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1
Berridge, Susan. "Serialised sexual violence in teen television drama series". Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2326/.
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This thesis examines the kinds of stories about teenage sexual violence that are enabled (or not) by US and British teen television drama series between 1990 and 2008. This genre is centrally concerned with issues of sexuality and, in particular, sexual vulnerability as teenage characters negotiate the transition from childhood to adulthood. Sexual violence narratives are common within this context. This thesis argues that a fuller understanding of representations of sexual violence is enabled by contextualising these narratives in relation to overall series’ and generic contexts. I employ a structural methodology to map where these storylines occur within series’ and generic structures across fourteen texts, uncovering striking patterns that point to the value of analysing several programmes alongside one another. This then provides the starting point for a deeper textual analysis of how sexual violence functions narratively and ideologically. Through doing this, I am able to provide insights into a variety of different forces that shape how these narratives are framed. Contextualising my analysis of representations of sexual violence allows me to account for the specificities of episodic and serial narrative forms, the generic hybridity of individual programmes, the wider conventions of the teen drama series genre, the gender of the series’ protagonist and US and British contexts. Additionally, I identify the genre’s dominant sexual norms and explore how these norms intersect with representations of sexual violence.
2
Naicker, Kivithra. "Questions for Amma: Tracing the manifestations of violence on the South African Indian Female body". Master's thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29586.
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“[i]n the eyes of the law, a woman is both Eve and Eva. As a pure, fragile female she must be specially protected; as a seductive object, from whom men must be protected. In both cases women are the victims” (Navi Pillay in Gqola, 2015: 36). This research investigates performance as a medium through which the South African Indian female body transgresses and transcends the limitations and barriers of identity, culture and society. As this study positions the brown female body as a site for violence and codification, it challenges the mythical and stereotypically gendered representations of brown females in media and culture. In examining the performance of gender through the performative case studies supporting this research, this study critically engages with the fluid and shifting territory of identity and culture, tracing a feminist tradition beyond western notions, challenging overlooked cultural and domestic injustices which perpetuate a culture of patriarchy. Rape culture thrives on manufacturing power and fear, with rape being “sexualised violence” that has “survived as long as it has because it works to keep patriarchy intact” (Gqola, 2015: 21). Through performance, this study documents the manifestations of violence on the brown female body, theoretically engaging with how subtle and surreptitious forms of violence work to reinforce patriarchy playing into rape culture, perpetuating a cycle of oppression. In examining the 'tradition’ of Indian theatre in South Africa, this research examines the theatrical devices used to express anxieties, crisis of identity and representation, focusing on the South African Indian female experience through an auto-ethnographical study interrogating my identity and position as a South African Indian (Hindu-Tamil) female, artist, and feminist scholar. This study also unpacks the complexities and contradictions embedded within the representations of the brown female body in theatre, 'Indian’ and Hindu culture through a feminist lens, arguing that gender stereotypes perpetuate a cycle of oppression; highlighting ways in which the brown female body is trained and disciplined into performing as an Indian woman.
3
Ajumeze, Henry Obi. "The biopolitics of violence in the drama of the Niger Delta". Doctoral thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29522.
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The representation of the Niger Delta insurgency in cultural texts is often registered from the viewpoint of human history, an approach that foregrounds the politics of resistance against the multinational oil corporations in ways that ignore the contribution of the non-human elements in the historical struggles in the region. In this study, I seek to understand the ways that the Niger Delta landscapes and environment are imagined in the works that I describe as the Niger Delta drama. Drawing on a number of plays to reflect on the different historicizations of spaces in the region, I examine and analyse the ways in which these spaces exercise social and political agencies in the unfolding events in the region. I tentatively delineate the region’s history into two analytic epochs: pre-oil and oil modernity Niger Delta. Though noting the centrality of the creeks and swamps in both temporal contexts, I argue that the drama of the pre-oil modernity textualized the "ontology of water" as a site of socioeconomic and ecological relations with the people who inhabit the Delta terrain. In the event of oil modernity, these spaces and relationships are reframed in the material transformations of the region’s landscape and environment from a site of decay and degradation to that of material recalcitrance and revolt that petro-violence provokes. In that vein, I treat the spaces represented by the creeks as "spaces of exception" - a phrase coined by Giorgio Agamben to explain how political democracies exclude certain zones to legitimise state terror - in which biopolitical securitisations are programmatically unleashed on trouble-prone geographies in ways that reduce the citizens to the status of bare-life. Although Agamben has identified the concentration camps as the paradigmatic basis of the modern state of exception, I propose that the creeks of the Delta offer an exemplary case that is consistent with bare life - a space as much excluded as included in the sense of Agamben’s paradoxical formulation of homo sacer, where life is violently exposed to the state apparatus of repression. Texts situated within the frame of exclusion and violent geographies deploy a poetics of waste and decay, what I term "environmental scatology" to capture the condition of bare life in the Delta, and reflect on the state of abandonment and invisibility that underwrites the exclusion. At other times, the texts illustrate how the ontology of water and the knowledge that it enables construct the people's mode of resistance, articulating ways in which the seaweeds and crocodiles that inhabit the swamps are entangled in the violent political ecology of the region. I read these texts as inaugurating a truly environmental drama in which the human-nonhuman nature is entangled in the performance of political resistances in the violent geography of the Delta.
4
Reznek, Jennie. "Moving ideas about moving bodies : teaching physical theatre as a response to violence and the violated body". Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11377.
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Includes bibliographical references.Includes abstract.
In this thesis I explore my obsession with teaching the physical theatre body over the past twenty-five years.Two sets of questions are proposed: How does the teaching of physical theatre respond to violence and the violated body; and how does pedagogy change when it moves from one context to another? Firstly, I argue that the pedagogy developed by Jacques Lecoq in Paris responded like a pendulum to the extreme violence perpetrated on bodies during the Second World War. I argue that my own practice, influenced by my two years of study at École Jacques Lecoq (1984-1986), continued this tradition by responding to what, I propose, existed as a ‘culture of violence’ in South Africa from the period of colonialism through the apartheid era and into the present. I analyse the impact of violence on the body by focusing on three consequences - stillness, erasure and rupture - and come to an understanding of how the teaching of physical theatre, as per Lecoq and myself, counters all three with a focus on the moving, articulate, individuated body capable of transformation. Secondly, I propose that pedagogy responds to geographic, philosophical and historical contexts and is subject to modification when context changes. The methodology has included conventional research, a comparative analysis of the two contexts, and an analysis of my own experiences - from notebooks that I have kept - as a student and teacher.
5
MacKenzie, Sarah. "Representations of Rape and Gendered Violence in the Drama of Tomson Highway". Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28696.
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In The Rez Sisters (1986), Dry Lips Oughta Move to Kapuskasing (1989), and Rose (1999) renowned Cree dramatist Tomson Highway mounts a dramaturgical critique of colonialism, focusing most prominently upon the disenfranchisement of Native women and the introduction of Western gender roles into First Nations cultures. Within each of the three "Rez Plays," he employs the metaphor of rape to depict cultural, territorial and spiritual dispossession brought about by colonization. However, in hegemonic narratives of colonization, Indigenous women are similarly represented in connection with the land and the metaphor of rape is used to portray colonial takeover; as colonial domination heightened, literary portrayals of Indigenous peoples, particularly women, became increasingly demeaning.
This thesis investigates the extent to which Highway's works can serve as truly subversive, liberating texts given that the recurring portrayals of sexual violence in the "Rez Plays" reinvigorate dangerous, misogynistic stereotypes. Situating Highway's plays within a framework of contemporary feminist postcolonial theory, this thesis problematizes the repeated use of gender specific representations of victimization in the "Rez Plays."
6
Stoffregen, Amy. "Utilizing peer drama as primary prevention of dating violence against adolescent females". Connect to resource, 2007. http://hdl.handle.net/1811/28528.
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Thesis (Honors)--Ohio State University, 2007.Title from first page of PDF file. Document formatted into pages: contains 22 p.; also includes graphics. Includes bibliographical references (p. 21-22). Available online via Ohio State University's Knowledge Bank.
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Watson, Regina. "The Effect of a Drama on Young Adults' Attitudes About Domestic Violence". ScholarWorks, 2015. https://scholarworks.waldenu.edu/dissertations/1662.
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Intimate partner abuse has been and remains a pervasive problem that has been documented in every race, religion, class, and level of education. This study presented the rationale for achieving positive social change by examining the problem through prevention rather than reaction and intervention. Although many theories of causation have been presented at various times, none has been proven or offers a complete explanation. Social ecological theory examines the interaction of individual, community, relational, and societal influences on the development of attitudes and behavior acceptance. This pre and post-survey group, quasi-experimental study examined the effects of an intervention on attitudes about intimate partner abuse, specifically in young adults. The intervention was a 30-minute drama about dating abuse. Seventy-nine young adults from an online participant pool completed the Domestic Violence Myth Acceptance Scale (DVMAS) just prior to and after the intervention. Cronbach's alpha test of reliability was conducted on the 4 subscales of the DVMAS. Demographic data were presented on age, marital status, gender, and church attendance. A MANOVA did not demonstrate a significant difference between the overall scores on the DVMAS or the 4 sub scales before and after the intervention (p = .230). This research contributes to social change by adding to the body of knowledge about applications of social ecological theory to intimate partner abuse prevention. Attitudes and behaviors that lead to the perpetration or acceptance of intimate partner abuse do not arise from a single incident, discussion, or point in time. Multiple levels of exposures and multiple exposures contribute to the behavior and ultimately will be necessary for its prevention.
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Waidley, Karin Ann. "Violence interrupted : American youth and theatre in crisis /". Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/10227.
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Majumder, Doyeeta. "The 'New Prince' and the problem of lawmaking violence in early modern drama". Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11969.
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The present thesis examines the fraught relationship between the sixteenth-century formulations of the theories of sovereign violence, tyranny and usurpation and the manifestations of these ideas on the contemporary English stage. The thesis will attempt to trace an evolution of the poetics of English and Scottish political drama through the early, middle, and late decades of the sixteenth-century in conjunction with developments in the political thought of the century, linking theatre and politics through the representations of the problematic figure of the usurper or, in Machiavellian terms, the ‘New Prince'. I will demonstrate that while the early Tudor morality plays are concerned with the legitimate monarch who becomes a tyrant, the later historical and tragic drama of the century foregrounds the figure of the illegitimate monarch who is a tyrant by default. On the one hand the sudden proliferation of usurpation plots in Elizabethan drama and the transition from the legitimate tyrant to the usurper tyrant is linked to the dramaturgical shift from the allegorical morality play tradition to later history plays and tragedies, and on the other it is reflective of a poetic turn in political thought which impelled political writers to conceive of the state and sovereignty as a product of human ‘poiesis', independent of transcendental legitimization. The poetics of political drama and the emergence of the idea of ‘poiesis' in the political context merge in the figure of the nuove principe: the prince without dynastic claims who creates his sovereignty by dint of his own ‘virtu' and through an act of law-making violence.
10
Lorenzi, Lucia Marie. "This page intentionally left blank : silence and sexual violence in contemporary Canadian literature and drama". Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/56758.
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Spanning a variety of genres, including autobiography, fiction, and drama, “This Page Intentionally Left Blank: Silence and Sexual Violence in Canadian Literature and Drama” investigates the use of silence as an aesthetic and political strategy of resistance in depictions of sexualized and gendered violence. I argue that by using silence, selected authors and playwrights challenge expectations of how violence is to be articulated, particularly because speech about violence frequently risks being fetishized, appropriated, or even risks enacting representative violence itself. The introduction establishes a methodological framework for my analysis, tracing a history of silence and its relationship to sexual assault narratives. In Chapter 1, I discuss histories of censorship in order to set up a historical and political context for silence as a tool of oppression. In doing so, I also situate censorship and silencing as a nuanced phenomenon, discussing in particular the ways in which reluctant speech may be imagined as a politics of care for the reader. Chapter 2 investigates the genre of life writing in relation to the narrative expectations of legal testimony. I demonstrate how judicial expectations of speech affect autobiographical works, and how Maggie de Vries’ memoir of her sister’s life (and death) consciously operates outside of these discursive boundaries. In Chapter 3, I move towards a discussion of drama, with a particular focus on how playwrights Marie Clements and Colleen Wagner navigate embodied representations of sexual assault and their legacies within theatrical history. My final chapter examines works of fiction by Emma Donoghue and Anne Stone, articulating their relationship to and contravention of generic expectations of popular fiction. This chapter explores the fraught relationship between sexual assault and discourses of fiction and fact. This dissertation offers several important contributions to the fields of both trauma theory and Canadian literature: it dismantles the binary between speech and silence in order to form a more nuanced understanding of experience and representation; it theorizes how recuperative silences function across a number of genres; finally, it offers a unifying study of sexualized violence across the diverse field of Canadian literature.Arts, Faculty of
English, Department of
Graduate
11
Tyrrell, Belinda. "Displays of masculinity : James Ellroy and the violent drama of male subjectivity". Thesis, The University of Sydney, 1998. https://hdl.handle.net/2123/27559.
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My thesis examines the work of contemporary crime fiction author James Ellroy, focusing on his
representation of the constitution of masculine subjectivity through the ritualised repetition of violence.
Locating his texts in postwar America, Ellroy reconstructs this as an era saturated with violence, whose
ideological fabric is woven from the intersecting strands of misogyny, racism and homophobia.
Elucidating these inequitable power relations, I adapt Kristeva’s theory of abjection to suggest that Ellroy
divides his textual universe into the mutually exclusive realms of a domain of “viable” subjects and a
sphere of abjected individuals (women, homosexual men, and men from diverse ethnic backgrounds) on
whose rigorously enforced exclusion the former domain’s privilege is predicated. Filtered through the
perspectives of men striving for “viable” subjectivity, Ellroy’s novels are concerned with crises of gender
and sexual identity and the attainment of “manhood” against the background of a normative ideal of
masculine behaviour. Mapping the means by which Ellroy’s protagonists obtain “manhood” and
“viability,” I argue that this is accomplished through their participation in the violation of abjected
individuals and their capacity to adopt a particular behavioural paradigm which foregrounds the capacity to
disseminate and endure violence as the primary constitutive element of masculine subjectivity. Examining
the implications of Ellroy’s representations of masculinity and violence, I contend that his claims to merely
“reflect” the “real” violence and bigotry of the postwar era mystify his naturalisation of the power
imbalances undergirding this society. Rather than critiquing the logic of abjection in which his narrative
universe is grounded, his fiction restates it by effacing the subjectivity of devalued individuals, reiterating
the processes of objectification, specularisation and violation which enable their oppression, and valorising
the violent mode of masculinity responsible for subjugating these groups. In doing so Ellroy’s texts
themselves constitute acts of violence against both these subordinated groups and against his readers.
12
Siwak, Jakub. "An investigation of the African subjectivity represented in Gavin Hood's Tsotsi (2006)". Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1093.
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This treatise will focus on a critical examination of Gavin Hood’s South African Oscar-winning film, Tsotsi (2006), in the interest of exploring how the mass media creates a problematic configuration of the subject, in virtue of its valorization of the continued discursive colonization of Africans (identified broadly in geographical rather than racial terms). That is, within the narrative of the film, the protagonist, after engaging in a crime spree, gives himself over to the state authorities and emotively confesses to his transgressions. Importantly, this dramatic confession is represented as a triumph of the human spirit – in the form of an autonomous rehabilitation on the part of the criminal. However, if one understands the protagonist as a subject constituted by what Foucault terms the discursive regimes of disciplinary/bio-power, what emerges into conspicuity is that the protagonist’s actions rather than being the result of his growing maturity and concomitant augmenting ‘humanity’ are the consequence of a set of discursive imperatives which render him docile and prostrate. Arguably, what this serves to represent, and, indeed, propagate, is more of a superimposition of Western cultural discourses on African subjects, and less of a negotiation with such discourses by such subjects. The treatise aims to provide a theoretical solution to the negation of alternative modes of being by disciplinary/bio-power imperatives inextricable from neo-liberal subjectivity. However, in its attempts to encourage cultural negotiation between North and South, the treatise will avoid simplistic, ‘orthodox’, Marxist solutions and will instead critically contend with the theory of Ernesto Laclau and Chantal Mouffe, and their perspectives on how radical democracy can be achieved.
13
Ahmad, Ebtehal A. "Women's bodies in dramatic confrontations with patriarchal logic : the representation of violence against the female body in contemporary drama by women". Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266037.
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In this study, I examine the dramatization of violence against the female body in contemporary drama by women and the purpose behind their representational approaches. I concentrate on the representation of three types that I consider inclusive of other minor forms of violence: the political, the medical, and the social violations of the female body. In chapter one, I study the dramatic representation of political violence against women as their bodies become ideological expressions of their lands. This chapter analyzes Suzan-Lori Parks' Venus and Naomi Wallace's In the Heart of America. These dramas represent the violation of women's bodies to parallel the violation and rape of their lands that are effeminized by their subjugation to the dominant powers of the world. In chapter two, I examine the representation of medical violence against women's bodies as connoting the lower status of the female body within patriarchy. The dramas of this chapter, Louise Page's Tissue and Margaret Edson's Wit, illustrate how the female body is dehumanized and devalued by a patriarchal medical practice that fails to recognize the distinctive physical and mental needs of women. Finally, in chapter three, I discuss the dramatic representation of social violence as the most inclusive form of aggression against women. The plays of this chapter, Caryl Churchill's Vinegar Tom and Maria Irene Fornes' The Conduct of Life, emphasize the masculine fear of and intimidation by the female body's sexuality and productivity, which instigates all types of physical violence against women within the social context. In the conclusion, I discuss Eve Ansler's The Vagina Monologues as a piece of performance art that instigates an active type of opposition against women's subjugations and violations. The activism of this type of drama and its effectiveness in enforcing change upon women's lives makes it an excellent extension to the type of ideas and notions brought about in this dissertation.Department of English
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Hallstoos, Brian James. "Windy city, holy land: Willa Saunders Jones and black sacred music and drama". Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/371.
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My dissertation argues that African Americans in the 20th-century connected lynching and other acts of racial violence with Christ's crucifixion, which in turn fostered hope and even interracial amity by linking his resurrection with racial uplift. To illustrate this dynamic, I focus on musician, dramatist, and church leader Willa Saunders Jones (1901-79) and her Passion play, which she wrote in Chicago during the 1920s. Over the course of six decades, Jones produced her play annually in churches and later large civic theaters. Growing in size and splendor, the play remained intimately tied with the Black church. It also bore the impress of Jones's cultural training in Little Rock, Arkansas and Chicago, the city to which her family fled after a transforming brush with racial violence. The rise of her Passion play depended upon her musical success, most notably as a choral director. By focusing on a single cultural product over time and through several disciplinary lenses, my study contributes new insights into the role of sacred music and drama within the African American community.
Offering a brief overview of Jones and her play, my Introduction also articulates the dissertation's two central organizing concepts: the crucifixion trope and resurrection consciousness. Chapters One and Two explain why Americans, especially of African descent, made a link between the suffering of black men in America and the crucifixion of Christ (the crucifixion trope). Chapters Three and Four indicate why Jones considered sacred music and drama to be agents of racial uplift and interracial amity. The final chapter focuses on the theme of Christ's resurrection as a metaphor that animates certain responses to racial trauma (resurrection consciousness). In addition to a wide range of secondary sources, I draw upon personal interviews, court records, genealogical records, the Black press, visual images, song lyrics, correspondence, autobiographies, plays, playbills, school records, television footage, and church publications of the National Baptist Convention, USA. "Windy City, Holy Land" should be of special interest to scholars in African American Studies, American Studies, History, Religious Studies, Theatre Studies, and Women's Studies.
15
Mariau, Bérénice. "Écrire le fait divers à la télévision : la rhétorique émotionnelle du drame personnel au journal télévisé de TF1". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040174/document.
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Le reportage de fait divers diffusé au Journal Télévisé (JT) est questionné dans cette recherche d’un point de vue « pathémique », c’est-à-dire à travers l’analyse des figures rhétoriques propres à émouvoir le public. Ces figures sont élaborées autour d’une absence d’images explicites, absence paradoxale pour la télévision. Pour analyser la rhétorique émotionnelle construite autour de cette absence iconique — de ce creux —, on a sélectionné une sous-catégorie du fait divers privilégiée par les médias : le drame personnel.La partie I analyse la position du drame personnel vis-à-vis du fait divers ainsi que ses ressorts émotionnels, mettant en évidence l’imaginaire pathémique du fait divers. La recherche se focalise ensuite sur les contextes de production et de présentation des reportages du JT de 20 heures de TF1 (partie II). Le contexte de production renvoie à la part invisible du dispositif, aux différents paramètres symboliques et techniques qui jouent un rôle dans l’élaboration du texte. Le contexte de présentation fonde les cadres instituants de l’information qui guident la lecture du reportage. Tenant compte du sujet raconté et du dispositif chargé d’en rendre compte, la recherche aborde alors l’écriture du drame et les mises en scène télévisuelles à visée dramatisante (partie III). Cette analyse morphologique questionne les enjeux communicationnels et émotionnels d’une forme générique du fait divers au JT. Favorisant l’imagination et l’appropriation du texte, la forme symbolique du drame — composée d’images allusives et banales — vient compenser la singularité des faits exposésThis research analyses human interest stories on television news from a “pathemic” point of view, namely through the analysis of rhetorical figures aiming to move an audience. These figures are constructed around the absence of explicit images, which is a paradox for the television world. In order to analyze the emotional rhetoric constructed around this iconic absence, we have selected the most popular subcategory in the media, which we have called personal drama.The first part of this research analyzes the position of personal drama in relation to human interest stories and its emotional mainsprings. The second part of the research focuses on the contexts of production and presentation. The production context refers to the invisible part, that is to say, the technical and symbolic parameters which play a central role in the elaboration of the report. Whereas the presentation context acts as a framework which guides the audience in reading the report in a certain way. Considering the event being related and the means to do so, the ultimate aim of the research is to analyse the actual writing of the news story and its dramatization for TV. This morphological analysis questions the communicational and emotional stakes of a generic form of human interest stories on television news. Favouring the imagination and the appropriation of the text, the symbolic form of the drama - composed of allusive and mundane images - compensate for the singular nature of the facts being exposed
16
Schroot, Lisa M. "A Culture of Rape: In Twentieth Century American Literature and Beyond". UKnowledge, 2016. http://uknowledge.uky.edu/english_etds/39.
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This project examines rape culture in American literature and society, exploring factors of rape culture through the narratives of literary protagonists and current women alike. Each chapter is grounded in a work of literature, which serves as a lens through which to analyze a factor of rape culture, and is then broadened in scope to incorporate recent court cases that have had significant sociocultural impacts. The introduction includes a critical review of rape in feminist theory, from Susan Brownmiller to Ann J. Cahill. The first chapter treats the rape of Dolores Haze and victim blaming in Vladimir Nabokov’s 1955 Lolita, and the 2010 Cleveland, Texas gang rapes of an eleven-year-old girl, who was cast as a “Lolita” by her community and the media. The second chapter discusses the rape of women with disabilities in Elmer Harris’s 1940 Johnny Belinda, and two 2012 cases in California and Connecticut involving the rapes of women with disabilities and the issue of consent, both of which influenced legislation. The third chapter focuses on the use of mass rape as a weapon of war in Lynn Nottage’s 2009 Ruined, and the narratives and testimonies of rape survivors in the Democratic Republic of the Congo, where nearly 2 million women have been raped since 1998. As the literature illustrates, when rape functions as an instrument of power and control certain similarities arise, such as victim blaming, consent, and the use of rape to demoralize and subjugate women, all of which are primary features of rape culture.
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Boll, Julia. "Unlisted character : on the representation of war and conflict on the contemporary stage". Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/7987.
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The focus of this dissertation is the theatrical representation of both the individual and war in a time of disintegrating national states and the dramatisation of destruction versus survival as the driving forces on stage. In a study on the future of empire it has been observed that instead of progressing into a peaceful future, the 21st century has slipped back in time into the nightmare of perpetual and indeterminate state of warfare: ceasing to be the exceptional state, war has become 'the primary organising principle of society', thus echoing Giorgio Agamben's declaration that the state of exception has become the status quo. Seminal studies on contemporary warfare and society such as Mary Kaldor's New & Old Wars (2005) and Ulrich Beck's World at Risk (2008 [2007]) trace how the face of war has changed over the past fifteen years. The dramatic texts examined in this thesis reach from plays depicting inner-state conflict, civil war and the politics of fear, for example Caryl Churchill's Far Away (2000), Sarah Kane's Blasted (1995) and Zinnie Harris's war trilogy (2005-2008) over documentary and verbatim-based plays and their attempt to portray the trauma of war by recreating on stage the process of giving testimony and by endorsing public grieving (e.g. various Tricycle productions and Gregory Burke's Black Watch [2006]), to adaptations of Greek tragedies (like Martin Crimp's Cruel and Tender [2004]) and a Shakespearean play. The questions underlying this work are: how can war be represented on stage? and, how do the plays replicate the sociological structures leading to violence and war and explore their transformation of societies? Springing from the discussion about 'New Wars' in the age of globalisation, it will be demonstrated here how these 'New Wars' also bring forth new plays about war.
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Djondo, Amélie. "Femmes de pouvoir et pouvoir des femmes dans le théâtre du Siècle d’Or : le personnage de la reine transgressive et criminelle". Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100116/document.
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Cette thèse a pour objet d’étudier le personnage de la reine transgressive sur la scèneespagnole du Siècle d’Or à partir d’un corpus de huit comedias publiées entre 1609 et 1653 pardes dramaturges célèbres (Virués, Tirso de Molina, Guillén Rojas Zorrilla, Lope de Vega,Calderón de la Barca). L’introduction permet d’asseoir les bases d’une réflexion qui entendfaire émerger des types de reines particulières, des figures héritées d’une traditionmythologique, biblique ou historique. Un double critère a contribué à sélectionner le corpus età établir un plan : le rapport du personnage féminin au pouvoir et son lien avec une violencequi conduit nécessairement à un ou plusieurs crimes. Les chapitres de la première partie del’étude prennent en compte le cadre historique, social et idéologique de la figure de la reinedans la lignée des gender studies et analysent des exemples de souveraines qui à la foisdérangent, troublent mais fascinent. Notre référence-clé est celle de la reine-roi, un personnageexcessif qui subvertit les normes du genre et de l’autorité jusqu’à devenir un rôle d’exceptionpour les actrices de l’époque. La deuxième partie s’intéresse aux accès au pouvoir de la reineroi,à son exercice et à ses dérives tyranniques. L’analyse porte essentiellement sur les outilspropres à la scénographie, le travestissement mais aussi à la rhétorique. Dans une dernière partie sont abordées les perspectives psychologiques, criminologiques et judiciaires des violencescommises par les reines. Nous postulons des déviances parfois proches de folies ou depathologies irréversibles qui trouvent un dénouement exceptionnel sur la scène, à la hauteur de ces femmes hors normesThe object of this thesis is to examine the character of the transgressive queen on theSpanish stage of the Golden Age, from a corpus of eight comedias published between 1609 and1653 by well-known dramatists (Virués, Tirso de Molina, Guillén de Castro, Rojas Zorrilla,Lope de Vega, Calderón de la Barca). The introduction helps to lay the foundations of a thoughtprocess which aims to bring out specific types of queens, inherited figures from a mythological,biblical or historical tradition. Two criteria contributed to selecting the corpus and shaping aplan - the female character’s relationship with power and her ties to violence which inevitablylead her to commit one or more crimes. The chapters in the first part of the study take intoaccount the historical, social and ideological representations of the Queen in line with thegender studies, and analyse examples of sovereigns that are both disturbing and unsettling andyet fascinating. Our key reference is the Queen-King – an excessive character subverting thegender and authority standards and whose role will be exceptional for actresses at the time. Thesecond part looks into the Queen-King access to power, her reign and her tyrannical outbursts.The analysis mainly pertains to the tools of scenography, of distortion but also of rhetoric. Thelast part deals with the psychological, criminal and judicial perspectives of violence, committedby the queens. We claim that some of the deviances occasionally border on madness orirreversible pathologies which find an exceptional outcome on stage, worthy of theseoutstanding women
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Herbst, Rone. "Considering rhythms of emotional proximity: an alternative approach to directing theatre in a violent society". Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/20059.
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This inquiry is concerned with realistic representations of violence on stage within a South African context. Inside this broad frame I focus on why this directorial approach is a problem and I propose a possible solution in a directorial intervention with mise-en-scène, which attempts to regulate the audience's emotional immersion and distance through theatre apparatus. This notion is supported both by Psychological research into the problem of violence in South Africa, and by Theatre and Performance studies, with author Lilie Chouliaraki (2013) arguing for the "in-between" of theatre as a means to approaching violence. Conceptually, I propose working with theatre apparatus in a spatial triad, which is located within Peter Brook's ideas around an "empty space", the post-Brechtian according to David Bennett, which is concerned with both distance and emotional immersion, and the spatial trialectics of Henri Lefebvre and Edward Soja, who argue for the insertion of a "thirdspace" in order to counter the limited workings of binaries. This conceptual frame translates into praxis in the form of theatre apparatus such as interruption and disruption of the narrative, working with metaphor and gesture, "playing" with time, duration and repetition and working towards moments of extreme intensity before a pause is inserted into the action. I propose these apparatus as the findings of a series of Practice as Research projects which formed part of this study, and as the tools for my final Thesis Production. This project will take place in November, 2015 in the form of an adaptation of a novel, where my objective will be to create a rhythm of emotional audience involvement. My aim is to test whether the apparatus I have discovered in this study are able to regulate the emotional proximity of the audience to the violence on stage, hopefully providing an alternative approach to working with violence in an already violent society.
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Howe, Steven Mark. "Philosophical inspirations for violent fiction and drama : Heinrich von Kleist and Jean-Jacques Rousseau". Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/112954.
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Heinrich von Kleist (1777-1811) is renowned as an author who posed a radical challenge to the prevailing intellectual, aesthetic and ethical orthodoxies of his age. Recently, his elusive works have frequently been seen to represent a poetics of irony that relentlessly deconstructs the philosophical paradigms of Idealism and reflects a Romantic, even postmodern, view of the fundamental ambiguities of the world. For all that this contributes to our understanding of the famed plasticity and inexhaustibility of his texts, however, a limited reading along these lines effects a decided levelling of social, political and intellectual context, and fails to do full justice to the more complex manner in which Kleist articulates the tensions between the secure modalities of Enlightenment thought and the deep anxieties of the revolutionary age. This study aims to offer a new angle on Kleist’s dialogue with the Enlightenment by reconsidering his investment in the philosophy of Jean-Jacques Rousseau. Where previously critics have tended to conceptualise this from a biographical perspective as a temporary, personal interest borne of the strict antinomies of nature-civilisation and individual-society, an attempt will be made here to re-establish Rousseau’s specific importance as a political thinker whose theories remained a fertile source of creative inspiration and critical reflection for the violent constellations of Kleist’s fiction and drama. Focusing on a cross-section of his work, particular focus will be placed on his explorations of the links between religion and fanaticism (Das Erdbeben in Chili), the legitimacy of revolutionary violence (Die Verlobung in St. Domingo), the performance of nationhood (Die Herrmannsschlacht), and the relationship between patriotism and liberty (Prinz Friedrich von Homburg). Set in the historical context of the French Revolution and Napoleonic Wars, a mode of discourse will be located which sheds new, important, and at times unexpected, light on the political and ethical issues at play in Kleist’s work.
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Campbell, Stephanie 1983. "Le sublime, le grotesque et le meurtre spectaculaire : l'esthétique de la violence dans le drame romantique". Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116056.
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This thesis focuses on the representation of physical violence in the first Romantic French dramas of the 19th century. Before 1829, the Classic movement forbade spectacles of violence in the major theatres. However, with the production of the first Romantic play, Henri III et sa cour, the stage was transformed into a space of murder, physical brutality and suicide. In this study, we will interrogate the reasons for which violent acts reappear on the French stage. The influence of the guillotine will be examined as well as the sublime and grotesque nature of murder. The theories of Christine Marcandier-Colard, which explore the supreme beauty of criminality, will lead us to determine which ideologies are communicated through the depictions of death. We will also analyze the reaction of the public in regard to brutality in the theatre, as well as the role that violence plays in the development of a new society. Although violence inherently possesses a destructive value, its aesthetic value in the theatre advocates a veritable evolution of the French society towards democracy.
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Balfour, Michael. "Theatre in prisons and probation : an investigation of a drama-based, cognitive-behavioural approach to working with violent offenders". Thesis, Lancaster University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264131.
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Troncoso, Chandía Juan. "Dramaturgias de la memoria: violencia política y puesta en crisis del personaje en tres obras chilenas : Escuela (2013) de Guillermo Calderón, Yo maté a Pinochet (2013) de Cristián Flores e Hilda Peña (2014) de Isidora Stevenson". Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/170313.
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Tesis para optar al grado de Magíster en LiteraturaEn esta tesis se analiza la crisis de la noción de personaje en las obras Escuela (2013) de Guillermo Calderón, Yo maté a Pinochet (2013) de Cristián Flores e Hilda Peña (2014) de Isidora Stevenson, en relación a la extensa tradición contemporánea que explicita la crisis del personaje como parte de la crisis del drama. Para ello proponemos un marco teórico que nos permite entender la crisis y descomposición de los elementos centrales de la forma dramática clásica (acción, discurso, conflicto y personaje) que tiene lugar a partir de finales del siglo XIX. A su vez, realizamos una revisión panorámica de la producción dramática-teatral chilena desde mediados del siglo XX a partir de los ejes violencia política, memoria y crisis del personaje. Bajo nuestra perspectiva, los textos del corpus forman parte de una tradición dramática nacional que a través de la problematización de temáticas de carácter político-social, se inscribe en la crisis de la forma dramática. Estas tres obras de dramaturgia chilena reciente, problematizan contextos particulares de lucha armada y violencia política, lo cual en nuestro análisis, incide directamente en la conformación de 'hablantes' y 'voces' que desbordan, diluyen y fracturan la noción clásica de personaje, entendido como una entidad sicológica reconocible y estable. Los hablantes presentes en los textos abandonan el diálogo y el conflicto intersubjetivo para volcarse hacia formas monológicas y narrativas que al modo de 'ejercicios de memoria', problematizan las nociones de sujeto, identidad y memoria.
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Soto, Aisha M. "Through the Eyes of the Homeless". ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1946.
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When reviewing the entire project from start to completion, I can honestly say, Through the Eyes of the Homeless is a play about ten women and their plight. It illustrates their dealings with everyday issues of hurt, disappointment, abuse, love, and hope. I believe the true impact of this play is the undeniable prayer for help and hope within each monologue. Despite the horrors that are unveiled and released through hidden secrets, the undertone of betterment is truly resonating. My own expectation for this play is simply to strike awareness and understanding in the eyes of the people. It is my objective to have each audience member leave the show with a completely different perspective on homelessness. Homelessness seems to be one of those taboo societal problems the world chooses to turn away from because of lack of awareness. I believe it is fear of the unknown that keeps us blind, deaf, and dumb about certain issues. After all is said and done, I am simply asking anyone who reads this play, watches it, or hears it to listen to each voice carefully and the message it conveys.
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Ferreira, Maria Patricia Corrêa. "Das "pequenas brigas entre casais" aos "dramas familiares" : um estudo sobre a violencia domestica em processos criminais de Belem nas decadas de 1960 e 1970". [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/282023.
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Orientador: Heloisa Andre PontesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-02T14:34:47Z (GMT). No. of bitstreams: 1 Ferreira_MariaPatriciaCorrea_M.pdf: 9586873 bytes, checksum: dee51af3fa7d88fbca1ffab49e8656c0 (MD5) Previous issue date: 2002
Resumo: Este trabalho visa analisar as práticas e as representações sociáis sobre a família e violência doméstica por meio de processos criminais de homicídio, tentativa de homicídio e lesões corporais que envolveram casais em Belém nas décadas de 1960 e 1970. O objetivo é mostrar como se apresenta nos processos pesquisados a ação da Justiça Pública diante da violência doméstica, em que é evidenciada a grande impunidade dos agressores ao mesmo tempo em que os atores jurídicos proclamam o objetivo de promover o bem estar daqueles que compõem a família, e mostrar a complexibilidade das relações conjugais que envolveram violência, não as reduzindo à noção de agressor ativo e agredido passivo, por meio da análise das falas dos homens e das mulheres envolvidos nos processos, em que é evidenciado o contexto em que ocorreram alguns conflitos e a participação masculina e feminina nas relações de violência
Abstract: This paper aims to understand the practices and social representations about family and domestic violence using murder criminallawsuit, murder tentative and bodily harm what involved couples at Belém in 1960's and 1970's decades. The objective is show how is the judgment of the Public Justice about domestic violence crimes, where we observed a huge impunity in spite of their intentions to promote the goodness of who compose the family. Another objective is show the complexity of the marital relationship involving violence, not reducing it to an analysis at "aggression active" and "victim passive" using testimony of men and women, exalting the context of conflicts, and their participation in violence relations
Mestrado
Mestre em Antropologia Social
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Avila, Alex. "THE BRONX COCKED BACK AND SMOKING MULTIFARIOUS PROSE PERFORMANCE". CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/394.
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The Bronx Cocked Back And Smoking is a collection of multifarious prose performances recounting the historical, personal, social, political and cultural constructs of a city birthed by violence. This body of work is accompanied by video, audio, photography, and theatre performance texts. St. Mary’s Housing project, in the Bronx, is the foundation where most of this literary work takes place. The modern day Griot (storyteller) is a Poet, guiding his audience through the social inequalities and disparities that plague St. Mary’s community. The Poet shares personal traumatic insights while simultaneously utilizing writing as a form of survival to the conditions of the Bronx. This multi-platform performance highlights the metaphorical and physical concerns with the cycle of violence. This question is answered through the Poet’s choice by selecting the pen over the gun.
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Abusultan, Mahmoud. "A Palestinian Theatre: Experiences of Resistance, Sumud and Reaffirmation". Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu161712185211754.
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Low, Jennifer A. "The rhetoric of duelling : power, speech, and socialized violence in Renaissance drama /". 1996. http://wwwlib.umi.com/dissertations/fullcit/9701284.
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Stokes, Matthew McArthur. "Blood sports: violence and the performance of masculinity in early modern drama". Thesis, 2015. https://hdl.handle.net/2144/14047.
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This dissertation explores the construction of masculine identity at the intersection between early modern English drama and competitively violent entertainment. It argues that early modern Englishmen navigated a complex system of dangers and rewards associated with violent self-assertion, and that the playhouse represented a space uniquely suited to the embodying and interrogating of that system. Spaces used for performing plays frequently doubled as venues for cockfights, animal baitings, and fencing exhibitions, and the violence of such entertainments often appeared, either physically or rhetorically, in the period's drama. The project of the dissertation will be to provide a historicizing lens through which to view this violence "in play" in order to understand how early modern English drama refracted and participated in shaping the period's highly contested norms of violent self-assertion in the performance of male identity.
Chapter One maps the cultural disruptions precipitated by the importation of the Italian rapier into late-sixteenth century England. It argues that the secretive exclusivity of rapier culture rendered its novel form of violent masculinity fundamentally "untheatrical" in comparison to more traditional male identities, leading playwrights to caricature the duelist as either a cowardly braggart or a treacherous assassin. Chapter Two examines Shakespeare's plays in light of the discourses described in Chapter One. Shakespeare's work consistently associates traditional weaponry with a threatened male honor culture while associating rapiers with the undermining of male identity through cowardice or treachery. Chapter Three considers the English hunt as a means of asserting a capacity for violence, focusing on attempts to use the wild boar as a means of restoring the hunt's fading masculine associations. The chapter ends with an extended reading of Thomas Heywood's Age plays, the English Renaissance theater's richest staging of hunting culture. Chapter Four offers an historically informed understanding of the interconnections between bearbaiting and theater by addressing the early modern image of the bear as both a terrifying representative of a threatening natural world and a figure of courageous self-defense in the face of overwhelming odds.2016-11-18T00:00:00Z
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Švábová, Šárka. "Násilí v moderním indickém dramatu". Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-298747.
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Diploma thesis analyses selected theatrical plays of distinguished modern Indian dramatists (Vijay Tendulkar, Girish Karnad and Badal Sircar among others) in light of the unifying motive of violence. It compares different literary approaches towards the issue under discussion and observes transformation of this theme within various dramatic genres / social, historical, existential - absurd, political and mythological.
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Solga, Kim. "Invisible acts : performing violence against women in Early Modern and contemporary drama in English". 2004. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=80144&T=F.
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Thompson, Allan Campbell. "The representation and aestheticisation of violence". Diss., 2001. http://hdl.handle.net/10500/16200.
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An act of violence, be it personal or institution is an event that would distress most witnesses.
Yet the representation of violent acts in fictional forms as literature, drama and film often
aestheticises that violence, with the result that it is possible to experience it without such distress.
However, despite various conjectures being offered, no single and universal theory is possible. An
aesthetic response to a representation of violence is influenced to a large extent by the degree of
aestheticisation produced by the author and/or director. In addition, the aestheticisation of
violence is dependent upon, and an inevitable consequence of, the representation of the violent.
This dissertation is an endeavour to explore the issues that the paradox makes evident, to critique
various hypotheses that have been offered as a solution, and to speculate upon a more
comprehensive theory ofthe representation and aestheticisation of violenceEnglish Studies
M.A. (English)
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Grant, Sinikka. "Haunted heritage History, memory, and violence in the drama of August Wilson and Suzan-Lori Parks /". 2006. http://proquest.umi.com/pqdweb?did=1192191931&sid=6&Fmt=2&clientId=39334&RQT=309&VName=PQD.
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Thesis (Ph.D.)--State University of New York at Buffalo, 2006.Title from PDF title page (viewed on Feb. 27, 2007) Available through UMI ProQuest Digital Dissertations. Thesis adviser: Schmid, David. Includes bibliographical references.
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Merhautová, Eva. "Absurdita násilí v moderním hispanoamerickém dramatu". Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-369913.
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(English) The aim of this work is to compare the features of the theatre of the absurd of three hispanoamerican works, Falsa Alarma by Virgilio Piñera, Los Siameses by Griselda Gambaro and La noche de los asesinos by José Triana. First, the theoretical introduction focuses on the origins of the so called theatre of the absurd and its main sources, its main characteristics and finally its extension throughout the Latin America. Furthemore, the principal part of this work deals with the concrete analysis of the three theatre works mentioned above, and slightly discusses lifes and works of its authors. Individual chapters aim as at the typical absurd elements, as at those that are in some way original within the theatre of the absurd paradigm. The main help for each analysis are three principal features of this movement: denial of the plot, violation of the communicative function of the language and even systematical rupture of characters. The final part focuses as on the mutual comparison of the three hispanoamerican works, as their likening to the european theatre of the absurd works.
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Cormier, Landry Jean-Benoit. "Décliner la frontière : transit et contagion de la violence dans la fiction sacrificielle de Bernard-Marie Koltès". Thèse, 2011. http://hdl.handle.net/1866/6305.
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Ce mémoire de maîtrise traite de quatre pièces de l’auteur français Bernard-Marie Koltès. Résolument axé sur l’étude du texte écrit, il vise dans un premier temps l’analyse d’un ensemble de désajustements et d’une culture de l’équivoque dans le traitement du lieu, du temps et de l’identité. Le premier but de ces analyses est l’approfondissement de certaines avenues déjà investies par la critique (marginalité des lieux et des personnages, présence constante de la violence et de la mort, etc.), dans la recherche d’une signification globale à un ensemble de pratiques textuelles liées à la notion de limite ou de frontière. Opérant un changement de perspective, la seconde partie de l’étude s’attarde à la violence ainsi qu’aux modalités et implications de sa mise en texte dans une étude croisée de l’acte créateur et de la pratique de lecture. À partir de la théorie du sacrifice élaborée par René Girard dans La violence et le sacré, et faisant dialoguer certains textes importants d’auteurs divers (Aristote, Nietzsche, Artaud, Foucault, Derrida et Adorno), l’analyse vise à inscrire la littérarité du texte koltésien dans une entreprise plus vaste ayant à voir avec la violence, sa régulation et sa diffusion. Au carrefour des études théâtrales, de la littérature et de la philosophie, cette réflexion cherche à concevoir le théâtre de Koltès (particulièrement Roberto Zucco) comme un sacrifice rituel, afin de mieux en comprendre le rapport au réel et certaines de ses particularités du point de vue du mécanisme cathartique.This M.A. thesis analyzes four plays by the French author Bernard-Marie Koltès. Resolutely focused on the study of written text, it begins by analyzing several disarrangements and a culture of ambiguity in the treatment of place, time and identity. The first goal of this interrogation is the deepening of some avenues already detected by the critique (marginality of places and characters, the constant presence of violence and death, etc.) in the search for a global meaning to a set of textual practices related to the notion of limit or boundary. Operating a change of perspective, the second part of the thesis focuses on violence and on the terms and consequences of its textualisation, in a simultaneous study of the creative act and of the practice of reading. Based on the theory of the sacrifice as developed by René Girard in La violence et le sacré, and nourished by the crossing of some important texts by various thinkers (Aristotle, Nietzsche, Artaud, Foucault, Derrida, Adorno, etc.), the analysis seeks the inscription of Koltesian text’s literariness in a broader enterprise having to do with violence, its regulation and its dissemination. At the intersection of theater studies, literature and philosophy, this study is an attempt to understand Koltès’ drama (especially Roberto Zucco) as a ritual sacrifice in order to obtain a better comprehension of its relationship to reality and some of its characteristics as for the cathartic mechanism.
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Novosad, Jakub. "Téma násilí v současném srbském dramatu (1996-2009)". Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312457.
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The work provides summarized delineation of the development of Serbian theater and drama from 2nd half of the 20th century till now and still defines the bases of contemporary Serbian dramatic works. It describes its characteristics and specifics based on the analysis of specific dramatic works. The emphasis is both on a breakthrough events theatrical of 80's and 90's of the 20th century also on the major dramatic figures of the period of the late 20th century. The work contains a detailed analysis of the three key texts of modern Serbian dramatic literature.
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Rychlá, Eliška. "Téma rodiny v českém dramatu posledních dvaceti let". Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313668.
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Bretz, Andrew. "Emergent Identity: Masculinity and the Representation of Rape on the Early Modern Stage, 1590-1620". Thesis, 2012. http://hdl.handle.net/10214/3895.
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This thesis is an investigation of the representation of the figure of the man who raped on the early modern stage. The early modern “man who raped” must be distinguished from the modern term “rapist” insofar as the modern term ascribes an ontological or sociological position to the individual male that was alien to the early modern world view. The shifting value of “rape” in the early modern period presaged more modern conceptions of rape as “an experience imposed on an embodied subject, a violent sexual assault that in its corporal nature destabilizes the intersubjective personhood of the victim” (Cahill 207). As such, the shifting values of the term also prefigured more modern conceptions of masculinity and the successful performance of masculine values. The figure of the man who raped on the early modern English stage often was not merely the monster against which successful forms of masculine behaviour could be contrasted – often such characters found a sympathetic audience. And often, that audience was encouraged and directed through paratextual and dramaturgical devices to see themselves in and identify with the man who raped, for he could be redeemed. This thesis uses the lens of the Roman play to investigate sexual assault because Roman plays clarified masculine ideals for the early moderns; Rome, civilization, manliness, stoic self-control and virtus on the early modern stage were all coincident terms that articulated sexual difference and therefore the construction of the male subject (Kahn 15). The first section looks extensively at the English inheritance of Roman and Anglo-Saxon laws on sexual assault, while the subsequent chapters turn to early modern drama more closely. The plays under study are Marston’s Wonder of Women, Heywood’s Rape of Lucrece, Shakespeare’s Titus Andronicus, Middleton’s Hengist, King of Kent, and Fletcher’s Bonduca.SSHRC, School of English and Theatre Studies, College of Arts
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Drouin, Gabrielle. "Transactions, suivi de Dédramatiser le drame : usages et enjeux de l’humour et de la violence du langage dans la pièce Rouge Gueule d’Étienne Lepage". Thèse, 2016. http://hdl.handle.net/1866/19352.
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Mémoire en recherche-créationLe présent mémoire propose d’interroger la construction du récit médiatique dans la fable théâtrale contemporaine. D’abord par une fiction au dispositif épuré, mais au verbe cru et humoristique, la pièce de théâtre Transactions, puis par un essai sur la pièce de théâtre Rouge Gueule d’Étienne Lepage, nous désirons explorer les liens qui unissent le comique et la violence du langage, notamment par des affinités avec le mouvement britannique In-Yer-Face (Sarah Kane) et tels que mis de l’avant par un « personnage-réseau » porteur de discours, en écho à l’« impersonnage » de Jean-Pierre Sarrazac. En ce sens, nous avons convoqué les notions de dialogisme (Bakhtine) hétéromorphe (Hervé Guay), d’esthétique de la divergence (Hervé Guay), de polyphonie (Bakhtine) hétéromorphe (Hervé Guay) et de la mise à mal d’un conflit afin d’expliquer le renouvellement d’une esthétique dramaturgique tout à fait contemporaine, se rapportant à la Toile et dont le spectateur émancipé (Jacques Rancière) devient un actant principal par l’intermédiaire duquel le théâtre prend tout son sens.
This thesis aims to question the construction of the media narrative in the contemporary theatrical fable. First, by analyzing the play Transactions and its sober scenography, yet raw and humorous words, and subsequently examining Étienne Lepage’s Rouge Gueule, we will explore the links between the humor and violence of language. This includes the affinity with the British movement In-Yer-Face (Sarah Kane) as put forward by a "network-character" speech bearer in response to Jean-Pierre Sarrazac’s "non-character". Thus, this paper will study concepts including heteromorph (Hervé Guay) dialogism (Bakhtin), aesthetics of the divergence (Hervé Guay), heteromorph (Hervé Guay) polyphony (Bakhtine) and the redefinition of conflict in order to explain the replenishment of an aesthetic dramaturgy that is quite contemporary, relevant to the Web and in which the emancipated audience (Jacques Rancière) becomes a main actor through which the play takes on its full meaning.