arizona, 2006. http://hdl.handle.net/10150/193261.

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The purpose of this study was to evaluate a Theatre For Young Audiences (TYA) paper and multimedia study guide and to investigate teachers' perceptions of study guides created for TYA. It used current literature surrounding TYA performances, supplemental materials for the elementary classroom, and multimedia in performance and education, to glean critical elements for creating a useful TYA study guide. These elements provided the framework for creating a rubric to evaluate a TYA study guide's potential success in the classroom. The mixed methods study then used the created rubric to evaluate etc . . .'s (Educational Theatre Company) 2005 Hey Diddle Diddle! The Rhymes and Rhythms of Mother Goose study guide. This data was combined with surveys administered to elementary teachers. The study guide rated high on the rubric and teachers' perceptions were generally positive. Overall the analysis yielded information useful for the creation of future guides and research.

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Hodgkison, Sue. "The influence of myth on the fifth-century audience's understanding and appreciation of the tragedies of Aeschylus". Thesis, Durham University, 1991. http://etheses.dur.ac.uk/4087/.

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This thesis seeks to establish how the fifth-century audience’s perception of Aeschylean tragedy was influenced by their prior knowledge of the myths on which the dramas were based. Thus we study references to these myths in earlier epic and lyric sources in an attempt to detect borrowings and deviations from the earlier material on the part of the poet. The earliest surviving tragedy, the Persae, has a historical basis and so mythical knowledge is supplanted by the audience's own first-hand experience of the recent war. We see how foreknowledge of the Greek victory at Salamis will prove a deep influence on the audience s perception of the presentation of the enemy court and how Aeschylus presents the Persians as being utterly devastated by the defeat. Likewise an appreciation of the Seven Against Thebes is greatly enhanced if we remember that from the very beginning of the drama the audience were anticipating the double fratricide from their knowledge of this events in previous versions of the myth. During the Supplices, the audience would have suspected that not only would the Argives accept the supplication of the Danaids but also that these helpless girls would shortly murder their bridegrooms on their wedding-night, and Aeschylus includes many dark hints at this future event during the course of his play. Our study of the myth of Agamemnon will enable us to appreciate the exploitation of audience expectation throughout the Oresteia and their foreknowledge that murder is plotted against Agamemnon on his return and that Orestes will return to exact vengeance proves vital to the tragic effect. In addition we detect certain areas in which Aeschylus may diverge from his inherited material, such as his presentation of Clytemnestra as the sole unaided killer of her husband and his inclusion of a trial of Orestes before the court of the Areopagus. Thus it is hoped that by considering the mythical knowledge shared by both Aeschylus and his audience we are able to gain a fuller appreciation of the effects sought by the poet in the fifth-century theatre.

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McCoy, Allen. "TYA Methodology Twentieth-Century Philosophy, and Twenty-First Century Practice: An Examination of Acting, Directing, and Dramatic Literature". Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3943.

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Throughout the twentieth century, theatre for young audiences (TYA), or children's theatre, has been situated as something "other" or different than adult theatre, a kind of theatre--but not really theatre, a construct which opened the door to numerous "how to" philosophies geared specifically toward the theatre for young audiences practitioner. As a twenty-first century theatre practitioner, I am interested in how these philosophies are situated within or against current professional practices in the TYA field. This interest led me to the main question of this study: What are the predominant twentieth-century philosophies on acting, directing, and dramatic literature in the TYA field; and how do they compare to what is currently practiced on the professional American TYA stage? In order to explore current practice, I focused on three theatres, two of which are nationally recognized for their "quality" TYA work, the Seattle Children's Theatre and the Children's Theatre Company in Minneapolis. The third company, the Orlando-UCF Shakespeare Festival, is one of the largest Shakespearean festivals in the country, and has a growing theatre for young audiences program. Between June and October of 2006, I conducted numerous interviews with professional managers, directors, and actors from these organizations. I also attended productions of Pippi Longstocking (Children's Theatre Company), Honus and Me (Seattle Children's Theatre), and Peter Rabbit (Orlando-UCF Shakespeare Festival). It was through these interviews and observations of these productions that I was able to gain data--methodology, techniques, and philosophy--on twenty-first century TYA acting, directing, and dramatic literature. My study has uncovered that although there are numerous twentieth-century "how to" philosophies, many current TYA practitioners are unfamiliar with them. Most of the twenty-first century TYA practice that I studied follows the trends of the adult theatre. This thesis serves as the culmination of my Master of Fine Arts in theatre for young audiences at the University of Central Florida. However, it is not a culmination of my study on the theatre for young audiences field. Past philosophies paired with current methodology, while providing models of quality, also open the door to numerous ideas for further study. This thesis challenges me in examining my own notions of quality acting, directing, and dramatic literature in the TYA field; and it is my hope that this challenge makes me a more informed, deliberate, and responsible theatre practitioner.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre

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19

Lennon, Mary C. "DEVISING EMPATHY: WORKING WITH DEVISING, THEATRE FOR YOUNG AUDIENCES, AND THE SNOW QUEEN". VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5325.

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This thesis presents a workbook for creating a course that combines researching both theatre for young audiences and devised theatre to create a touring production and company. Devised theatre is a form of theatre where the script originates from collaborative creation, improvisation, and physical movement. This course explored the past, present and future of theatre for young audiences both domestically and abroad. Students worked in a collaborative effort devising and producing a TYA piece based on Hans Christian Anderson’s The Snow Queen and studied the child audience through reading assignments and practical experience. This thesis is intended to showcase the value of teaching college undergraduate how to perform TYA productions as well as to show how devised theatre can help foster the actor’s creativity and help to reach a whole new generation.

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20

Hoppe, Meredith A. "Breaking tradition reaching for the avant-garde in theatre for young audiences /". Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002968.

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Kweyama, Mdunyiswa. "Bringing dance into the realm of theatre : Making sense differently for actors and audiences". Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13140.

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Includes bibliographical references.
This study investigates what happens when dance is introduced into the realm of theatre. Firstly, it looks at how the audience relates to the combination of dance and text. Secondly, it questions whether dance contributes to the actors’ experience of creating a play. To explore these questions, two productions were created. The first was an adaptation of an existing play text that had already been performed in a realistic style; and the second was based on a novel, a text that was not originally written for performance, but which was adapted. The study argues that the presence of dance allows the audience to understand a play more viscerally, rather than only intellectually. Furthermore, it finds that adding the physicality of dance helps actors access emotions in a different way than working with only a script would allow them. The study draws on the theories and practices of a number of theatre practitioners such as Antonin Artaud, Vsevolod Meyerhold, Eugenio Barba, and dance choreographer Pina Bausch. It also focuses on Mathew Reason and Dee Reynolds’s theorizing of ‘kinesthetic empathy’as well as Josephine Machon’s theory of ‘visceral performance'.

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22

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

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23

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

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

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24

Kibler, Amanda. "ONCE UPON A TIME: MAKING FAIRY TALES RELEVANT IN CONTEMPORARY THEATRE FOR YOUNG AUDIENCES". Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4117.

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As a theatre for young audiences (TYA) practitioner and artist, I have noticed the prevalence of edited fairy tales on TYA stages. Artists tend to present versions of traditional tales that do not explore the dark places found in the original forms, the very same parts of humanity that young people often yearn to understand. Within TYA, fairy tales have become a safe option because many are well-known titles that generate audiences and income. Theatre practitioners and producers frequently present selections from the canon of fairy tales without exploring its many layers of meaning; failing to recognize the message that is being communicated to the audience. This thesis will explore how and why theatres continue to present these tales to contemporary young audiences. How do TYA companies create productions of fairy tales that capture the attention of a contemporary audience and still remain true to the traditional psychological framework? The staying power of fairy tales points toward a common human connection. Parents pass the stories down to their children, generation after generation. There must be a reason for this and I would like to examine it. Research on the long-term effects fairy tales have on young people focuses on the psychological values and ramifications of exposure to these classic stories. This thesis will explore the use of fairy tale structures in theatre for young audiences and where this author feels we can produce fairy tale shows in a manner that considers the developing psyche. I will consider the underlying significations in fairy tales and how theatre artists can provide young people a means to explore and understand these meanings, while avoiding metanarratives that reinforce submission and oppression. Guided by an understanding of research in psychology, productions already performed, and the definition of a contemporary young audience, I will look beyond the simple tale and find ways to create fairy tales onstage responsibly. I will analyze the works of Bruno Bettelheim, Jack Zipes, and Maria Tatar, compare and contrast their differing views on the place of fairy tales in a young personÂ s psychological life, and define what a child gains from hearing these stories. Finally, I will interview three directors from around the world about their approach to directing fairy tales, then synthesize the information to create a view of how some companies currently present fully-actualized fairy tales. The prevailing presentation of fairy tales follows an edited and lighthearted way of looking at these classic tales. However, a growing movement exists to re-imagine our view of fairy tales. The work of three of these innovative directors--Kevin Ehrhart, Dougie Irvine and Andy Packer--inspired this thesis with their fearless approaches to teaching young people through the lessons created in fairy tales.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

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25

Kibler, Amanda H. "Once upon a time making fairy tales relevant in contemporary theatre for young audiences /". Orlando, Fla. : University of Central Florida, 2010. http://purl.fcla.edu/fcla/etd/CFE0002988.

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26

Henry, Meghann. "DEVISING DRAMATURGY: AN INVESTIGATION INTO THE ART OF DRAMATIC COMPOSITION WHEN DEVISING THEATRE FOR YOUNG AUDIENCES". Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2884.

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This thesis investigates the dramaturgy of devised theatre for young audiences, specifically children ages 2-5. The chapters dissect current applications of dramaturgy in regards to the development of dramatic and performance texts, and present an exploration of devised theatre. My research revolved around qualitative research tactics through a review of the current literature on dramaturgy and devising, unobtrusive data collection, and interviews with the artistic directors of three Theatre for Young Audience (TYA) companies: Patch Theatre Company based in Adelaide, Australia, Theatre Mala Scena based in Zagreb, Croatia, and the Coterie Theatre located in Kansas City, Missouri. In addition, I viewed productions by each the above companies which helped to uncover how the artists move theory into practice based on their personal theories on TYA, dramaturgy, and devising. Through this research I reveal how dramaturgy proves a key element in moving improvisations into performance texts, creating theatrical experiences that capture the imaginations of the very young.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

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27

Bliznik, Sean. "WHO AM I?": A SEARCH FOR AMERICA'S IDENTITY THROUGH THEATRE FOR SOCIAL CHANGE". Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2288.

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Theatre has always existed as a didactic tool to educate society about society's own successes, failures, and foibles. The theatre and theatre artists have attempted to take society's interpretation of truth and place it on the stage for all to see and experience. Sometimes, theatre creates and performs its own truth in place of society's accepted truth by re-examining pre-existing societal constructs and creating an interpretation of truth that better represents the current state of affairs as the theatre sees it. Therefore, theatre becomes the mode by which society learns, explores, refutes, and at times, even dismisses accepted societal truths. As a didactic tool, it is in this vein of truth-seeking that theatre has entered the fickle work of social change. First and foremost, what is social change? Who can create change? How is this change measured? How does one measure the effected change on a particular audience? These questions (and more) as well as their subsequent answers are the job of the social change theatre artist and are explored in this study. This thesis is presented in several distinct chapters. Chapters one and two examine the foundations of theatre for social change and its place in the contemporary theatre world. Chapter three explores writing theatre for social change and yields the development of two original theatrical pieces of theater for social change as a direct result of the aforementioned research complete with a stage presentation of those pieces and an audience assessment (before the performance). The concluding chapters explore the results of the audience survey which explains my understanding of theatre for social change's effect on society and the need for society to continually be exposed to theatre which is socially conscious and contributive in order to firmly define America's socially conscious theatrical identity.
M.A.
Department of Theatre
Arts and Humanities
Theatre MA

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28

O'Neal, Timothy M. "It's All Greek To Me: Orestes 2.0". ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2180.

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“It’s a nightmare, really.” Orestes returns from exile to take revenge for his father’s death. From there begins a dizzying exploration into what it means to take revenge, what familial ties really mean, and what happens to a country after the long, drawn out war is finally over. Orestes 2.0 takes a bold look into these ideas and more, using Euripides’ ancient play as a touchstone and putting a contemporary spin on it by borrowing from many, many different sources. The award‐winning University of New Orleans’ production of Orestes 2.0 strives to open the world of ancient Greek to a modern audience and make them realize that there are no new problems and we have been dealing with these basic issues since time immemorial.

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Theodoridou, Natalia. "After theatre : a critical analysis of performance practices in Bali, and the problem of audiences". Thesis, SOAS, University of London, 2015. http://eprints.soas.ac.uk/20356/.

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This thesis examines representations, academic, popular and local, of Balinese performance, live and recorded, and of its audiences. It aims to bring Cultural and Media Studies' approaches to bear on the study of 'Balinese theatre,' refusing to treat theatre as an art form insulated from broader cultural processes, electronic recording and mass mediation. It considers the relationship between practices of studying Balinese performance and recording it for television and ethnographic film or documentary, and indigenous practices of mediation and self-representation. It questions the adequacy of existing approaches by interrogating the conditions under which and the purposes for which Balinese practices and Bali as a whole have been represented as theatre. Part One of the thesis investigates the summative notions that have been used in the study of Bali in order to encapsulate a complex and unknown entity. It considers the problems of imposing foreign frameworks and notions on the study of Bali and the consequent silencing of Balinese accounts of their own practices. Part Two shifts from this critical mode of enquiry to case studies of performance practices and their mediation in contemporary Bali, and tries to offer an alternative approach, by asking what is involved in examining these practices once one has moved past the academic compulsion to study them as theatre. It focuses on different modes and contexts of performance in Bali, and considers the ways in which Balinese institutions promote 'theatre' as a hallmark of 'Balinese culture' or 'Balineseness' as a whole. It focuses on the antagonisms between the various roles Balinese assume in representing their practices by juxtaposing commentaries by different groups of people (actors, academics, media professionals, enthusiasts). It therefore attempts not to represent Balinese performance as an object, but to examine a potentially conflicting and incoherent congeries of varied and situated practices of performance.

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Wood, Michael Alistair Peter. "Making the audience work : textual politics and performance strategies for a 'democratic' theatre in the works of Heiner Müller". Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/11702.

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In 1985, the East German playwright Heiner Müller (1929-95) spoke of the importance of a ‘democratic’ theatre: for Müller, the theatre was to be a space in which audience members are free to produce their own interpretations of the material presented on stage. In turn, the audience is encouraged to question the composition of its material reality but is not presented with a solution. Müller explicitly related this practice to his own production of his three texts Der Lohndrücker (1956-57), Der Horatier (1968), and Wolokolamsker Chaussee IV: Kentauren (1986) together at the Deutsches Theater in 1988-91. As this thesis demonstrates, Müller foregrounds instigating audience participation and the means of creating ‘democratic’ theatre from the very beginning of his career. In studying the composition of Müller’s texts, the historical contexts in which they were written, and their premières we gain new perspectives on the ways in which the possibility for political theatre is anchored in Müller’s texts and just how this political theatre aims to engage its contemporary, implied audiences; indeed, this thesis argues that the politics of Müller’s theatre can be best defined as ‘democratic’. In the introduction, I establish how Müller understands the term ‘democratic’ and how his understanding differs from interpretations of democracy contemporary to him; in doing so, I borrow critical vocabulary from the contemporary French philosopher Jacques Rancière. The introduction also elaborates a methodology for studying both implied and real audiences. While each of the prevalent semiological, phenomenological, or materialist theories of audience response has its strengths, in order to pay sufficient attention to the multiple influences upon and aspects of audience interaction, we must take a more holistic approach to audience research. I therefore articulate a new materialist phenomenological approach to audiences, drawing on Martin Heidegger’s phenomenology. In the following chapters, I study Der Lohndrücker, Der Horatier, and Kentauren in their historical contexts and consider how they were both composed with their contemporary audiences in mind and staged in their premières. This approach sheds new light on each text in question: not only do all three texts demonstrate a concern for a lack of democracy in material reality, but each also contains strategies for engaging audience involvement in a piece of ‘democratic’ theatre. My final chapter analyses Müller’s own staging techniques in Der Lohndrücker in 1988, arguing that they enhance the production’s democratic political potential and contribute to our understanding of Müller’s political theatre. While the productions discussed in Chapters 2 and 3 have largely been overlooked by theatre scholarship to date, they provide important insights into the politics of Müller’s texts and the possible limits of writing political theatre texts. This thesis draws on a wide range of both published and unpublished materials, including rehearsal notes, stage manuscripts, audience letters, newspaper reviews, theatre programmes, records of reactions to Müller’s works within the GDR’s statecraft, and Müller’s own notes for writing his texts. Through this wealth of material we not only gain an insight into the ways in which Müller’s texts were written for his audiences but we also recognise the parameters for his audiences’ responses. In offering a fresh perspective on Müller’s works, this thesis demonstrates both a compelling model for audience research and that a synthesis of textual/performance analysis, historical contextualisation, and audience research provides us with a very adept tool for analysing the making of political theatre and the politics of making theatre.

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31

Dodders, Catherine. "Travails in limbo - an ethical and aesthetic investigation into new approaches in the presentation of Theatre for Young Audiences". Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/10392.

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Includes bibliographica references (leaves 34-40).
This research sought to investigate new aesthetic approaches in the creation of feminist Theatre for Young Audiences (TYA), specifically for early adolescent girls, through two collaborative workshop processes designed to be ethical and respectful of the participants' contribution. The parallels between the research into a new aesthetic for TYA and current trends in Applied Theatre practice led the researcher to shift focus into self-study and a critique of practice to enhance self-reflexive praxis, which strives to be ethical. Issues surrounding representation took precedence in an attempt to speak to the lived experiences of the early adolescent South African girl. The difficulties in the process resulted in an inequitable relationship between the researcher and the participants who were unable to meet the criteria for successful theatre making without the researcher's facilitation.

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McClure, Keyla Ann. "Climbing the ladder with no hands at all". Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1692.

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This is the thesis of Keyla McClure analyzing her artistic process, growth as an artist, and future artistic goals. It includes an annotated performance history and bibliography of academic resources from her time at the University of Iowa.

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33

Henry, Meghann Elise. "Devising dramaturgy an investigation into the art of dramatic composition when devising theatre for young audiences /". Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002157.

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Hopkins, Boone J. "An Exploration of Process: Directing All My Sons". VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/14.

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The role of the director in the contemporary theatre is constantly evolving in relationship to the art form. This thesis explores the process of directing Arthur Miller's American Tragedy All My Sons . Produced on the campus of Virginia Commonwealth University in December 2006, the role of the director is explored as it relates to this university community. The examination focuses on challenges surrounding script selection, casting, rehearsal, and ultimately production. By exploring the process of directing this production of All My Sons, larger revelations are discovered about the changing role of leadership in academic theatre.

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35

Botica, Allan Richard. "Audience, playhouse and play in Restoration theatre, 1660-1710". Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:6dc8576e-e5cf-4514-ad90-19e7b1253c8e.

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This thesis addresses three aspects of the relationship between audience, playhouse and play in Restoration theatre from 1660 to 1710. It provides a comprehensive account of the composition of the Restoration audience, an examination of the effect this group of men and women had upon the plays they attended and an account of the ways in which the plays and playhouses of the Restoration touched the lives of London's inhabitants. In the first part of this dissertation I identify the audience. Chapter 1 deals with London's playhouses, their location, archictecture and decoration. It shows how the playhouses effectively created two sets of spectators: the visible and the invisible audience. Chapter 2 is a detailed examination of those audiences, and the social and occupational groupings to which they belonged. Chapter 3 deals with the support the stage received. It analyses attendance patterns, summarizes evidence of audience size, presents case studies of attendance patterns and outlines the incidence and effects of recurrent playgoing. In the second part of the dissertation I deal with theatricality, with the representation of human action on and off the stage. I examine the audience's behaviour in the playhouses and the other public places of London. I focus on the relationships between stage and street to show how values and attitudes were transmitted between those two realms. To do this, I analyse three components of theatrical behaviour--acting, costume, and stage dialogue and look at their effect on peoples' behaviour in and ideas about the social world. Chapter 4 is an introduction to late seventeenth century ideas of theatricality. Chapter 5 examines contemporary ideas of dress and fashion and of their relationship to stage costuming. Chapter 6 considers how contemporary ideas about conversation and criticism affected and were in turn affected by stage dialogue.

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36

Harelik, Elizabeth A. "Shrews, Moneylenders, Soldiers, and Moors: Tackling Challenging Issues in Shakespeare for Young Audiences". The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461187189.

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37

Garrett, Philip R. "THE CREATION, DESIGN, AND STAGING OF THE INTERMEDIAL PLAY ALL THINGS SHINING The Creation, Design, and Staging of the Intermedial Play All Things Shining". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343419468.

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38

Dunn, Amie. "A PERSONAL EXPLORATION INTO THE ETHICS AND RESPONSIBILITIES OF A THEATRE TEACHING ARTIST". Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2383.

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As an artist in the field of theatre for young audiences, I encounter many definitions of Â teaching artist,Â and within each definition lies a new set of physical, educational, and psychological responsibilities. While the term Â teaching artistÂ continues to evolve and grow, I am interested in exploring a common struggle among teaching artists: What does it mean to be an ethical and responsible teaching artist? This thesis allows me to create a personal definition of Â teaching artistÂ while exploring the relationship between responsibility, ethics, and community-based teaching. I begin by formulating my current understanding and beliefs about what it means to be a responsible teaching artist. I research how others in the TYA field, specifically Michael Rohd, Stephani Etheridge Woodson and Barbara McKean have dealt with issues of ethics and responsibility through four specific questions: How does my personal culture, race, gender, sexual orientation, and beliefs positively or negatively affect the work I do with young people? How does a teaching artist manage an environment in which there are inherently therapeutic qualities, without stepping into the role of therapist, and maintain a healthy relationship with the young people and the work? How do teaching artists maneuver through a structure where the ideologies of the teacher are guiding the project on a macro level but not a micro level? Is it possible or necessary to share responsibility with young people? As a reflective artist I canÂ t help but question, challenge, and rethink choices I make in facilitation. I would venture to say it would be irresponsible not to do so. I am hopeful this exploration will not only improve my personal teaching but also allow and inspire others to take a look at their practice in terms of ethics and responsibility.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

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39

Vanessa, Imeson Lynne. "Workshopping A Little Creation : a scenographic approach to theatre for young audiences, oral tradition and the concrete indian". Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43081.

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This thesis describes the production of A Little Creation, a play that I wrote and developed, which took place on the Frederic Wood stage during November 2011. The intent was to workshop my original script as a dramatic piece and explore its theatrical and visual elements. It was initially planned for the black box space of the Dorothy Somerset Studio on the University of British Columbia Campus, but was shifted to the Frederic Wood Theatre main stage. This shift to a much larger venue meant an increase in production scale and technical possibilities; the production literally grew to fit the space. The workshop production ran for three evening performances and one matinee during the week of November 24th until the 26th, 2011. Advisors for the project were Professor Alison Green, Professor Dory Nason, Professor Ron Fedoruk and Melody Anderson. The workshop consisted of a staged realization of my script in progress of the same title where I functioned as playwright, puppet designer and developer, as well as costume and set designer. In collaboration with Director Patrick New, UBC MFA candidate in Direction, Stage Manager Ashley Noyes, Designers Gua Khee Chong (Sound), Emily Hartig (Lighting), Jon Tsang (Lighting Supervisor), Brady Villadsen (Projections) Carolyn Rapanos (Graffiti and Head painter), and Actors Nyla Carpentier, Alex Carr, Meaghan Chenosky, Laura Fukumoto, David Kaye, Ashley McAllister and Lisa Smith, the workshop was intended to explore my creative process as an Indigenous person and artist alike, and to create a theatrical piece that I wanted to design rather than design a director’s vision; which is often the case. This thesis is a description of that workshop process concluding in an evaluation of the workshop and its effect on my creative process.

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40

Brigg, Gillian. "Theatre for audiences labelled as having profound, multiple and complex learning disabilities : assessing and addressing access to performance". Thesis, University of Nottingham, 2013. http://eprints.nottingham.ac.uk/14384/.

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The research described in this thesis is the result of a collaborative project between The University of Nottingham and Roundabout Education at Nottingham Playhouse, funded through an AHRC Collaborative Doctoral Award, which aimed to explore and begin to overcome the barriers to access to theatre for audiences labelled as having profound and multiple learning disabilities (PMLD). Positioned primarily from the perspective of the unique worlds of five profoundly disabled young people, the thesis begins with an assessment of their access to theatre in the light of disability discrimination legislation particularly Article 31 of the United Nations Convention on the Rights of the Child, 1991 - and highlights their disenfranchisement from past and current consultation processes, which perpetuates the lack of theatre appropriate to their needs. An initial examination of current audience reception theory - and current theatrical practice for PMLD audiences - suggests that this 'invisibility' is caused by a complex range of historico-cultural factors. The thesis describes the two practical research phases which I undertook as a key part of this collaborative project in order to address this shortfall. In the first phase, Thumbs Up, a team of specialists from a range of art forms worked alongside young people at a Nottingham School to experiment with the engagement potential of three theatre spectra (silence-sound, darkness-light and stillness-action) to foreground emotional narrative moments. This led to the second phase, White Peacock, in which I created a play using the three spectra to construct emotional narrative and utilised the concepts of inner and outer frames to ensure that those narratives could be experienced by PMLD audiences within a safe ethical framework that kept the distinction between reality and performance distinct at all times. The thesis concludes with a number of foundational principles emerging from the research that will assist theatre-makers wishing to create narrative theatre for PMLD audiences in the future.

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41

Bosley, Cicely. "THE ECONOMICS OF A YOUNG AUDIENCE". Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3644.

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As a theatre for young audiencesÂ (TYA) teacher, artist, and administrator, I seek to explore where and how TYA fits into business and economic models to open a dialogue between TYA practitioners and business administration professionals. Through this qualitative study, I endeavor to foster a new language for TYA practitioners to enhance fundraising and audience development. By its own definition, TYA is a hybrid field that strives for both artistic form and educative function. With a dual focus of form and function, administrators struggle to advocate for TYA organizations within existing models. To move through this challenge, I look to analyze select extant models in an effort to address a new hybrid model that better suits a hybrid field. This project arises from the persistent challenges found within the TYA field of defining and valuing our work for and with young people, so I approach this research as a TYA practitioner seeking tools for advocacy. Through my work as a teacher and artist moving into a business office, I observed marketing and development directors from the non-TYA fields challenged by the nature of our work. Paralleling that challenge, I struggle to articulate the necessity of my work with young people as equal to the importance of artistic excellence. My research leads me to believe that TYA does not neatly affix to any business model, but an analysis and marriage of several models may create a working model which TYA practitioners can employ.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

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42

Carter, Danielle Catherine. "Envisaged, invited and actual audiences: A new model to approach audience research in Australian community-engaged performance projects". Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/127464/1/Danielle_Carter_Thesis.pdf.

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This study investigates different approaches to theatre audience studies to develop a new practical model for examining the embedded and intrinsic audiences in community-engaged performance projects with social orientations. The practical model is empirically tested in two Australian case studies, and augmented and enhanced through its application in three key audience categories: Envisaged Audience, Invited Audience and Actual Audience. This study argues that the proposed model is a useful tool for industry, in particular, to locate, illuminate and disrupt different points of views on audiences held by community stakeholders, and to integrate perceptions on the audience with actual audience experiences.

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Reid, Robert. "Acts of Dissension : how political theatre has been presented in the past and what strategies the playwright can employ to make issues of radical or alternative politics more accessible to a mainstream theatre audience". Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16581/1/Robert_Reid_-_Pornography%2C_The_True_Confessions_of_Mandy_Lightspeed.pdf.

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The key focus of this research project is the marginalisation of radical and alternative politics in modern democratic societies, how they have been presented in a mainstream theatrical context and what strategies a political playwright can employ to present the issues of those politics while overcoming such marginalisation. Referencing cultural theorists including Noam Chomsky, Naomi Klein and Howard Zinn, this study argues that contemporary cultures operate within the boundaries of an internalised conservative value set propagated through systems of coercion utilised by the media, governments and corporations. With a specific interest in contemporary theatre, this study proposes that this internalisation functions as an efficient and nearly invisible censor, rendering more complex the task of the political playwright in communicating with a wider and more inclusive audience and that by examining the methods used in the manufacture of consent and then returning to the strategies utilized by political playwrights in the past and at present, we can better identify how to bypass that internal censor and do something more than " preach to the converted." This project comprises two interrelated components; one is an original full length play script, Pornography: The True Confessions of Mandy Lightspeed; the other is an exegesis which compliments and augments the play. The play script represents %60 and the exegesis the remaining %40 of the examinable output of this project, although both are considered integral (and integrate) parts of the whole. Central to both these texts is the question; " How has political theatre been presented in the past and what strategies can the playwright employ to make issues of radical or alternative politics more accessible to a mainstream theatre audience?"

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Reid, Robert. "Acts of Dissension : how political theatre has been presented in the past and what strategies the playwright can employ to make issues of radical or alternative politics more accessible to a mainstream theatre audience". Queensland University of Technology, 2007. http://eprints.qut.edu.au/16581/.

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The key focus of this research project is the marginalisation of radical and alternative politics in modern democratic societies, how they have been presented in a mainstream theatrical context and what strategies a political playwright can employ to present the issues of those politics while overcoming such marginalisation. Referencing cultural theorists including Noam Chomsky, Naomi Klein and Howard Zinn, this study argues that contemporary cultures operate within the boundaries of an internalised conservative value set propagated through systems of coercion utilised by the media, governments and corporations. With a specific interest in contemporary theatre, this study proposes that this internalisation functions as an efficient and nearly invisible censor, rendering more complex the task of the political playwright in communicating with a wider and more inclusive audience and that by examining the methods used in the manufacture of consent and then returning to the strategies utilized by political playwrights in the past and at present, we can better identify how to bypass that internal censor and do something more than " preach to the converted." This project comprises two interrelated components; one is an original full length play script, Pornography: The True Confessions of Mandy Lightspeed; the other is an exegesis which compliments and augments the play. The play script represents %60 and the exegesis the remaining %40 of the examinable output of this project, although both are considered integral (and integrate) parts of the whole. Central to both these texts is the question; " How has political theatre been presented in the past and what strategies can the playwright employ to make issues of radical or alternative politics more accessible to a mainstream theatre audience?"

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Bazo, Nicholas. "Sharing the True Colors: An Exploration of Theatre Created by Gay, Lesbian, Bisexual, and Transgender Youth". Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3469.

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True Colors: Out Youth Theater at The Theater Offensive is a Boston based program that focuses its theatrical and social mission on engaging Gay, Lesbian, Bisexual, and Transgendered (GLBT) at-risk, youth and the community that surrounds them. Through the process of generating an original touring production, True Colors employs theatre as a tool for personal, social, and artistic expression, empowerment, and activism. The program's balance of both process and product focused goals creates an environment of multifaceted engagement and provides an example of how art can thrive in a structure of youth outreach. Though directors and facilitators guide the process and final product, a fundamental mission of True Colors is to provide a student or youth-centered experience where inspiration, decisions, discussions, and leadership generates directly from participants. By observing and participating in the creation of one of these productions, I explore the impact of this student-centered structure on the personal perspectives and artistic growth of the GLBT participants and the artistic process of creating the production. My goal is to discover True Colors' effectiveness of achieving its mission to both create an impactful and positive process for the youth and also develop a final product that is artful and evokes social change. Additionally, by studying similar programs, I establish a basis of comparison against True Colors in order to develop a broader view of the field and evaluate the variances in methodology and the impact on youth and communities.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

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Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-1950)". Communication and Cultural Studies - Faculty of Creative Arts, 2002. http://ro.uow.edu.au/theses/246.

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This thesis explores a cultural history of cinema-going in the Illawarra region of New South Wales over the first half of the twentieth century through oral history interviews with cinema-goers of the period. The research was originally intended to explore the Australian cinema industry from a regional perspective. However, while the interviews contained fascinating details and stories of cinema-going in this period, they did not fit seamlessly into existing academic discussions about cinema which often focus on film texts and national cinema industries. Therefore, as well as considering how the oral histories I collected contributed to pre-existing academic discourses about the cinema industry and national screen content, I have also explored other discourses that are articulated in audience narratives. Through exploring the debates in cultural studies about audience research and the work of the Popular Memory Group and other critical oral historians, I critically evaluate the oral history narratives as well as the methodology of oral history itself. I look at the intersection of oral history practice with cultural studies in order to highlight issues of representation and power and to celebrate the way that differences between written and oral histories can foreground processes of meaning-making. My contention in this thesis is that cinema-going is a strategy of mediation through which people make sense of themselves, their lives and their relationships with others. I test this theory by considering cinema-going in relation to a series of identifications: national identity, local identity, personal identity and political identity (age being one strategic location from which older individuals can draw on age-related discourses and experiences to achieve particular narrative ends). In conclusion I argue that any cultural history of cinema-going is a mediated history which is constructed within a matrix of meaning-making strategies. It is created through audience members� narratives of cinema-going which re-configure memories in accordance with particular discourses of significance either in the narrated past or in the narrating present. The researcher, who tells the story with reference to specific research priorities and current academic discourses, further mediates such a history. Therefore, as well as setting out a cultural history of cinema-going in the Illawarra for debate and further research, the emphasis on mediation is intended to encourage reflection on the creation of history as a complex, collaborative and political process which creates one story as it silences others.

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James, Reagan. "A Summer Experience as a Paid Actor: It’s Not All Broken Legs". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/406.

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A Summer Experience as a Paid Actor: It’s Not All Broken Legs Thesis Statement: Finding out that you are going to be paid to act sounds like a dream come true, but there is a lot more to it than just the glitz and glam of the final product.

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Connick, Robert. "Creating an Audience for Community Theatre: A Case Study of Night of the Living Dead at the Roadhouse Theatre". Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1181759033.

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Vinodrai, Tara. "All the world is not a stage, production and work in the Toronto theatre industry". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0008/MQ36092.pdf.

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Lippold, Eva. "'Most women have no character at all' : female playwrights and the London Theatre, 1760-1800". Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/33407.

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The eighteenth century saw a remarkable increase in the number of works written by women, and also the number of women who made a living by writing. For the first time, being a writer was a viable career choice for a woman, and it was possible to support a family by writing, despite the backlash some individual writers, such as Mary Wollstonecraft, faced for their work. This thesis focuses on the work women did in the eighteenth-century theatre, and how they reconciled the demands of being a professional writer with their society's gender expectations. By analysing a variety of play texts written by different women, I show that they engaged critically with ideas about female virtue, the marriage market, and women's participation in the literary scene, the working world, and national politics. The plays of this period are relatively under-researched, and often do not appear at all in critical studies of eighteenth-century literature. My aim, therefore, is to rectify this situation, and to join other critics in rediscovering this interesting and vital era of female playwriting.

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