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Teses / dissertações sobre o tema "Native theater"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 31 de julho de 2024

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1

Cooperkline, Kristen J. "Misconceptions Crumble: The Potential of Native-Controlled Theatre to Deconstruct Non-Native Americans' Perceptions of Native Peoples in the United States". Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1240582844.

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2

Stanlake, Christy Lee. "Mapping the web of Native American Dramaturgy /". The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486459267521699.

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3

Hahn, Miriam. "Playing Hippies and Indians: Acts of Cultural Colonization in the Theatre of the American Counterculture". Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1400171772.

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4

Cooperkline, Kristen J. "Misconceptions crumble the potential of Native-controlled theatre to deconstruct non-Native Americans' perception of Native peoples in the United States /". Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1240582844.

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5

Graham, Catherine (Catherine Elizabeth). "Dramaturgy and community-building in Canadian popular theatre : English Canadian, Québécois, and native approaches". Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42044.

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The Canadian popular theatre movement's refusal to accept one of the key binary oppositions that organizes Euroamerican theatre practice, the split between community-based and professional theatre, makes it a particularly interesting subject of inquiry for theatre scholars. This dissertation develops a methodology for analyzing this movement by approaching theatre, not as a unified institution or a series of texts, but as a mode of cognition that can overcome another of the basic binary oppositions of modern Euroamerican thought, the opposition between mind and body. Following an introductory chapter that situates the Canadian popular theatre movement in the context of recent Canadian theatre history and of other popular theatre movements around the world, a theoretical chapter lays the foundation for this methodology by exploring such key terms as "community," "professional," and "theatrical." It suggests that theatre is a particularly appropriate cognitive tool for building participatory community in heterogeneous social milieus. Chapters 3, 4, and 5 analyze three stages in the popular theatre process in these terms. Chapter 3 looks at how methods of organizing community workshops put in place particular forms of community. Chapter 4 explores the ways in which the dramaturgic structures of plays created by Headlines Theatre, the Theatre Parminou, and Red Roots Community Theatre are formed both by their creation processes and by their analyses of the problems in the dominant public spheres of the larger society. Chapter 5 looks at the specific contribution professional theatre workers make in focusing audience attention on key elements in community participants' stories. The dissertation concludes by suggesting that popular theatre events can be most fairly evaluated by looking at their contribution to the creation of new categories of thought through which we might publicly discuss and enact truly participatory communities.

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6

Däwes, Birgit. "Native North American theater in a global age sites of identity construction and transdifference". Heidelberg Winter, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2945427&prov=M&dok_var=1&dok_ext=htm.

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7

Rivera, Klaudia Maria. "Popular theater as a discourse for liberation in an adult, native language, literacy class /". Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10910335.

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Thesis (Ed.D)--Teachers College, Columbia University, 1990.
Typescript; issued also on microfilm. Includes appendices. Sponsor: Ray McDermott. Dissertation Committee: William Sayres. Bibliography: leaves 159-165.

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8

Däwes, Birgit. "Native North American theater in a global age : sites of identity construction and transdifference /". Heidelberg : Winter, 2007. http://catalogue.bnf.fr/ark:/12148/cb41119420w.

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9

Young, Dale J. "BRIDGING THE GAP: DREW HAYDEN TAYLOR, NATIVE CANADIAN PLAYWRIGHT IN HIS TIMES". Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1131125416.

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10

Nees, Heidi L. ""Indian" Summers: Querying Representations of Native American Cultures in Outdoor Historical Drama". Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1352840321.

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11

Seager, Cecchini Ashley. "“Maybe I’ll see you on the stage”: Spontaneous Audience Action in the Performance of the Plays of Victoria Nalani Kneubuhl". Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1281283461.

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12

Bush, Jason Alton. ""Staging lo Andino: The Scissors Dance, Spectacle, and Indigenous Citizenship in the New Peru"". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308262142.

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13

Kwon, Kyounghye. "Local Performances, Global Stages: Postcolonial and Indigenous Drama and Performance in Glocal Circuits". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259760023.

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14

Gavia, Mieko. "Mieko Gavia : The Dog Project". Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1308028153.

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15

Ferreira, Julio Cesar. "As fontes culturais elaboradas sincreticamente no teatro anchietano". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-10102011-112548/.

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O objetivo desse trabalho é compreender como o Padre José de Anchieta elaborou sua obra dramática, composta por doze autos teatrais, unindo a cultura européia, fortemente influenciada pelo cristianismo, com a cultura indígena brasileira. Para isso serão analisados alguns costumes e mitos indígenas descritos pelos cronistas que viajaram pelo Brasil no Século XVI. Também será abordada a tradição teatral em Portugal nas variantes Popular, mimos, jograis e entremezes; Escolar, comédias e tragédias clássicas; e Religiosa composta por pastoris, presépios e autos. E finalmente a analise das peças de Teatro de José de Anchieta, escritas em tupi ou que contenham fragmentos em tupi, buscando o sincretismo que o mesmo desenvolveu em sua obra. Anchieta falava para um público composto por colonos europeus, muitos dos quais degredados e índios falantes da língua brasílica, portanto um público totalmente novo, e para o entendimento da mensagem evangelizadora que seu teatro trazia fez-se necessário a re-elaboração dos elementos culturais indígenas e europeus iniciando um processo sincrético onde Deus (Jeová) tomará a forma de Tupã, os anjos ganharão assas coloridas ao modo das emplumagens1 indígena e o Demônio será dividido em vários personagens, diferentemente da tradição judaico-cristã e mais próxima a cultura indígena brasileira que acreditava em vários demônios. Esses receberão nomes de índios inimigos dos portugueses e características que compõem alguns dos seres espirituais que aterrorizavam os amerabas como o Curupira, o Caapora, o Baetata e outros. Alguns costumes como a poligamia, as cauinagens2 e a antropofagia, ritual no qual os índios devoravam seus prisioneiros para se vingar da morte de seus antepassados; serão criticados no teatro anchietano. Porem outros costumes serão aceitos e re-significados como a abertura de caminhos para os Karaibas3, o desbaste e varredura das trilhas na qual passariam os Profetas errantes; ou a troca de nome dos algozes dos prisioneiros, costume que mais tarde será incorporado pelos padres para falar sobre o batismo; incentivando o índio a assumir um novo nome mas desta vez cristão e uma nova personalidade, disposta a abandonar suas praticas ancestrais. Compreender os primórdios do teatro no Brasil, escrito pelo Padre José de Anchieta nos idos do Século XVI, é buscar entender as características que deram inicio a formação da cultura brasileira.
The aim of this work is the understanding on José de Anchieta, a catholic priest, who has developed his literary composition which was distributed in twelve theatrical plays. He connected the European culture strongly influenced by the Christianity with the Brazilian indigenous culture. Some myths and habits described by the historians who had travelled throughout Brazil in the XVI century will be accurately studied. It will also be mentioned the tradition of the theater in Portugal in its popular diversity as: mimes, narrative novels spoken on the streets and dramatic theater games; in the school tradition, the comedies and tragedies; and in the religious, the feast that celebrates Jesus nativity and the plays about religious theater. Anchieta started to talk to an audience constituted by European settlers most of them were in fact banished people and he also spoke to the native who could speak the Brazilian language. By the way, it was a very brand new audience for him. Therefore for the Gospel message be understandable through his plays, it was necessary a re-elaboration about the European and the native cultural elements to launch a syncretic process where the Christian God (Jeová) is going to take the form of Tupã; the angels are going to win colored wings as it is in the native way; the Devil is going to be diversified in more than one and will be called by native names with such characteristics known as being the Curupira the Caapora, the Baetata and other native devils. Some of the native habits as the polygamy, the fact of some native having several wives; the cauinagens, feasts where the native drank a fermented beverage made mainly of roots and fruit; the anthropophagi, a ritual where the native practiced devouring prisoners from their rival tribes in order to revenge the death of their ancestors, all of these subjects are discussed in Anchietas theater. However, other habits will be accepted and re-signified as the opening of the paths for the karaíbas; the trimming and the sweep of these paths where the errant prophets would pass by; or changing the names of their executioners. Such a habit that lately it will be utilizable by the priests to speak about the baptism where the native would assume a new name and a new personality. To understand the beginning of the first steps of the theater in Brazil, written by José de Anchieta in the early of the XVI century is to search for an understanding of the characteristics that initiated the formation of the Brazilian culture.

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Manyaapelo, Jacqueline Kehilwe. "DNA - Deconstructing Native Affairs: New Equations". Master's thesis, Faculty of Humanities, 2019. https://hdl.handle.net/11427/31804.

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This study is an exploration of the articulation of my artistic voice or performance signature. It employs two methodologies, autoethnography and Practice as Research to investigate the practice of my artistic creations as a solo dance-maker. It utilises concepts such as the Batammaliba’s anatomical and metaphorical approach to architecture, Sankofa and decoloniality to frame the investigation. My first solo work, Satisfaction Index, is a point of departure for this analysis. The study then proceeds to engage with works created during the pursuit of this master’s degree over the past two years. In the discovery of my work, DNA and ritual feature to further construct the artistic voice or performance signature that I seek for the articulation of my rebranding as a soloist.

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17

Lachance, Lindsay. "Cultural Renewal in Aboriginal Theatre Aesthetics". Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23425.

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The goal of this research is to shed light on current developments in the field of Aboriginal Theatre Studies. This investigation encourages the reader to look again at the ways in which elements of Aboriginal culture are manifesting in contemporary theatre. Aboriginal theatre is increasingly visible in Canada and its cachet is growing with both artists and audiences. As a result, culturally specific worldviews and traditional practices are being introduced to mainstream Canadian theatre audiences. Through interviews with practicing Aboriginal artists like Floyd Favel, Yvette Nolan and Marie Clements and through an exploration of their individual theatrical processes, this research has attempted to identify how practicing Aboriginal artists consciously privilege Indigenous ways of knowing in their approaches to creating theatre for the contemporary stage.

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18

Appleford, Robert. "The Indian act, postmodern perspectives on Native Canadian theatre". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq41007.pdf.

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19

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

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

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20

Quinney, Charlotte Louise. "(DIS)ARTICULATING THE FRONTIER BODY: ARTIFACTS, APPENDAGES, AND SPECTRES IN THE DISCOURSE OF THE AMERICAN WEST". Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1308525892.

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21

Krämer, Jörg. "Musik und nationale Identität im Theater". Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71913.

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22

Edmondson, Laura. "Popular theatre in Tanzania : locating tradition, woman, nation /". Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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23

Spalink, Angenette. "CHOREOGRAPHING DIRT: PERFORMANCES OF/AGAINST THE NATURE/CULTURE DIVIDE". Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395155418.

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24

Graham, Catherine. "Dramaturgy and community-building in Canadian popular theatre, English Canadian, Québécois, and Native approaches". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ29949.pdf.

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25

Lucas, Ashley Elizabeth. "Performing the (un)imagined nation : the emergence of ethnographic theatre in the late twentieth century /". Diss., Connect to a 24 p. preview or request complete full text in PDF formate. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236642.

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26

Dacey, Katherine. ""Gershwin Gone Native!": The Influence of Primitivism and Folk Music on "Porgy and Bess"". W&M ScholarWorks, 2001. https://scholarworks.wm.edu/etd/1539626290.

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27

Provencal, Sarah. "Understanding Experience: Reflections on the Empowering Nature of Story". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/333.

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Technological growth has changed our relationships and interactions within society and theatre artists are calling into question the future of our art form. Are we still essential? And if so, how do we renovate our form in order to relate to our changing society? In my experience, I’ve found that all renovations of our art have one thing in common: the empowering nature of story. Story helps us to understand our experiences in life. It is not the self, the cause, or the goal that is behind the wheel, but the story itself. This thesis explores three instances of the empowering nature of story during my graduate studies.

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28

Decker, Pamela. "Theatrical Spectatorship in the United States and Soviet Union, 1921-1936: A Cognitive Approach to Comedy, Identity, and Nation". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371461287.

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29

Taylor, Miles Edward. "Nation, history, and theater : representing the English past on the Tudor and Stuart stage /". view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9986765.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 255-265). Also available for download via the World Wide Web; free to University of Oregon users.

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30

Schicho, Walter. "Review". Universitätsbibliothek Leipzig, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-199727.

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31

Joyce, Parisa. "Lady Liberty intertextual performances of gender and nation /". Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1213635875.

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32

Pruitt, John. "British drama museums : history, heritage, and nation in collections of dramatic literature, 1647-1814 /". View abstract, 2005. http://wwwlib.umi.com/dissertations/fullcit/3203336.

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33

Watt, Linda Ann. "One-Third of a Nation, the Second Amendment, a Living Newspaper Play". VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5704.

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One-Third of a Nation, the Second Amendment, a Living Newspaper Play Thesis By Linda Ann Watt for a MFA Degree in Theatre Pedagogy Documentary theatre, including living newspapers and verbatim theatre, use socio-political commentary at critical moments in history to disseminate facts and offer ideological critique dramatizing the crisis through the lens of emotion, which can incite societal change. This thesis explores this didactic medium with a written play about the second Amendment and gun violence.

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34

Silva, João Luis Meireles Santos Leitão. "Music, theatre and the nation : the entertainment market in Lisbon (1865-1908)". Thesis, University of Newcastle upon Tyne, 2012. http://hdl.handle.net/10443/1408.

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The development of the Portuguese entertainment market and the rise of several types of musical theatre are inextricably bound to the complex symbolic and material process through which Portugal was established, presented, developed, and commodified as a modern nation-state between 1865 and 1908. During this period, several fundamental transformations that merged urban planning, everyday life, and modernity took place in Lisbon. In this process, leisure activities began to include new forms of music theatre (such as operetta and the revue theatre) that became an important site for the display of modernity, representing and commodifying the nation. Despite its colonial possessions, Portugal was a peripheral European country where modernity developed in a specific way. The commodification of music associated with both music publishing and mechanical music fostered the creation of a transnational market for goods in a period when most of the trade was conducted with or within national economies. In this context, the Portuguese entertainment market reflected a particular form of negotiation between the local, the national and the global levels, in which gender, class, ethnicity, and technology intertwined with theatrical repertoires, street sounds and domestic music making.

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35

Merriman, Victor Nicholas. "Dramas of postcolonial desire : nation, representation and subjectivity in contemporary Irish theatre". Thesis, Staffordshire University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402736.

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36

Grutzius, Heather L. "The Nature of Building A Public Arts Complex in Washington, DC". Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/9656.

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"Construction is the art of making a meaningful whole out of many parts. Buildings are witnesses to the human ability to construct concrete things. I believe that the real core of all architectural work lies in the art of construction. At the point in time when concrete materials are assembled and erected, the architecture we have been looking for becomes part of the real world." -Peter Zumthor The human experience of construction is the subject of this thesis. Through study of the materials, methods and tools of constructing, this work aims to reveal the nature of building through form, materials and detail.
Master of Architecture

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37

Rosa, Marco Antonio Camarotti. "The nature, roots and relevance of the folk theatre of the north-east of Brazil". Thesis, University of Warwick, 1995. http://wrap.warwick.ac.uk/73364/.

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Folk plays have been performed in many different cultures all over the world, notwithstanding the level of material development and the distinctive features of the societies in which they are found. In the North-East of Brazil, they have probably been played since the beginning of the country's history in the sixteenth century. This thesis examines the origins, the most relevant characteristics and the contemporary meaning of four of these folk theatre forms which are still performed in the North-East of Brazil, namely, the Bumba-meu-Boi, the Cheganca, the Pastoril and the Mamulengo, stressing the aspects that they have in common with the English Mummers' Plays and other folk theatre forms from Europe and from the East. Folk theatre forms have generally been seen as remnants of ancient religious rituals. However, this relationship is only hypothetical and can no longer be proved. Thus, although recognising that they possibly originate from magico-religious sources in the distant past, and that they still keep some magic characteristics, here they are chiefly seen as an expression of the collective unconscious of mankind and of social and political relationships.

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Slaughter, Stephany Lynn. "Performing the Mexican revolution in neoliberal times reinventing iconographies, nation, and gender /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1164735049.

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39

England, Sarah Jean. ""It was good enough for grandma, but it ain't good enough for us!" Women and the nation in Harold Arlen and E.Y. Harburg's "Bloomer Girl" (1944)". Thesis, University of Maryland, College Park, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1543591.

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The Broadway musical Bloomer Girl (1944) with score by composer Harold Arlen (1905–1986) and lyricist E.Y. Harburg (1896–1981) was the first book musical to follow in the footsteps of Rodgers and Hammerstein's Oklahoma! The obvious parallels between Oklahoma! and Bloomer Girl led critics and scholars to compare the musicals at the expense of overlooking the contributions the latter made to the genre. This thesis moves Bloomer Girl out from the shadow cast by Oklahoma! and situates it within a richer historical context. It begins with a brief history of Bloomer Girl. It then focuses specifically on both the dramatic and musical representation of women in the work. Using a comparative methodology, this study examines how the women in Bloomer Girl deviate from the model for the Golden Age musical to create a controversial political commentary about the United States in the World War II era.

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40

Schicho, Walter. "Review". Swahili Forum 22 (2015), S. i-v, 2015. https://ul.qucosa.de/id/qucosa%3A13559.

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Bugano, Tércio Renato Nanni [UNESP]. "O espetáculo da moral em Schiller". Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/93170.

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Schiller propõe uma educação estética do homem na qual utiliza a Arte e a Cultura como meios para tal intento. Seu conceito de estética é concatenado ao conceito de moral e, por fim, ao de liberdade. A partir desta perspectiva, este trabalho aborda o cenário político no qual Schiller está inserido e, como e de que forma tal proposta se afirma. Assim, no plano político, depara-se com o teatro e seu projeto moral, em comunhão com o propósito de identidade nacional. Quanto à educação estética, o teatro e a Tragédia trazem valores indubitáveis; todavia, o alvitre schilleriano vai além dos palcos encenados, buscando o íntimo do homem para, enfim, educá-lo. Nesse ideal, depara-se com o conceito do Sublime e sua relação de aprimoramento moral da humanidade face à adversidade da Natureza. Assim, através do conceito de Natureza, em conjunto com a idéia de homem natural, estabelecese uma discussão com Rousseau, trazendo à tona o embate entre o modelo de cultura referente à Antiguidade e o da Modernidade. Com este intuito, buscamos identificar qual dos dois modelos em questão, auxiliariam o homem neste projeto educacional, moral e libertário
Schiller proposes an aesthetic education of man in which you use culture and art as a means for this purpose. His concept of aesthetics is concatenated to the concept of morality and, finally, to freedom. From this perspective, this paper discusses the political landscape in which Schiller is inserted, how and in what way this proposal is stated. So, politically, faces the theater and its moral project, in communion with the purpose of national identity. As for the aesthetic education, drama and tragedy bring undoubted value, however, the suggestion goes beyond the stage Schillerian staged, seeking the depths of man to finally educate you. In this ideal, faced with the concept of the Sublime and its relation to moral improvement of humanity in the face of adversity of nature. Thus, through the concept of Nature,together with the idea of natural man, sets up a quarrel with Rousseau, bringing up the clash between culture model on the Antiquity and Modernity. To this end, we seek to identify which of the two models in question, the man would assist in this educational project, moral and libertarian

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Schaaf, Jeanne. "Lieux et non-lieux du théâtre écossais : constellations identitaires à l’ère postnationale". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL061.

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En tant qu’espace public, la scène théâtrale est le lieu de la construction et de la déconstruction de représentations de la nation, dans un dialogue incessant entre art et politique. En Écosse, la tension qui fragilise l’idée même de nation est exacerbée par le contexte géopolitique récent (référendum de dévolution en 1979, 1997 et référendum d’indépendance en 2014, puis Brexit en 2016). Miroir de cette instabilité, la scène écossaise réinvente ainsi son rapport à l’espace national en jouant sur les représentations spatiales et communautaires à différentes échelles, du local au global. Espaces et lieux, constamment problématisés, se changent en objets de représentations qui interrogent les multiples façons de faire, de montrer et de voir le théâtre. Ainsi, dans sa pratique comme dans son idéologie, le National Theatre of Scotland (NTS 2006) réinvente la nation : théâtre national sans espace physique de représentation, sans scène nationale, le NTS investit tous types d’espaces réels ou virtuels, qui donnent à repenser la présence et l’absence du corps en scène et font advenir de nouvelles communautés de « spect-acteurs » hors-frontières. Ce théâtre sans murs est métonymique de cette ouverture radicale du théâtre écossais, qui fait place à une représentation identitaire postnationale et horizontale. La scène écossaise offre donc un paradigme fécond pour rendre compte du renouvellement d’une pensée de la nation et des formes dramatiques contemporaines qui en émanent
As a public space, the theatrical stage is where representations of the nation are constructed and deconstructed, in an unceasing dialogue between art and politics. In Scotland, the tension that destabilizes the very idea of nationhood is exacerbated by the recent geo-political context (the referenda on devolution in 1979, 1997, the referendum on independence in 2014, and Brexit in 2016). Reflecting this instability, the Scottish stage similarly reinvents its relationship to the national space by playing with the very scales of space and community, from the local to the global. Space and place, constantly challenged on the stage, become objects of representation that question the multiple ways of doing, showing, and seeing theatre. Both in its projects and its ideology, the National Theatre of Scotland (NTS 2006) seeks to reinvent the nation. As a building-less national theatre, the NTS reinvests all types of spaces, be they real or virtual, asking us to rethink the presence and absence of the body on stage, and fostering new transnational communities of “spect-actors”. This theatre without walls is a metonymy for the radical opening up of Scottish theatre itself, which invites postnational and horizontal representations of identity. The Scottish stage thus presents us with a productive paradigm to explore new understandings of the nation and the contemporary dramatic forms it fosters

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Scullion, Adrienne Clare. "Media culture for a modern nation? : theatre, cinema and radio in early twentieth-century Scotland". Thesis, University of Glasgow, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320287.

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Hendel, William Thomas. "Illusions of the artless spectacles of nature in Denis Diderot, Jean-Jacques Rousseau and Claude-Henri Watelet /". Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1324369691&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Slaughter, Stephany Lynn. "Performing the Mexican revolution in neoliberal times: reinventing inconographies, nation, and gender". The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1164735049.

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Balcerak, Jonathan M. "The binary nature of relationships in two David Mamet duologues : A life in the theatre and Oleanna". Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1020179.

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Although David Mamet is one of the most frequently studied of the postmodern American playwrights, scholarly criticism has neglected to examine the dynamic that is unique to his two-person plays, or duologues. This study explores various aspects of that duologic dynamic, concentrating on two of Mamet's two-person plays, A Life in the Theatre and Oleanna. The relationships in both plays are sustained by the characters' desire for power. As is typical of a Mametian play, power is obtained through language and dialogue. The fact that there are two characters in each of the plays serves to intensify the conflict and to remind the audience of the binary nature inherent in drama.
Department of English

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Younge, Janni. "Creating resonance in emptiness with visual theatre : how the metaphorical potential of puppets, objects and images in theatre can be used to explore the constructed nature of reality and the complexity of the self". Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8158.

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Includes the performance script of the play.
Includes bibliographical references (leaves 88-93).
The aim of this explication is to set my practical theatre research, and the production Dolos in particular, in a theoretical framework and performance historical context. Since the central theme of Dolos is the construction of reality and the consequent attachment to aspects of the self, my study draws on the ideas proposed by Phenomenology and Madhyamaka Buddhist philosophy.According to these two philosophical systems, the concept of reality is subjective and relative. This leads me to question the functioning of meaning-making in artistic practice. Metaphor is explored as a vehicle for the meaning-making process and for the creation of resonant experience in theatre and performance. The production style of Dolos is one that I have defined as Visual Theatre, a theatre of puppets, objects, visual and theatrical images. Visual Theatre is examined in the context of theatre as an artistic medium; it is then contextualised in terms of its 20th development through the Century; and definitions are offered of the major elements at play within Visual Theatre. A series of interviews conducted with five creator/ directors from four South African companies working in the general terrain of Visual Theatre is used to contextualise current practice in South Africa and to locate my own work. The interviews are used to establish trends of thought around the object/puppet and its relationship in theatre to constructed reality. The views of these practitioners on their own creative process as well as my observations about their practical work are used as examples throughout.

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Bugano, Tércio Renato Nanni. "O espetáculo da moral em Schiller /". Marília : [s.n.], 2012. http://hdl.handle.net/11449/93170.

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Orientador: Marcio Benchimol Barros
Banca: Marco Aurélio Werle
Banca: Ana Maria Portich
Resumo: Schiller propõe uma educação estética do homem na qual utiliza a Arte e a Cultura como meios para tal intento. Seu conceito de estética é concatenado ao conceito de moral e, por fim, ao de liberdade. A partir desta perspectiva, este trabalho aborda o cenário político no qual Schiller está inserido e, como e de que forma tal proposta se afirma. Assim, no plano político, depara-se com o teatro e seu projeto moral, em comunhão com o propósito de identidade nacional. Quanto à educação estética, o teatro e a Tragédia trazem valores indubitáveis; todavia, o alvitre schilleriano vai além dos palcos encenados, buscando o íntimo do homem para, enfim, educá-lo. Nesse ideal, depara-se com o conceito do Sublime e sua relação de aprimoramento moral da humanidade face à adversidade da Natureza. Assim, através do conceito de Natureza, em conjunto com a idéia de homem natural, estabelecese uma discussão com Rousseau, trazendo à tona o embate entre o modelo de cultura referente à Antiguidade e o da Modernidade. Com este intuito, buscamos identificar qual dos dois modelos em questão, auxiliariam o homem neste projeto educacional, moral e libertário
Abstract: Schiller proposes an aesthetic education of man in which you use culture and art as a means for this purpose. His concept of aesthetics is concatenated to the concept of morality and, finally, to freedom. From this perspective, this paper discusses the political landscape in which Schiller is inserted, how and in what way this proposal is stated. So, politically, faces the theater and its moral project, in communion with the purpose of national identity. As for the aesthetic education, drama and tragedy bring undoubted value, however, the suggestion goes beyond the stage Schillerian staged, seeking the depths of man to finally educate you. In this ideal, faced with the concept of the Sublime and its relation to moral improvement of humanity in the face of adversity of nature. Thus, through the concept of Nature,together with the idea of natural man, sets up a quarrel with Rousseau, bringing up the clash between culture model on the Antiquity and Modernity. To this end, we seek to identify which of the two models in question, the man would assist in this educational project, moral and libertarian
Mestre

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Giroux, Claude A. "Unidentified Human Remains And The True Nature Of Love: An Exploration on the Art of Directing". Fogler Library, University of Maine, 1998. http://www.library.umaine.edu/theses/pdf/GirouxCA1998.pdf.

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BESIA, VALENTINA. "Il Tricolore alla ribalta. Teatro drammatico e politica nel Risorgimento tra Italia e Francia". Doctoral thesis, Urbino, 2018. http://hdl.handle.net/11576/2662490.

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