subject:(Exempt OR arena theatre A modern bulding of national drama theatre can t depend of only calssical schemes)

Brno University of Technology

1. Hýl, Petr. Slovinské národní divadlo v Lublani: Slovene National Theatre in Ljubljana.

Degree: 2019, Brno University of Technology

SLOVENE NATIONAL THEATRE IN LJUBLJANA Author Report Of The Diploma Work Author: Bc. Petr Hýl Supervisor: doc. ing. arch. Zdeněk Makovský Advisors/Committee Members: Makovský, Zdeněk (advisor), Svoboda, Lukáš (referee).

Subjects/Keywords: DIVADLO Divadelní umění je staré jako lidstvo samo. Za dobu své existence prošlo dlouhým a barvitým vývojem; z něhož jsme zmapovali zřejmě jen malou část. Požadavek činoherního divadla a přítomnost dalších klasických divadel ve městě vedlo k inspiraci divadlem řeckým; japonským; středověkým; alžbětinským; totálním; osvobozeným; arénovým. Moderní budova činohry národního divadla se nemůže spoléhat pouze na klasická schémata; i když i ta mohou být požadována. Návrh reflektuje divadlo především jako místo střetnutí dvou protichůdných světů; světa reálného; v němž žijeme; a světa zidealizovaného; přetvořeného; který vídáme na jevišti; světa skutečnosti a jejího obrazu; světa tragédie a komedie; světa skutečných tváří herců a jejich masek; jejich skutečných osobností a jejich rolí; světa skutečných věcí a kulis; světa prostorového a plošně zjednodušeného. Také dva základní protichůdné pohledy na divadelní umění jako na svět ideální; pompézní; výchovný; poučný a zábavný a na divadlo jako nemilosrdné zrcadlo našeho života; subjektivní; věrné či sarkastické; i rozpor těchto dvou chápání divadla můžeme zahrnout mezi divadelní dvojakosti. BUDOVA Nová budova divadla chce být zhmotněním dialogu; základního stavebního prvku divadelní tvorby; kterým Aischylos povýšil do té doby všeplatné zpěvné a taneční rituály na skutečné drama. Dialog spolu vedou dvě protichůdné formy – budova divadla a její prázdný otisk – veřejné prostranství. Klasifikace dialog a monolog se stává subjektivní; uvažujeme-li za druhý subjekt prázdno. Tato představa dodává úvaze existenciální náboj. Samotné dvě formy – plná a prázdná – mají kromě parafráze divadelní protichůdnosti; pověstného rozhraní dvou světů; přesah do mnoha dalších oblastí života – podobně jako samotné divadlo. Tvar budovy - zužující a zvyšující se hmota - vznikl spolu s prostranstvím spontánně jako asociace doplňkovosti. Tento tvar však reaguje kromě urbanistických a provozních návazností také na ideu moderního divadla; které by mělo být proměnlivé a dynamické. Vzletný tvar budovy zhmotňuje nejen tuto abstraktní dynamiku; ale je také intuitivním přepisem dynamiky hereckého projevu; přetlaku energie sršící z člověka; nepostradatelné nejen k hereckému výkonu; ale také ke všem lidským tvůrčím činnostem.; THEATRE Dramatic art is as old as human society. During its existence it has passed through long and colourful evolution which we charted probably only really partially. Requierement of a drama theatre and presence of another classical thetre buildings in the town caused an inspiration by Greek; Japonese; medieval; Elizabethan; Total; Exempt or arena theatre. A modern bulding of national drama theatre can´t depend of only calssical schemes; though even those could be reguired. The project reflect theatre first of all as a place of a battle of two contradictory worlds; a real world which we live in it; and an ideal; transformated world which we use to see on a stage; a world of reality and a world of its reflex; a world of tragedy and a of comedy; a world of existing faces of actors and a world of their masks; their real personalities and their parts; a world of true things and a world od scenes; a three-dimensional world and a 2D-simplified world. Also the two contradictory views of dramatic art; the first one as an ideal world; pompous; educational; instructive and funy and the second as a merciless mirror of our own lifes; subjective; authentic or caustic; so even this discrepancy of those two different opinions of theatre we could add in the theatre duplicity. BUILDING The new theatre building wants to be an objectification of a dialog; which is the basic structural element of dramatic production; whith which Aischylos sublimated singing and dancig rituals which were of binding force in that times to a real drama. This dialog is runned by two antagonistic forms – the theatre building and its empty impression – a public space. Established classification of dialog and monolog becomes subjective; if we suppose an emptiness as the second object. This idea gives our meditation an existencial character a bit. The two forms by themselves – the full one and the empty one –except of an imitation of theatre dialectics; a proverbial boundery-line of two worlds; also transcend into many other spheres of human life – analogous to a theatre. The shape of the building – a diminished and raising mass – has arised within the open space spontaneously as an association of complementing. But this shape – except other urbanistic and functional sequences - also reacts to an ide of modern theatre; which should be variable and dynamic. The poetic shape of the building not only materializes thist abstract dynamism but it is also an intuitive transscription of dynamism of an actor´s manifestation; an overpressure of human energy which is indispensable not only for a performance but also for all human creative activities.

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APA (6^th Edition):

Hýl, P. (2019). Slovinské národní divadlo v Lublani: Slovene National Theatre in Ljubljana. (Thesis). Brno University of Technology. Retrieved from http://hdl.handle.net/11012/3455

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Hýl, Petr. “Slovinské národní divadlo v Lublani: Slovene National Theatre in Ljubljana.” 2019. Thesis, Brno University of Technology. Accessed January 17, 2021. http://hdl.handle.net/11012/3455.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Hýl, Petr. “Slovinské národní divadlo v Lublani: Slovene National Theatre in Ljubljana.” 2019. Web. 17 Jan 2021.

Vancouver:

Hýl P. Slovinské národní divadlo v Lublani: Slovene National Theatre in Ljubljana. [Internet] [Thesis]. Brno University of Technology; 2019. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/11012/3455.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Hýl P. Slovinské národní divadlo v Lublani: Slovene National Theatre in Ljubljana. [Thesis]. Brno University of Technology; 2019. Available from: http://hdl.handle.net/11012/3455

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Washington

2. Guthu, Sarah Elizabeth. European Modernism and the Resident Theatre Movement: The Transformation of American Theatre between 1950 and 1970.

Degree: PhD, 2013, University of Washington

URL: http://hdl.handle.net/1773/23358

► This dissertation offers a cultural history of the arrival of the second wave of European modernist drama in America in the postwar period, 1950-1970. European… (more)

▼ This dissertation offers a cultural history of the arrival of the second wave of European modernist drama in America in the postwar period, 1950-1970. European modernist drama developed in two qualitatively distinct stages, and these two stages subsequently arrived in the United States in two distinct waves. The first stage of European modernist drama, characterized predominantly by the genres of naturalism and realism, emerged in Europe during the four decades from the 1890s to the 1920s. This first wave of European modernism reached the United States in the late 1910s and throughout the 1920s, coming to prominence through productions in New York City. The second stage of European modernism dates from 1930 through the 1960s and is characterized predominantly by the absurdist and epic genres. Unlike the first wave, the dramas of the second wave of European modernism were not first produced in New York. Instead, these plays were often given their premieres in smaller cities across the United States: San Francisco, Seattle, Cleveland, Hartford, Boston, and New Haven, in the regional theatres which were rapidly proliferating across the United States. In this study I address and answer a basic question: why were the majority of these European plays first staged outside of New York City at the resident theatre companies? The choice to stage the second-wave dramas was often influenced by various contributing factors: the work of prominent directors who devoted their careers to the second-wave dramas, the work of translators who rendered these plays into English, the influence of critics and scholars who helped to introduce and explain the new dramas, the emergence of academic theatre journals, the publishers that made these plays available across the United States, and the embrace of the new dramas by the American universities. The second wave of European modernism arrived impressively across the United States in the 1950s, as regional theatres outside of New York mounted many of the first American productions of these plays, and later settled in New York in the 1960s as the theatres of Off-Broadway began to produce these dramas. Advisors/Committee Members: Postlewait, Thomas E (advisor).

Subjects/Keywords: Epic Theatre; Modernist Drama; Regional Theatre; Theatre of the Absurd; United States; Theater history; Modern literature; American studies; drama

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Guthu, S. E. (2013). European Modernism and the Resident Theatre Movement: The Transformation of American Theatre between 1950 and 1970. (Doctoral Dissertation). University of Washington. Retrieved from http://hdl.handle.net/1773/23358

Chicago Manual of Style (16^th Edition):

Guthu, Sarah Elizabeth. “European Modernism and the Resident Theatre Movement: The Transformation of American Theatre between 1950 and 1970.” 2013. Doctoral Dissertation, University of Washington. Accessed January 17, 2021. http://hdl.handle.net/1773/23358.

MLA Handbook (7^th Edition):

Guthu, Sarah Elizabeth. “European Modernism and the Resident Theatre Movement: The Transformation of American Theatre between 1950 and 1970.” 2013. Web. 17 Jan 2021.

Vancouver:

Guthu SE. European Modernism and the Resident Theatre Movement: The Transformation of American Theatre between 1950 and 1970. [Internet] [Doctoral dissertation]. University of Washington; 2013. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/1773/23358.

Council of Science Editors:

Guthu SE. European Modernism and the Resident Theatre Movement: The Transformation of American Theatre between 1950 and 1970. [Doctoral Dissertation]. University of Washington; 2013. Available from: http://hdl.handle.net/1773/23358

York University

3. McQuinn, Thomas William Bryce. Parched: The Queer Alcoholic on the Modern American Stage, 1940-1970.

Degree: PhD, English, 2015, York University

URL: http://hdl.handle.net/10315/30636

► _Parched_ mines the rich correlation between queerness and alcoholism on the modern American stage. It explores the peculiar seductions of the queer alcoholic via readings… (more)

▼ _Parched_ mines the rich correlation between queerness and alcoholism on the modern American stage. It explores the peculiar seductions of the queer alcoholic via readings of six plays from American dramatic literature: Eugene O’Neill’s _The Iceman Cometh_ (1946) and _Long Day’s Journey Into Night_ (composed 1941-42; premiered 1956); Tennessee Williams’s _A Streetcar Named Desire_ (1947) and _Cat on a Hot Tin Roof_ (1955); Edward Albee’s _Who’s Afraid of Virginia Woolf?_ (1962); and Mart Crowley’s _The Boys in the Band_ (1968). I argue that the construction and medicalization of alcoholism in early twentieth-century American ran parallel to that of “sex perversions” (e.g. male homosexuality, lesbianism, transvestitism, transgender sexuality, voyeurism, and sadomasochism). Unsurprisingly, both excessive drinking and queer sexual conduct came to be similarly pathologized as compulsive behaviours that caused both bodily and psychic disintegration. _Parched_ analyzes how American playwrights have linked the inherent performativity of queerness and alcoholism, while representing the contagious dissipation that such performances have been feared to cause. My readings of specific celebrated productions of my primary texts—alongside reviewer responses to them—demonstrate that historically spectators have been enticed into a fascination with the figure via a process I deem "dis/identification." Audience members must simultaneously identify with, and dis-identify against, the queer alcoholic. The dissertation therefore builds upon and enriches the complex histories and theories of addiction and deviance—indispensable work in an era marked by what Eve Kosofsky Sedgwick has deemed the binary of compulsion/voluntarity. Over a period of thirty years audiences came to ceaselessly thirst for these queer depictions, and mainstream theatre provided a suitable cover. This obsessive “drinking in” of the figure resulted in these texts becoming canonized in American theatre. Cyclical intoxication and queer sexual practices have been a constant throughout the history of dramatic literature (see, for example, the analysis of Euripides’s _The Bacchae_ [405 BCE] in the dissertation’s epilogue), and shifting models of behaviours deemed “excessive” continue to affect their theatrical representations in a reciprocal relation. Advisors/Committee Members: Gobert, R. Darren (advisor).

Subjects/Keywords: Theater; American literature; GLBT studies; Queer Theory; Queer; Alcoholism; Alcoholic; Alcohol Use Disorder; AUD; Addiction Studies; History of Addiction; LGBT Studies; Eugene O'Neill; Tennessee Williams; Edward Albee; Mart Crowley; Semiotics; Theatrical Figures; Modern Drama; Modern American Drama; American Dramatic Literature; Broadway Theatre; Queer Theatre; Gay Theatre; The Iceman Cometh; Long Day's Journey Into Night; A Streetcar Named Desire; Cat on a Hot Tin Roof; Who's Afraid of Virginia Woolf?; The Boys in the Band; At Home at the Zoo

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

McQuinn, T. W. B. (2015). Parched: The Queer Alcoholic on the Modern American Stage, 1940-1970. (Doctoral Dissertation). York University. Retrieved from http://hdl.handle.net/10315/30636

Chicago Manual of Style (16^th Edition):

McQuinn, Thomas William Bryce. “Parched: The Queer Alcoholic on the Modern American Stage, 1940-1970.” 2015. Doctoral Dissertation, York University. Accessed January 17, 2021. http://hdl.handle.net/10315/30636.

MLA Handbook (7^th Edition):

McQuinn, Thomas William Bryce. “Parched: The Queer Alcoholic on the Modern American Stage, 1940-1970.” 2015. Web. 17 Jan 2021.

Vancouver:

McQuinn TWB. Parched: The Queer Alcoholic on the Modern American Stage, 1940-1970. [Internet] [Doctoral dissertation]. York University; 2015. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/10315/30636.

Council of Science Editors:

McQuinn TWB. Parched: The Queer Alcoholic on the Modern American Stage, 1940-1970. [Doctoral Dissertation]. York University; 2015. Available from: http://hdl.handle.net/10315/30636

4. Silva, Jane Pessoa da. Ibsen no Brasil: historiografia, seleção de textos críticos e catálogo bibliográfico.

Degree: Mestrado, Teoria Literária e Literatura Comparada, 2007, University of São Paulo

URL: http://www.teses.usp.br/teses/disponiveis/8/8151/tde-01112007-141703/ ;

►

Este trabalho, composto de três volumes (I. Historiografia; II. Seleção de textos críticos; e III. Catálogo bibliográfico), tem como objetivo apresentar um panorama da recepção… (more)

▼

Este trabalho, composto de três volumes (I. Historiografia; II. Seleção de textos críticos; e III. Catálogo bibliográfico), tem como objetivo apresentar um panorama da recepção de Ibsen no Brasil. O primeiro volume traz uma avaliação da fortuna crítica de Ibsen no Brasil, passando pelas idéias teatrais do século XIX, pela modernização do teatro nos anos 1940, até chegar às tendências críticas contemporâneas. O segundo traz os textos mais relevantes para o entendimento da obra do dramaturgo, publicados no Brasil entre 1895 e 2002. Por fim, o terceiro apresenta os dados bibliográficos sobre as traduções brasileiras das peças do autor; sobre as montagens realizadas no teatro e na tv; sobre os livros, capítulos de livros, prefácios e textos publicados em periódicos sobre o dramaturgo. Com esse percurso, buscou-se compreender o modo de assimilação do teatro ibseniano pela crítica brasileira, levando em consideração as influências estrangeiras, especialmente a francesa. Ao mesmo tempo, procurouse ressaltar os momentos de ruptura com essa tradição, sobretudo a partir das reflexões de Antonio de Alcântara Machado, Otto Maria Carpeaux e Anatol Rosenfeld, que deram uma nova orientação para a leitura das peças de Ibsen.

This work, composed of three volumes (I. Historiography; II. Selection of critical texts; and III. Bibliographical catalogue), presents an overview of the reception of Ibsen in Brazil. The first volume is an assessment of the rich and varied criticism Ibsen received in Brazil within the context of the theatrical ideas of the nineteenth century, the modernization of the theatre in the 1940s, until the contemporary level of critical trends. The second selects the most relevant texts in order to understand the works of the playwright, which were published in Brazil from 1985 and 2002. Finally, the third presents bibliographical information on Brazilian translations of his plays; on adaptations carried through in theatre and on TV; in books, book chapters, prefaces and texts published in periodicals about the playwright. Through this route, an attempt was made to understand the way Ibsenian theatre was assimilated by Brazilian critics, taking into account foreign influences, especially of French origin. At the same time, we attempt to highlight examples of breaking from such tradition, especially considering the thoughts of Antonio de Alcântara Machado, Otto Maria Carpeaux and Anatol Rosenfeld, who gave us another approach to the studies of Ibsen\'s plays.

Advisors/Committee Members: Costa, Ina Camargo.

Subjects/Keywords: Brazilian theatre; Dramaturgia moderna; Henrik Ibsen; Henrik Ibsen; História do teatro; History of the theatre; Modern drama; Teatro brasileiro

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APA (6^th Edition):

Silva, J. P. d. (2007). Ibsen no Brasil: historiografia, seleção de textos críticos e catálogo bibliográfico. (Masters Thesis). University of São Paulo. Retrieved from http://www.teses.usp.br/teses/disponiveis/8/8151/tde-01112007-141703/ ;

Chicago Manual of Style (16^th Edition):

Silva, Jane Pessoa da. “Ibsen no Brasil: historiografia, seleção de textos críticos e catálogo bibliográfico.” 2007. Masters Thesis, University of São Paulo. Accessed January 17, 2021. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-01112007-141703/ ;.

MLA Handbook (7^th Edition):

Silva, Jane Pessoa da. “Ibsen no Brasil: historiografia, seleção de textos críticos e catálogo bibliográfico.” 2007. Web. 17 Jan 2021.

Vancouver:

Silva JPd. Ibsen no Brasil: historiografia, seleção de textos críticos e catálogo bibliográfico. [Internet] [Masters thesis]. University of São Paulo; 2007. [cited 2021 Jan 17]. Available from: http://www.teses.usp.br/teses/disponiveis/8/8151/tde-01112007-141703/ ;.

Council of Science Editors:

Silva JPd. Ibsen no Brasil: historiografia, seleção de textos críticos e catálogo bibliográfico. [Masters Thesis]. University of São Paulo; 2007. Available from: http://www.teses.usp.br/teses/disponiveis/8/8151/tde-01112007-141703/ ;

University of Washington

5. Ramis, Anna Gabriela. The Strength of the Few: Dominant and Subdominant in the Poetic Function of Theater.

Degree: PhD, 2013, University of Washington

URL: http://hdl.handle.net/1773/22542

► The Strength of the Few: Dominant and Subdominant in the Poetic Function of Theater is a semiotic study that, resorting to the contribution of the… (more)

▼ The Strength of the Few: Dominant and Subdominant in the Poetic Function of Theater is a semiotic study that, resorting to the contribution of the Russian formalists (Shklovsky, Tynianov, and Jakobson) and the Prague Linguistic Circle, describes the theater model practiced by few theater-makers, those who truly fulfill their function as artists. Their model requires the practice of autonomy and commonality, and the unity of aesthetic and ethical principles. This dissertation establishes a relationship between a secondary position of verbal language and the predominance of poetic function, which allows the spectator to focus on how the message is transmitted rather than on what is stated. In the hierarchy of the languages of the stage, there is a dominant (major language) and a subdominant (important, but not major language). The subdominant is a concept that this study proposes drawing on music theory. The poetic function of theater causes perception that focuses on signs rather than on a story or referent, and it only takes place when verbal language is a subdominant. It allows multiple interpretations and requires active spectators. When verbal language is the dominant, the referential function of theater takes place. This dissertation analyzes the theory and practice of Jarry, Appia, Craig, expressionists, Dadaists, surrealists, Meyerhold, Brecht, Artaud, and Grotowski that question the referential function in the theater. It also analyzes in detail contemporary performance texts from Spain, Perú, Canada, Portugal, Italy, Denmark and Hungary, presented at international theater festivals between 1985 and 2009: Argelino, servidor de dos amos, a version of Goldoni's piece, by Animalario; Filatura by Teatro de los Sentidos; Albentestate, a version of Antigone, by Nun Tris; Doña Rosita, a version of García Lorca's play, and Vania, la realidad y el deseo, a text that combines a version of Chekhov's Uncle Vanya and poetry by Cernuda, by Teatro del Norte; Encuentro de zorros by Yuyachkani; Esperando el alba by Canada Project; O Grande Criador by Companhia do Chapitô; La menzogna by Compagnia Pippo Delbono; Ur-Hamlet, based on Saxo Grammaticus's Gesta Danorum, by Odin Teatret; and Ledarálnakeltüntem, based on Kafka's The Trial, by Katona József Theatre. Advisors/Committee Members: Bryant-Bertail, Sarah (advisor).

Subjects/Keywords: Katona Jozsef Theatre; Linguistics; Odin Teatret; Russian formalism & Prague Linguistic Circle; Semiotics of theater; Spanish & Latin American theater; Theater; Theater history; Performing arts; drama

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Ramis, A. G. (2013). The Strength of the Few: Dominant and Subdominant in the Poetic Function of Theater. (Doctoral Dissertation). University of Washington. Retrieved from http://hdl.handle.net/1773/22542

Chicago Manual of Style (16^th Edition):

Ramis, Anna Gabriela. “The Strength of the Few: Dominant and Subdominant in the Poetic Function of Theater.” 2013. Doctoral Dissertation, University of Washington. Accessed January 17, 2021. http://hdl.handle.net/1773/22542.

MLA Handbook (7^th Edition):

Ramis, Anna Gabriela. “The Strength of the Few: Dominant and Subdominant in the Poetic Function of Theater.” 2013. Web. 17 Jan 2021.

Vancouver:

Ramis AG. The Strength of the Few: Dominant and Subdominant in the Poetic Function of Theater. [Internet] [Doctoral dissertation]. University of Washington; 2013. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/1773/22542.

Council of Science Editors:

Ramis AG. The Strength of the Few: Dominant and Subdominant in the Poetic Function of Theater. [Doctoral Dissertation]. University of Washington; 2013. Available from: http://hdl.handle.net/1773/22542

6. Horowitz, Joshua R. Cracking Open Peanuts: Exploring Jewish Identity and the Theatre of the Holocaust in Donald Margulies's Found a Peanut.

Degree: MA, Theatre, 2015, Miami University

URL: http://rave.ohiolink.edu/etdc/view?acc_num=miami1438529955

► This thesis explores Donald Margulies’s play, Found a Peanut, and takes steps to dramaturgically link it to Robert Skloot’s Theatre of the Holocaust, through both… (more)

Subjects/Keywords: Theater; Theater Studies; Religion; Performing Arts; Judaic Studies; Found a Peanut; Donald Margulies; Jewish Identity; Theatre of the Holocaust; Trauma Acknowledgement; Holocaust; Jewish; Theatre; Jewish American Theatre; Jewish American Playwrights

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Horowitz, J. R. (2015). Cracking Open Peanuts: Exploring Jewish Identity and the Theatre of the Holocaust in Donald Margulies's Found a Peanut. (Masters Thesis). Miami University. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=miami1438529955

Chicago Manual of Style (16^th Edition):

Horowitz, Joshua R. “Cracking Open Peanuts: Exploring Jewish Identity and the Theatre of the Holocaust in Donald Margulies's Found a Peanut.” 2015. Masters Thesis, Miami University. Accessed January 17, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami1438529955.

MLA Handbook (7^th Edition):

Horowitz, Joshua R. “Cracking Open Peanuts: Exploring Jewish Identity and the Theatre of the Holocaust in Donald Margulies's Found a Peanut.” 2015. Web. 17 Jan 2021.

Vancouver:

Horowitz JR. Cracking Open Peanuts: Exploring Jewish Identity and the Theatre of the Holocaust in Donald Margulies's Found a Peanut. [Internet] [Masters thesis]. Miami University; 2015. [cited 2021 Jan 17]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=miami1438529955.

Council of Science Editors:

Horowitz JR. Cracking Open Peanuts: Exploring Jewish Identity and the Theatre of the Holocaust in Donald Margulies's Found a Peanut. [Masters Thesis]. Miami University; 2015. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=miami1438529955

University of Maryland

7. Lellock, Jasmine Shay. Staged Magic in Early English Drama.

Degree: English Language and Literature, 2013, University of Maryland

URL: http://hdl.handle.net/1903/14528

► In late medieval and early modern England, magic was everywhere. Although contested, occult beliefs and practices flourished among all classes of people, and they appeared… (more)

▼ In late medieval and early modern England, magic was everywhere. Although contested, occult beliefs and practices flourished among all classes of people, and they appeared regularly as a subject of early English drama. My dissertation focuses on staged magic in early English drama, demonstrating the ways in which it generates metacritical commentary. It argues that magic in drama serves more than just a symbolic function, but rather, some early English drama saw itself as performing a kind of magic that was also efficacious. To this end, this project theorizes that drama participated in forms of contemporary magic that circulated at the time. This dissertation focuses on representations of magic in early English drama, specifically in the Croxton Play of the Sacrament (ca. 1471), Robert Greene's Friar Bacon and Friar Bungay (1588-92), William Shakespeare's The Tempest (1610-1), and John Milton's A Maske Performed at Ludlow Castle (1634). These early English plays stage their magic as socially and personally beneficial, not just illusory, flawed, or demonic. Whether staging magic as a critique or apology for its own medium, however, the plays suggest that theater draws upon magic to depict itself as efficacious. This project thus reads magic as both a metaphoric, literary convention and its own entity with accompanying political and cultural effects. Examining magic and its representation as part of a continuum – as contemporary audiences would have done – offers a clearer picture of what magic is doing in the plays and how early observers might have apprehended its effects. This dissertation offers a textually based cultural context for the magic found within its central plays, bringing extraliterary magical texts into conversation with literary, dramatic texts. Because the borders between natural philosophy, religion, and magic were not clearly defined in early modern England, this project draws as well upon scholarship and primary materials in the history of science and religion. The motivation of this project is to reanimate early English theater with a sense of wonder and magic that it historically offered and that it continues to bring to readers and audiences to this day. Advisors/Committee Members: Cartwright, Kent (advisor).

Subjects/Keywords: Literature; Theater; History of science; Alchemy; Drama; Magic; Medieval; Renaissance; Theater

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APA (6^th Edition):

Lellock, J. S. (2013). Staged Magic in Early English Drama. (Thesis). University of Maryland. Retrieved from http://hdl.handle.net/1903/14528

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Lellock, Jasmine Shay. “Staged Magic in Early English Drama.” 2013. Thesis, University of Maryland. Accessed January 17, 2021. http://hdl.handle.net/1903/14528.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Lellock, Jasmine Shay. “Staged Magic in Early English Drama.” 2013. Web. 17 Jan 2021.

Vancouver:

Lellock JS. Staged Magic in Early English Drama. [Internet] [Thesis]. University of Maryland; 2013. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/1903/14528.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Lellock JS. Staged Magic in Early English Drama. [Thesis]. University of Maryland; 2013. Available from: http://hdl.handle.net/1903/14528

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Michigan

8. Young, Vagios. Willy Loman and the American Dream.

Degree: MA, Liberal Studies, 2015, University of Michigan

URL: http://hdl.handle.net/2027.42/143408

► The unavoidable question in Death of a Salesman that lingers is whether Willy Loman is an attack, defense or ploy in the representation of the… (more)

▼ The unavoidable question in Death of a Salesman that lingers is whether Willy Loman is an attack, defense or ploy in the representation of the American dream. Death of a Salesman has created considerable controversy for its theatrical style, production values and its dramatic content. When first exposed to it as an underclassman, I wasn’t affected by the controversy of its theatrical style or production decisions. I accepted it as a modern tragedy and a hybrid of American Realism and German Expressionism without reservation about its theatrical style. But I found it hard to accept and participate in the political debates it seemed to engender; in fact, I was offended by its obvious ambiguity and invitation to argument. I never felt comfortable in either position, considering Death of a Salesman as being a defense of or an attack upon the American Capitalist system or the pursuit of the American dream. These arguments seemed contrived to me, and these issues and the intentional ambiguity of Miller in Death of a Salesman smacked of manipulation and seemed to be career moves designed to enhance the appeal of the play by creating controversy. Miller readily admitted that he had written his previous play, All My Sons, to shock and promote discussion (S. C. Abbotson 1999, 46). So, why can’t Willy be a straw man that was created to bring more and continuing controversy and attention to Miller’s work, which had just caused political commotion with the play All My Sons about war profiteering. Of course, Miller was accused of being a communist when that play appeared in 1947, also (A. Miller, Time bends 1987, 238). It became clear to me that Death of a Salesman could be interpreted as an oblique attack on the American dream or an ambiguous defense of that dream that one could embrace or reject according for personal or partisan reasons. It was a clever manipulation by the author designed to capitalize on his reputation as a leftist and the controversy of All My Sons to give the play more appeal and to enhance its chance at success, blending ideological controversy with the universal themes of family, love and death. Advisors/Committee Members: Svoboda, Frederic J. (committee member), Flint (affiliationumcampus).

Subjects/Keywords: Death of a Salesman; Miller, Arthur; American literature; theater; drama; Willy Loman

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APA (6^th Edition):

Young, V. (2015). Willy Loman and the American Dream. (Masters Thesis). University of Michigan. Retrieved from http://hdl.handle.net/2027.42/143408

Chicago Manual of Style (16^th Edition):

Young, Vagios. “Willy Loman and the American Dream.” 2015. Masters Thesis, University of Michigan. Accessed January 17, 2021. http://hdl.handle.net/2027.42/143408.

MLA Handbook (7^th Edition):

Young, Vagios. “Willy Loman and the American Dream.” 2015. Web. 17 Jan 2021.

Vancouver:

Young V. Willy Loman and the American Dream. [Internet] [Masters thesis]. University of Michigan; 2015. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/2027.42/143408.

Council of Science Editors:

Young V. Willy Loman and the American Dream. [Masters Thesis]. University of Michigan; 2015. Available from: http://hdl.handle.net/2027.42/143408

University of Canterbury

9. Mageanu, Daniela Florentina. The aesthetics of Takarazuka: a case study on Erizabēto – ai to shi no rondo.

Degree: MA, Japanese, 2015, University of Canterbury

URL: http://dx.doi.org/10.26021/3571

► This thesis explores the various elements of Takarazukaʼs performance style, and analyses how they influence the adaptation of pieces which fall outside this style. As… (more)

Subjects/Keywords: Takarazuka; Japanese theatre; performance; theatre; gender performance; Elisabeth of Habsburg; modern Japanese theatre

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APA (6^th Edition):

Mageanu, D. F. (2015). The aesthetics of Takarazuka: a case study on Erizabēto – ai to shi no rondo. (Masters Thesis). University of Canterbury. Retrieved from http://dx.doi.org/10.26021/3571

Chicago Manual of Style (16^th Edition):

Mageanu, Daniela Florentina. “The aesthetics of Takarazuka: a case study on Erizabēto – ai to shi no rondo.” 2015. Masters Thesis, University of Canterbury. Accessed January 17, 2021. http://dx.doi.org/10.26021/3571.

MLA Handbook (7^th Edition):

Mageanu, Daniela Florentina. “The aesthetics of Takarazuka: a case study on Erizabēto – ai to shi no rondo.” 2015. Web. 17 Jan 2021.

Vancouver:

Mageanu DF. The aesthetics of Takarazuka: a case study on Erizabēto – ai to shi no rondo. [Internet] [Masters thesis]. University of Canterbury; 2015. [cited 2021 Jan 17]. Available from: http://dx.doi.org/10.26021/3571.

Council of Science Editors:

Mageanu DF. The aesthetics of Takarazuka: a case study on Erizabēto – ai to shi no rondo. [Masters Thesis]. University of Canterbury; 2015. Available from: http://dx.doi.org/10.26021/3571

10. Schaaf, Jeanne. Lieux et non-lieux du théâtre écossais : constellations identitaires à l’ère postnationale : The places and non-places of the Scottish stage : identity constellations in a postnational era.

Degree: Docteur es, Études anglophones, 2018, Sorbonne université

URL: http://www.theses.fr/2018SORUL061

►

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… (more)

▼

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.

Advisors/Committee Members: Angel-Perez, Élisabeth (thesis director).

Subjects/Keywords: Théâtre britannique; Théâtre écossais; Ecosse; Nation; Postnationalisme; Communauté; National Theatre of Scotland; Traverse Theatre; British theatre; Scottish theatre; Scotland; Nation; Postnationalism; Community; National Theatre of Scotland; Traverse Theatre

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Schaaf, J. (2018). Lieux et non-lieux du théâtre écossais : constellations identitaires à l’ère postnationale : The places and non-places of the Scottish stage : identity constellations in a postnational era. (Doctoral Dissertation). Sorbonne université. Retrieved from http://www.theses.fr/2018SORUL061

Chicago Manual of Style (16^th Edition):

Schaaf, Jeanne. “Lieux et non-lieux du théâtre écossais : constellations identitaires à l’ère postnationale : The places and non-places of the Scottish stage : identity constellations in a postnational era.” 2018. Doctoral Dissertation, Sorbonne université. Accessed January 17, 2021. http://www.theses.fr/2018SORUL061.

MLA Handbook (7^th Edition):

Schaaf, Jeanne. “Lieux et non-lieux du théâtre écossais : constellations identitaires à l’ère postnationale : The places and non-places of the Scottish stage : identity constellations in a postnational era.” 2018. Web. 17 Jan 2021.

Vancouver:

Schaaf J. Lieux et non-lieux du théâtre écossais : constellations identitaires à l’ère postnationale : The places and non-places of the Scottish stage : identity constellations in a postnational era. [Internet] [Doctoral dissertation]. Sorbonne université; 2018. [cited 2021 Jan 17]. Available from: http://www.theses.fr/2018SORUL061.

Council of Science Editors:

Schaaf J. Lieux et non-lieux du théâtre écossais : constellations identitaires à l’ère postnationale : The places and non-places of the Scottish stage : identity constellations in a postnational era. [Doctoral Dissertation]. Sorbonne université; 2018. Available from: http://www.theses.fr/2018SORUL061

York University

11. Gingrich, Derek Randall. Failures to Self-Locate: Counterfactual Ontologies in Contemporary Theatre and Physics.

Degree: PhD, English, 2020, York University

URL: https://yorkspace.library.yorku.ca/xmlui/handle/10315/37374

► Failures to Self-Locate examines the overlooked influence of quantum mechanics on the development of contemporary theatre aesthetics. Physicists began openly grappling with the ramifications of… (more)

▼ Failures to Self-Locate examines the overlooked influence of quantum mechanics on the development of contemporary theatre aesthetics. Physicists began openly grappling with the ramifications of quantum theory in 1926. The same year, Bertolt Brecht announced his theatre for a scientific age as an arena for atomic man. Unsatisfied with the metaphysical implications of the first formulation of quantum mechanics, known now as the Copenhagen interpretation, physicists and philosophers of science spent the twentieth century advocating, developing, and testing alternative interpretations of the atomic realm. Throughout that same period, the Western stage witnessed a resonant series of developments on Brechts aesthetic project. Placing the interpretations of quantum mechanics in dialogue with contemporary theatre from North America and Europe, this dissertation uncovers how, after an initial point of direct contact between Brecht and physicists, physics and theatre have developed similar ontological paradigms to interpret experiments and performances respectively. In physics, these paradigms fall into two distinct camps: those that salvage strict determinism at the expense of a singular world (collapse-free interpretations of quantum mechanics) and those that safeguard our worlds uniqueness by accepting fundamental stochasticity in reality (collapse interpretations of quantum mechanics). Experimental evidence supports both options, and so these groups must also explain the apparent validity of the other. Theatremakers actively investigated a similar ontological issue, exacerbated by Brechtian stage techniques and centred on the storied divide between reality and representation. Where the physicists navigated between determinism and locality, playwrights return to the ancient tension between fate and free will. Those crosscurrents may bring ruin to the classical protagonist, but the quantum protagonist experiences one framework (e.g., free will) while secretly being ruled by the other (e.g., determinism). So positioned, these protagonists fail to self-locate among their myriad possibilities. This dissertation maps the resonances between the scientific quest to reconcile determinism and stochasticity and the theatrical quest to reconcile free will and fate within the quantum theoretical paradigm, by analyzing the scientific and theatrical output through the lens of counterfactual analysis. Advisors/Committee Members: Gobert, R. Darren (advisor).

Subjects/Keywords: Philosophy of science; Quantum theatre; Contemporary theatre; Modern theatre; Bertolt Brecht; Caryl Churchill; Yasmina Reza; John Mighton; Nick Payne; Jennifer Haley; Roland Schimmelpfennig; Martin Crimp; Odin Teatret; Modal ontology; Theatre and science; Theatre and philosophy; Drama and philosophy

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Gingrich, D. R. (2020). Failures to Self-Locate: Counterfactual Ontologies in Contemporary Theatre and Physics. (Doctoral Dissertation). York University. Retrieved from https://yorkspace.library.yorku.ca/xmlui/handle/10315/37374

Chicago Manual of Style (16^th Edition):

Gingrich, Derek Randall. “Failures to Self-Locate: Counterfactual Ontologies in Contemporary Theatre and Physics.” 2020. Doctoral Dissertation, York University. Accessed January 17, 2021. https://yorkspace.library.yorku.ca/xmlui/handle/10315/37374.

MLA Handbook (7^th Edition):

Gingrich, Derek Randall. “Failures to Self-Locate: Counterfactual Ontologies in Contemporary Theatre and Physics.” 2020. Web. 17 Jan 2021.

Vancouver:

Gingrich DR. Failures to Self-Locate: Counterfactual Ontologies in Contemporary Theatre and Physics. [Internet] [Doctoral dissertation]. York University; 2020. [cited 2021 Jan 17]. Available from: https://yorkspace.library.yorku.ca/xmlui/handle/10315/37374.

Council of Science Editors:

Gingrich DR. Failures to Self-Locate: Counterfactual Ontologies in Contemporary Theatre and Physics. [Doctoral Dissertation]. York University; 2020. Available from: https://yorkspace.library.yorku.ca/xmlui/handle/10315/37374

University of Vienna

12. Kitzler, Agnes Maria. The influence of absurdist theatre on contemporary in-yer-face plays.

Degree: 2010, University of Vienna

URL: http://othes.univie.ac.at/10759/

►

Die Arbeit behandelt einen möglichen Einfluss des absurden Theaters auf englische In-yer-Face Theaterstücke der 1990er. Dies geschieht anhand einer Auswahl mehrerer Stücke verschiedener Autoren aus… (more)

Subjects/Keywords: 17.82 Dramatik; 24.13 Theatergattungen, Theatersparten; modernes Drama / englisches Drama / absurdes Theater / in-yer-face Theater / Eugène Ionesco / Samuel Beckett / Jean Genet / Harold Pinter / Sarah Kane / Phyllis Nagy / Philip Ridley / Jez Butterworth / Nick Grosso; modern drama / english drama / theatre of the absurd / in-yer-face theatre / Samuel Beckett / Eugène Ionesco / Jean Genet / Harold Pinter / Sarah Kane / Phyllis Nagy / Philip Ridley / Jez Butterworth / Nick Grosso

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APA (6^th Edition):

Kitzler, A. M. (2010). The influence of absurdist theatre on contemporary in-yer-face plays. (Thesis). University of Vienna. Retrieved from http://othes.univie.ac.at/10759/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Kitzler, Agnes Maria. “The influence of absurdist theatre on contemporary in-yer-face plays.” 2010. Thesis, University of Vienna. Accessed January 17, 2021. http://othes.univie.ac.at/10759/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Kitzler, Agnes Maria. “The influence of absurdist theatre on contemporary in-yer-face plays.” 2010. Web. 17 Jan 2021.

Vancouver:

Kitzler AM. The influence of absurdist theatre on contemporary in-yer-face plays. [Internet] [Thesis]. University of Vienna; 2010. [cited 2021 Jan 17]. Available from: http://othes.univie.ac.at/10759/.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Kitzler AM. The influence of absurdist theatre on contemporary in-yer-face plays. [Thesis]. University of Vienna; 2010. Available from: http://othes.univie.ac.at/10759/

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Washington

13. Rygh, Todd Alan. Revels End: A Conceptual History of the Late Medieval and Early Modern English University Stage.

Degree: PhD, 2014, University of Washington

URL: http://hdl.handle.net/1773/25331

► Academic drama has, once again, been rediscovered after being largely ignored by the New Critics and the historicists during the second half of the last… (more)

▼ Academic drama has, once again, been rediscovered after being largely ignored by the New Critics and the historicists during the second half of the last century. The vast majority of this recent attention - most notably Jonathan Walker and Paul Streufert's collection Early Modern Academic Drama (2008) - considers theatrical performance in the universities as a pedagogical instrument within a larger humanist educational program. My dissertation, "Revels End: A Conceptual History of the Late Medieval and Early Modern English Academic Stage," presents the stage as a localized site within the two most ancient English universities. Focusing on the site of performance, my project examines the theatrical events and the curious textuality of the works associated with the university stage as it emerged from the medieval period. In this effort I rely on the evidence found in the Records of Early English Drama (REED) volumes for Oxford (2004) and Cambridge (1989) and the two publication runs of Renaissance Latin Drama in England from Georg Olms Verlag Press (1983-92). Adapting the methodologies of Richard Beadle and Alexandra Johnson, I argue that the academic stage was an ephemeral and temporary site within the university governed by the conventions of community festive drama. In this regard, the experience of playing was often at direct odds with the emergent humanist pedagogy of drama. Official reactions to the unpredictable reality of staged performances kept the academic stage uncomfortably perched on the margins of other discursive centers, namely: the university curriculum, the local government and ecclesial apparatus, the pan-European humanist movement, the vernacular stage and the nascent professional stage. Furthermore, the textuality of the academic dramas discloses that scholars memorialized the experience of playing over and above the texts of individual dramas. The argument is presented in two distinct parts. The first half of my dissertation draws from archival sources and readings of the earliest extant academic dramas with the texts and records of Merton College's Christmas lord traditions, which dates from the late thirteenth to the early sixteenth century, the records of Edward Watson's 1512 degree play and Thomas Chaundler's 1460 play, Liber apologeticus de omni statu humanae naturae. A close examination of this underappreciated work reveals that Chaundler, who twice served as the Chancellor of the University of Oxford, deploys popular dramatic forms drawn from the cycle plays and the morality tradition as a humanist gambit. The first half concludes with an analysis of the effects of the English reformation on the university stage, arguing the English reformation's attack on the festive culture greatly reduces the diversity of the productions in academic institutions. In this effort I draw attention to the texts associated with a 1522 performance of Miles Gloriosus in Trinity Hall, Cambridge directed by Stephen Gardiner, a 1545 performance of the protestant propaganda play Pammachius in Christ's College… Advisors/Committee Members: Coldewey, John C. (advisor).

Subjects/Keywords: Academic Drama; Early Modern Theatre; Medieval Theatre; Neolatin; The Christmas Prince; Thomas Chaundler; Literature; Medieval literature; Theater history; english

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APA (6^th Edition):

Rygh, T. A. (2014). Revels End: A Conceptual History of the Late Medieval and Early Modern English University Stage. (Doctoral Dissertation). University of Washington. Retrieved from http://hdl.handle.net/1773/25331

Chicago Manual of Style (16^th Edition):

Rygh, Todd Alan. “Revels End: A Conceptual History of the Late Medieval and Early Modern English University Stage.” 2014. Doctoral Dissertation, University of Washington. Accessed January 17, 2021. http://hdl.handle.net/1773/25331.

MLA Handbook (7^th Edition):

Rygh, Todd Alan. “Revels End: A Conceptual History of the Late Medieval and Early Modern English University Stage.” 2014. Web. 17 Jan 2021.

Vancouver:

Rygh TA. Revels End: A Conceptual History of the Late Medieval and Early Modern English University Stage. [Internet] [Doctoral dissertation]. University of Washington; 2014. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/1773/25331.

Council of Science Editors:

Rygh TA. Revels End: A Conceptual History of the Late Medieval and Early Modern English University Stage. [Doctoral Dissertation]. University of Washington; 2014. Available from: http://hdl.handle.net/1773/25331

Baylor University

14. Kennedy, Chad Landon, 1980-. Unpacking the individual : a director's approach to Ionesco's Rhinoceros.

Degree: M.F.A., Baylor University. Dept. of Theatre Arts., 2020, Baylor University

URL: http://hdl.handle.net/2104/11015

► In 1959, French-Romanian playwright Eugene Ionesco debuted his play, Rhinoceros, and the theatergoing world was captivated by the curious image of people turning into pachyderms.… (more)

Subjects/Keywords: Eugene Ionesco. Theatre of the Absurd. Rhinoceros. Individualism. Personalism. Herd mentality. French avant-garde. Modern drama.

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APA (6^th Edition):

Kennedy, Chad Landon, 1. (2020). Unpacking the individual : a director's approach to Ionesco's Rhinoceros. (Masters Thesis). Baylor University. Retrieved from http://hdl.handle.net/2104/11015

Chicago Manual of Style (16^th Edition):

Kennedy, Chad Landon, 1980-. “Unpacking the individual : a director's approach to Ionesco's Rhinoceros.” 2020. Masters Thesis, Baylor University. Accessed January 17, 2021. http://hdl.handle.net/2104/11015.

MLA Handbook (7^th Edition):

Kennedy, Chad Landon, 1980-. “Unpacking the individual : a director's approach to Ionesco's Rhinoceros.” 2020. Web. 17 Jan 2021.

Vancouver:

Kennedy, Chad Landon 1. Unpacking the individual : a director's approach to Ionesco's Rhinoceros. [Internet] [Masters thesis]. Baylor University; 2020. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/2104/11015.

Council of Science Editors:

Kennedy, Chad Landon 1. Unpacking the individual : a director's approach to Ionesco's Rhinoceros. [Masters Thesis]. Baylor University; 2020. Available from: http://hdl.handle.net/2104/11015

Bowling Green State University

15. Connick, Rob. Rethinking Artaud's Theoretical and Practical Works.

Degree: PhD, Theatre and Film, 2011, Bowling Green State University

URL: http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300457063

► This study aims to counter the claims that Artaud was a practical failure and his theoretical writings had little value for theatre practice during his… (more)

▼ This study aims to counter the claims that Artaud was a practical failure and his theoretical writings had little value for theatre practice during his time. I instead argue that Artaud’s body of work shows his dedication to creating a theatre style that would differ drastically from the styles dominating French theatre. I use Artaud’s original texts to determine his Theatre of Cruelty aesthetics and to highlight how much of his work holds practical as well as theoretical value. By doing this, I argue that Artaud’s practical capabilities in theatre should be properly acknowledged and his theoretical contributions be viewed for their applicability to production. This study continues the work of Artaud scholars such as Kimberly Jannarone who have challenged previous portrayals of Artaud by earlier scholars as a failed theatre artist whose theoretical writings are more emblematic of his mental illness than of any practical sensibilities. This study addresses and challenges many of the widely held notions about Artaud concerning his practical works as well as his essays on the plague, cruelty, and non-Western ritual. I argue that while these writings may seem to be disconnected writings, they may be directly connected to practical theatrical concerns. To make these claims, I examine Artaud’s work at the Alfred Jarry Theatre to demonstrate the ways in which aspects of his developing theatre aesthetic are foreshadowed in his practical work while there. I then look at the ways that Artaud’s Theatre of Cruelty manifestos can be seen at work in his production of Les Cenci, the only full-length play that he wrote. I connect his writings on “plague” and “cruelty” to established performance tropes and show how Artaud used both of these terms to describe the functionality of his new theatre. Finally, I compare the Balinese dance dramas Artaud witnessed at the 1931 Paris Colonial Exposition to his Manifestos on Cruelty to show how Artaud’s arguably unstageable theories had, as a matter of fact, been staged through these performances. Advisors/Committee Members: Magelssen, Scott (Advisor).

Subjects/Keywords: Performing Arts; Theater; Theater History; Theater Studies; Antonin Artaud; Theatre of Cruelty; French Theatre; Alfred Jarry Theatre; The Cenci; 20th Century Theatre

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APA (6^th Edition):

Connick, R. (2011). Rethinking Artaud's Theoretical and Practical Works. (Doctoral Dissertation). Bowling Green State University. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300457063

Chicago Manual of Style (16^th Edition):

Connick, Rob. “Rethinking Artaud's Theoretical and Practical Works.” 2011. Doctoral Dissertation, Bowling Green State University. Accessed January 17, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300457063.

MLA Handbook (7^th Edition):

Connick, Rob. “Rethinking Artaud's Theoretical and Practical Works.” 2011. Web. 17 Jan 2021.

Vancouver:

Connick R. Rethinking Artaud's Theoretical and Practical Works. [Internet] [Doctoral dissertation]. Bowling Green State University; 2011. [cited 2021 Jan 17]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300457063.

Council of Science Editors:

Connick R. Rethinking Artaud's Theoretical and Practical Works. [Doctoral Dissertation]. Bowling Green State University; 2011. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300457063

University of Edinburgh

16. Boll, Julia. Unlisted character : on the representation of war and conflict on the contemporary stage.

Degree: PhD, 2011, University of Edinburgh

URL: http://hdl.handle.net/1842/7987

► 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… (more)

Subjects/Keywords: theatre; drama; new wars; adaption; In-Yer-Face Theatre; Homo Sacer; depiction of violence; war

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APA (6^th Edition):

Boll, J. (2011). Unlisted character : on the representation of war and conflict on the contemporary stage. (Doctoral Dissertation). University of Edinburgh. Retrieved from http://hdl.handle.net/1842/7987

Chicago Manual of Style (16^th Edition):

Boll, Julia. “Unlisted character : on the representation of war and conflict on the contemporary stage.” 2011. Doctoral Dissertation, University of Edinburgh. Accessed January 17, 2021. http://hdl.handle.net/1842/7987.

MLA Handbook (7^th Edition):

Boll, Julia. “Unlisted character : on the representation of war and conflict on the contemporary stage.” 2011. Web. 17 Jan 2021.

Vancouver:

Boll J. Unlisted character : on the representation of war and conflict on the contemporary stage. [Internet] [Doctoral dissertation]. University of Edinburgh; 2011. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/1842/7987.

Council of Science Editors:

Boll J. Unlisted character : on the representation of war and conflict on the contemporary stage. [Doctoral Dissertation]. University of Edinburgh; 2011. Available from: http://hdl.handle.net/1842/7987

National University of Ireland – Galway

17. McHugh, Emer. Shakespeare, gender, and contemporary Ireland: performing and recreating national identities .

Degree: 2019, National University of Ireland – Galway

URL: http://hdl.handle.net/10379/14937

► This dissertation explores the performance of Shakespeare by Irish theatre practitioners in Ireland and England at a time of significant biopolitical, social, and legislative change… (more)

▼ This dissertation explores the performance of Shakespeare by Irish theatre practitioners in Ireland and England at a time of significant biopolitical, social, and legislative change (2014-2018), and as such, approaches such performances through the lens of gender, queerness, and feminisms. Notions, performances, and debates around gender and sexuality shape much of current Irish society, and I contend that this extends towards Shakespeare performance. I also propose that such performances of gender and sexuality are also intertwined with performances and invocations of Irishness, national identity, and Anglo-Irish cultural exchange. Using archival and theoretical methodologies, I display the different forms that Irish Shakespeare takes on Irish and English stages. My case studies include Druid Theatre Company’s adaptation of the Henriad, DruidShakespeare, directed by Garry Hynes (2015); the Abbey Theatre’s production of Twelfth Night, directed by Wayne Jordan (2014); Shakespeare’s Globe’s production of The Taming of the Shrew, directed by Caroline Byrne (2016); and the Almeida/Harold Pinter Theatre’s production of Hamlet, directed by Robert Icke (2017). I explore how these productions perform notions, ideas, and experiences of gender, queerness, and feminisms as they navigate traditions, iconographies, and conventions in Shakespeare performance: whether it is situating Twelfth Night in the context of contemporary Irish queer performance; through cross-gender casting the Histories in the case of DruidShakespeare; interrogating the erasure of women’s histories in Irish commemoration culture where The Taming of the Shrew is concerned; or placing the Irish actor Andrew Scott’s performance as Hamlet within the context of celebrity culture, Hamlet’s performance history, and the performance of non-normative masculinities. My dissertation demonstrates that more approaches to the study of Shakespeare and Ireland are required than simply literary and historical approaches. Such approaches include examining the impact of external social, cultural, and political influences on Irish Shakespeares; exploring the significance of performing particular plays, especially those with an Irish presence in the text; and considering the influence of British Shakespearean theatrical institutions such as the Globe, the Royal Shakespeare Company, and the National Theatre on modes of performance. Advisors/Committee Members: Lonergan, Patrick (advisor).

Subjects/Keywords: Shakespeare; Performance Studies; Irish Theatre; Gender and Sexuality Studies; Early Modern Performance; Theatre History; British Theatre; Feminist Theatre; LGBTQ Theatre; Drama and Theatre Studies; Humanities; Drama, Theatre and Performance

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APA (6^th Edition):

McHugh, E. (2019). Shakespeare, gender, and contemporary Ireland: performing and recreating national identities . (Thesis). National University of Ireland – Galway. Retrieved from http://hdl.handle.net/10379/14937

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

McHugh, Emer. “Shakespeare, gender, and contemporary Ireland: performing and recreating national identities .” 2019. Thesis, National University of Ireland – Galway. Accessed January 17, 2021. http://hdl.handle.net/10379/14937.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

McHugh, Emer. “Shakespeare, gender, and contemporary Ireland: performing and recreating national identities .” 2019. Web. 17 Jan 2021.

Vancouver:

McHugh E. Shakespeare, gender, and contemporary Ireland: performing and recreating national identities . [Internet] [Thesis]. National University of Ireland – Galway; 2019. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/10379/14937.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

McHugh E. Shakespeare, gender, and contemporary Ireland: performing and recreating national identities . [Thesis]. National University of Ireland – Galway; 2019. Available from: http://hdl.handle.net/10379/14937

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

18. Avkhimovich, Irina Sergeyevna. Performing the national past: history on stage in imperial Russia.

Degree: PhD, Slavic Languages & Literature, 2017, University of Illinois – Urbana-Champaign

URL: http://hdl.handle.net/2142/98138

► This dissertation closely examines 18th- and 19th-century Russian historical dramas set in the Time of Troubles, which was the era of dynastic crisis and the… (more)

▼ This dissertation closely examines 18th- and 19th-century Russian historical dramas set in the Time of Troubles, which was the era of dynastic crisis and the first civil war in Russian history during 1598-1613. The project demonstrates that this subgenre was essential for the development of modern theatre in Russia and for articulating vital concerns about Russian national identity. Historical drama became the first type of plays developed by the earliest modern Russian playwrights and stimulated the emergence of original stage practices. I discuss several plays that contributed significantly to the national discourse and stage history, written by the following major and minor authors: Alexander Sumarokov, Alexander Pushkin, Matvei Kriukovskii, Nestor Kukol’nik, Aleksey Khomiakov, Mikhail Pogodin, Nikolai Chaev, Alexander Ostrovsky, and Aleksey K. Tolstoy. I demonstrate that, from its beginning, modern Russian theatre was not an imitative art form but, rather, an amalgamation of various foreign influences and older Russian folk performances. I discuss articles and dramas that display proto-nationalist ideas as early as in the 1790s and 1800s, a few decades before the commonly known Romantic debates on the nation, national literature, and “narodnost’.” I also explore how the historical theatre of the 1860s becomes the experimental grounds where the concept of “historical truth” (historical accuracy) is put into practice. I maintain that this less known and less studied work of playwrights and directors of the 1860s laid the foundation for a wide range of cultural phenomena in the late 19th and early 20th centuries, including historical balls, the aesthetic of the Moscow Art Theatre, and the artistic rediscovery of the national heritage during the “Silver Age.” I offer close readings of the plays and utilize the inventory of performance studies in order to discuss stage productions. I also apply the theories of modern-era nation and nationalism and include elements of cultural history. Generally, my project makes a contribution to the underexplored scholarly area of the history of pre-20th-century Russian theatre and performance. Advisors/Committee Members: Sobol, Valeria (advisor), Sobol, Valeria (Committee Chair), Cooper, David L (committee member), Finke, Michael (committee member), Robinson, Valleri (committee member).

Subjects/Keywords: Russian; Drama; Theater; 19th century; National

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APA (6^th Edition):

Avkhimovich, I. S. (2017). Performing the national past: history on stage in imperial Russia. (Doctoral Dissertation). University of Illinois – Urbana-Champaign. Retrieved from http://hdl.handle.net/2142/98138

Chicago Manual of Style (16^th Edition):

Avkhimovich, Irina Sergeyevna. “Performing the national past: history on stage in imperial Russia.” 2017. Doctoral Dissertation, University of Illinois – Urbana-Champaign. Accessed January 17, 2021. http://hdl.handle.net/2142/98138.

MLA Handbook (7^th Edition):

Avkhimovich, Irina Sergeyevna. “Performing the national past: history on stage in imperial Russia.” 2017. Web. 17 Jan 2021.

Vancouver:

Avkhimovich IS. Performing the national past: history on stage in imperial Russia. [Internet] [Doctoral dissertation]. University of Illinois – Urbana-Champaign; 2017. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/2142/98138.

Council of Science Editors:

Avkhimovich IS. Performing the national past: history on stage in imperial Russia. [Doctoral Dissertation]. University of Illinois – Urbana-Champaign; 2017. Available from: http://hdl.handle.net/2142/98138

19. Curado, Gustavo Idelbrando. Pólen, Pólis, Política: encen[ações] de um coletivo de trabalhadores-artistas.

Degree: Mestrado, Pedagogia do Teatro, 2012, University of São Paulo

URL: http://www.teses.usp.br/teses/disponiveis/27/27155/tde-17042013-092122/ ;

►

A presente dissertação objetiva investigar, relatar e analisar as ações culturais e artísticas promovidas pelo grupo de teatro Dolores Boca Aberta Mecatrônica De Artes. A… (more)

▼

A presente dissertação objetiva investigar, relatar e analisar as ações culturais e artísticas promovidas pelo grupo de teatro Dolores Boca Aberta Mecatrônica De Artes. A pesquisa mostra, por meio do relato pessoal de um dos integrantes do grupo, como o coletivo organiza sua estrutura de funcionamento. Aqui são apontados conceitos estruturantes para a filosofia do grupo, como as ideias de Teatro Mutirão e Trabalhador-Artista, além de um levantamento pedagógico de como se deram a construção e apresentação da terceira encenação do grupo, Sombras Dançam Neste Incêndio - Peça Curta em Dois Atos. Dentro das análises, destaca-se a experiência da construção de um teatro feito de árvores, preparado coletivamente pelos próprios espectadores junto com os atores do grupo, o qual chamamos de Arena Arbórea. A perspectiva do trabalho do grupo Dolores Boca Aberta aponta para questões acerca de organização social, debate político, arte e resistência, agitação e propaganda e discussão de modos de produção.

This thesis aims to investigate, report and analyze the cultural or artistic activities promoted by the Dolores Boca Aberta Mecatrônica de Artes Theater Group. The research shows, through the personal report of one of the members, how the group organizes its own operating structure. Some of the structuring concepts of the group\'s philosophy are described and discussed, as well as the ideas of the Task Force theater artistic-workers and a pedagogical survey of the construction and presentation of the third production of the group, \"Shadows dance within this fire - a short play in two acts\". Within the analysis we highlight the experience of the construction of a theatrical space surrounded by trees and called Arboreal Arena, which is collectively prepared by spectators and by the actors of the group. The perspective of the group\'s work points out to questions about social organization, political debate, art and resistance, agitation and propaganda, and the discussion about the means of production.

Advisors/Committee Members: Carvalho, Flavio Augusto Desgranges de.

Subjects/Keywords: Ação Artística; Ação Cultural; Arboreal Arena; Arena Arbórea; Artist Worker; Artistical Action; Cultural Action; means of production; Modos de Produção; Political Theatre; Teatro Mutirão; Teatro Político; Theatre Community; Trabalhador-Artista

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APA (6^th Edition):

Curado, G. I. (2012). Pólen, Pólis, Política: encen[ações] de um coletivo de trabalhadores-artistas. (Masters Thesis). University of São Paulo. Retrieved from http://www.teses.usp.br/teses/disponiveis/27/27155/tde-17042013-092122/ ;

Chicago Manual of Style (16^th Edition):

Curado, Gustavo Idelbrando. “Pólen, Pólis, Política: encen[ações] de um coletivo de trabalhadores-artistas.” 2012. Masters Thesis, University of São Paulo. Accessed January 17, 2021. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-17042013-092122/ ;.

MLA Handbook (7^th Edition):

Curado, Gustavo Idelbrando. “Pólen, Pólis, Política: encen[ações] de um coletivo de trabalhadores-artistas.” 2012. Web. 17 Jan 2021.

Vancouver:

Curado GI. Pólen, Pólis, Política: encen[ações] de um coletivo de trabalhadores-artistas. [Internet] [Masters thesis]. University of São Paulo; 2012. [cited 2021 Jan 17]. Available from: http://www.teses.usp.br/teses/disponiveis/27/27155/tde-17042013-092122/ ;.

Council of Science Editors:

Curado GI. Pólen, Pólis, Política: encen[ações] de um coletivo de trabalhadores-artistas. [Masters Thesis]. University of São Paulo; 2012. Available from: http://www.teses.usp.br/teses/disponiveis/27/27155/tde-17042013-092122/ ;

20. Streeter, Joshua Aaron. Greek Tragedy and Its American Choruses in Open Air Theaters from 1991 to 2014: The Cases of Gorilla Theatre Productions and The Classic Greek Theatre of Oregon.

Degree: MA, Theatre, 2019, The Ohio State University

URL: http://rave.ohiolink.edu/etdc/view?acc_num=osu155534000939454

► Classicists and theater scholars have long identified the chorus as a “problem” for modern directors of Greek tragedies, a recurring label which Billings, Budelmann, and… (more)

Subjects/Keywords: Theater; Greek drama; Greek tragedy; Greek theater; Greek chorus; American Theater; Modern performances of Greek drama

…assume that a modern theater company would not experience the same sort of tragic choral… …23 Figure 3. A collage of Gorilla Theatre Productions’ early tragedies… …designers, and directors in the 21st century, the chorus of Ancient Greek theater presents a… …tragedy? The chorus’ centrality to the theater of Classical Athens cannot be overstated. As only… …x28;103). The choruses of the National Greek Theatre touring productions of Oedipus in 1952…

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APA (6^th Edition):

Streeter, J. A. (2019). Greek Tragedy and Its American Choruses in Open Air Theaters from 1991 to 2014: The Cases of Gorilla Theatre Productions and The Classic Greek Theatre of Oregon. (Masters Thesis). The Ohio State University. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=osu155534000939454

Chicago Manual of Style (16^th Edition):

Streeter, Joshua Aaron. “Greek Tragedy and Its American Choruses in Open Air Theaters from 1991 to 2014: The Cases of Gorilla Theatre Productions and The Classic Greek Theatre of Oregon.” 2019. Masters Thesis, The Ohio State University. Accessed January 17, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu155534000939454.

MLA Handbook (7^th Edition):

Streeter, Joshua Aaron. “Greek Tragedy and Its American Choruses in Open Air Theaters from 1991 to 2014: The Cases of Gorilla Theatre Productions and The Classic Greek Theatre of Oregon.” 2019. Web. 17 Jan 2021.

Vancouver:

Streeter JA. Greek Tragedy and Its American Choruses in Open Air Theaters from 1991 to 2014: The Cases of Gorilla Theatre Productions and The Classic Greek Theatre of Oregon. [Internet] [Masters thesis]. The Ohio State University; 2019. [cited 2021 Jan 17]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu155534000939454.

Council of Science Editors:

Streeter JA. Greek Tragedy and Its American Choruses in Open Air Theaters from 1991 to 2014: The Cases of Gorilla Theatre Productions and The Classic Greek Theatre of Oregon. [Masters Thesis]. The Ohio State University; 2019. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=osu155534000939454

21. Χάλκου, Κατερίνα. Αρχαιόθεμη νεοελληνική δραματουργία και τεχνικές του θεάτρου εν θεάτρω. "Η βουή" του Παύλου Μάτεσι, "Η τελευταία πράξη" του Ιάκωβου Καμπανέλλη και "Οι ηθοποιοί" του Γιώργου Σκούρτη.

Degree: 2014, University of Patras

URL: http://hdl.handle.net/10889/7657

►

Την εργασία απασχολούν οι τεχνικές του θεάτρου εν θεάτρω στη νεοελληνική δραματουργία που χρησιμοποιεί τον αρχαίο μύθο ως ανακλαστικό καθρέπτη, ο οποίος τέμνει τις πλοκές… (more)

▼

Την εργασία απασχολούν οι τεχνικές του θεάτρου εν θεάτρω στη νεοελληνική δραματουργία που χρησιμοποιεί τον αρχαίο μύθο ως ανακλαστικό καθρέπτη, ο οποίος τέμνει τις πλοκές του έργου-πλαισίου και του εγκιβωτισμένου έργου και αναπτύσσει μια ειρωνική μεταγλώσσα, που διαφοροποιεί αισθητικά και υφολογικά την επική και τραγική ποίηση από τη νεωτερική, μεταπολεμική δραματουργία που τις εγκιβωτίζει. Αφού εκτεθούν τα προβλήματα που προκύπτουν από την ευρυχωρία του όρου μεταθέατρο, που «εγκιβωτίζει» το θέατρο εν θεάτρω, ο τελευταίος εξετάζεται ως ειδική μορφή, φόρμα, υπο-είδος και τεχνική, όπως ορίστηκε από τη δραματουργία του μπαρόκ, εκείνη της ρομαντικής ειρωνείας, του Πιραντέλλο, μέχρι τη μεταμπρεχτική και μεταμπεκετική δραματική παραγωγή, για να δοθεί τελικώς έμφαση στην αποκλειστικά αρχαιόθεμη ελληνική και αλλοδαπή δραματική σχετική παραγωγή. Στο corpus περιλαμβάνονται τρία νεοελληνικά αρχαιόμυθα έργα: Η βουή (1997) του Παύλου Μάτεσι, που εγκιβωτίζει ανολοκλήρωτη παράσταση και την αυτοσχέδια πρόβα της, με απαγγελίες και μίμηση μικροεπεισοδίων από την Ιλιάδα, και ανεκδοτολογικό υλικό από την τρωική περιπέτεια, σε ένα έργο-πλαίσιο που επανεξετάζει το μύθο των Ατρειδών, υιοθετώντας ανοίκειες σε αυτόν δομές˙ Η τελευταία πράξη (1998) του Ιάκωβου Καμπανέλλη, όπου, με αφορμή το επικό οδυσσεϊκό παρελθόν και μια προγενέστερη πραγμάτευση του μύθου από το συγγραφέα, στήνεται ένα τριπλό θέαμα με ένα εξωσκηνικό δράμα, ένα αθέατο εσωσκηνικό δράμα και μια ανοιχτή προς όλους δοκιμή, με κεντρική μορφή τον αθέατο, διηγητικό Οδυσσέα, που διεκδικεί νέα οδύσσεια μέσω του θεάτρου˙ και Οι ηθοποιοί (2001) του Γιώργου Σκούρτη, όπου οι ηθοποιοί-χαρακτήρες του διεκδικούν με το εγκιβωτισμένο έργο εγκατάσταση στη «σοβαρή μυθολογία», εμφανίζοντας τον προς παράσταση Αγαμέμνονα ως Βίβλο, στις διατάξεις της οποίας υπάγονται τα περιστατικά των τριών τους, προκειμένου να ελεγχθούν οι εκλεκτικές τους συγγένειες με τους ήρωες του οίκου των Ατρειδών. Η μελέτη στα εν λόγω θεατρικά έργα, των χρήσεων των εγκιβωτισμών παραστάσεων και προβών, σε καθορισμένα ή συγκεχυμένα χρονικά και χωρικά πλαίσια, επιχειρεί να εξηγήσει τις δυνατότητες μετατόπισης ηθοποιών και εξωκειμενικών θεατών σε ρητές ή άρρητες μυθοπλασίες, καθώς και τις δυνατότητες παραβίασης του συνόρου μύθου και πραγματικότητας. Εξηγείται κατά πόσον σε επίπεδο υπερκειμενικής ζενετικής διακειμενικότητας τα υποκείμενα έργα καθορίζουν τη μυθοπλασία του έργου-πλαισίου, του εγκιβωτισμένου ή και των δύο, και αν δικαιώνεται ο χαρακτηρισμός υποκείμενο ως ενθυλακωμένο έργο στο υπερκείμενό του πρωτεύον. Η συνεξέταση συμβάλλει στον έλεγχο τού κατά πόσον η εγκιβωτισμένη ή η πλαισιωτική μυθοπλασία, που αρδεύεται από την προϋπάρχουσα κειμενική τραγική, επική ή άλλη κλασική παράδοση, κυρώνει ή υπονομεύει τις τραγικές δέσεις και λύσεις ή διανοίγει προοπτικές σε νέους μύθους. Μέσα από την εξέταση, διαφαίνεται πώς ο χειρισμός του θεάτρου εν θεάτρω γίνεται ένας χειρισμός μιας ρητορικής περί της ύπαρξης, της αναβίωσης ή του θανάτου του αρχαίου μύθου στο πεδίο της νεωτερικότητας.

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Advisors/Committee Members: Κυριακός, Κωνσταντίνος, Chalkou, Katerina, Κυριακός, Κωνσταντίνος, Τσιτσιρίδης, Σταύρος, Πανούσης, Ιωάννης.

Subjects/Keywords: Θέατρο εν θεάτρω; Θέατρο; Δράμα; Μεταθέατρο; Έργο μέσα στο έργο; Μεταδράμα; Μεταδραματικό θέατρο; Αρχαίος μύθος; Αρχαιόθεμη δραματουργία; Αρχαιόμυθη δραματουργία; Νεοελληνική δραματουργία; Παύλος Μάτεσις; Ιάκωβος Καμπανέλλης; Γιώργος Σκούρτης; 889.234 090 15; Theater in theater; Theatre; Drama; Metatheater; Play within a play; Metadrama; Postdramatic theatre; Ancient tragedy; Myth; Modern Greek drama; Pavlos Matesis; Iakovos Kambanellis; Giorgos Skourtis

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APA (6^th Edition):

Χάλκου, �. (2014). Αρχαιόθεμη νεοελληνική δραματουργία και τεχνικές του θεάτρου εν θεάτρω. "Η βουή" του Παύλου Μάτεσι, "Η τελευταία πράξη" του Ιάκωβου Καμπανέλλη και "Οι ηθοποιοί" του Γιώργου Σκούρτη. (Masters Thesis). University of Patras. Retrieved from http://hdl.handle.net/10889/7657

Chicago Manual of Style (16^th Edition):

Χάλκου, Κατερίνα. “Αρχαιόθεμη νεοελληνική δραματουργία και τεχνικές του θεάτρου εν θεάτρω. "Η βουή" του Παύλου Μάτεσι, "Η τελευταία πράξη" του Ιάκωβου Καμπανέλλη και "Οι ηθοποιοί" του Γιώργου Σκούρτη.” 2014. Masters Thesis, University of Patras. Accessed January 17, 2021. http://hdl.handle.net/10889/7657.

MLA Handbook (7^th Edition):

Χάλκου, Κατερίνα. “Αρχαιόθεμη νεοελληνική δραματουργία και τεχνικές του θεάτρου εν θεάτρω. "Η βουή" του Παύλου Μάτεσι, "Η τελευταία πράξη" του Ιάκωβου Καμπανέλλη και "Οι ηθοποιοί" του Γιώργου Σκούρτη.” 2014. Web. 17 Jan 2021.

Vancouver:

Χάλκου �. Αρχαιόθεμη νεοελληνική δραματουργία και τεχνικές του θεάτρου εν θεάτρω. "Η βουή" του Παύλου Μάτεσι, "Η τελευταία πράξη" του Ιάκωβου Καμπανέλλη και "Οι ηθοποιοί" του Γιώργου Σκούρτη. [Internet] [Masters thesis]. University of Patras; 2014. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/10889/7657.

Council of Science Editors:

Χάλκου �. Αρχαιόθεμη νεοελληνική δραματουργία και τεχνικές του θεάτρου εν θεάτρω. "Η βουή" του Παύλου Μάτεσι, "Η τελευταία πράξη" του Ιάκωβου Καμπανέλλη και "Οι ηθοποιοί" του Γιώργου Σκούρτη. [Masters Thesis]. University of Patras; 2014. Available from: http://hdl.handle.net/10889/7657

Arizona State University

22. Schoenfelder, Joseph Walter. Mobilizing Hope: An Applied Drama Approach Toward Building Protective Factors in Behavioral Health.

Degree: Theatre, 2018, Arizona State University

URL: http://repository.asu.edu/items/49354

► The purpose of this mixed methods case study was to evaluate a dramatic arts curriculum focused on building protective factors including resiliency, cognitive flexibility, self-efficacy,… (more)

Subjects/Keywords: Theater; Behavioral psychology; Applied Theatre; Hope; Performance; Resilience; Self-Efficacy; Theatre of the Oppressed

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APA (6^th Edition):

Schoenfelder, J. W. (2018). Mobilizing Hope: An Applied Drama Approach Toward Building Protective Factors in Behavioral Health. (Doctoral Dissertation). Arizona State University. Retrieved from http://repository.asu.edu/items/49354

Chicago Manual of Style (16^th Edition):

Schoenfelder, Joseph Walter. “Mobilizing Hope: An Applied Drama Approach Toward Building Protective Factors in Behavioral Health.” 2018. Doctoral Dissertation, Arizona State University. Accessed January 17, 2021. http://repository.asu.edu/items/49354.

MLA Handbook (7^th Edition):

Schoenfelder, Joseph Walter. “Mobilizing Hope: An Applied Drama Approach Toward Building Protective Factors in Behavioral Health.” 2018. Web. 17 Jan 2021.

Vancouver:

Schoenfelder JW. Mobilizing Hope: An Applied Drama Approach Toward Building Protective Factors in Behavioral Health. [Internet] [Doctoral dissertation]. Arizona State University; 2018. [cited 2021 Jan 17]. Available from: http://repository.asu.edu/items/49354.

Council of Science Editors:

Schoenfelder JW. Mobilizing Hope: An Applied Drama Approach Toward Building Protective Factors in Behavioral Health. [Doctoral Dissertation]. Arizona State University; 2018. Available from: http://repository.asu.edu/items/49354

University of Missouri – Kansas City

23. Anderson, Andrea Jane. Nashville Community Theatre: from the Little Theatre Guild to the Nashville Community Playhouse.

Degree: 2012, University of Missouri – Kansas City

URL: http://hdl.handle.net/10355/14079

► In the early 20th century the Little Theatre Movement swept through the United States. Theatre enthusiasts in cities and towns across the country sought to… (more)

Subjects/Keywords: Little theater movement; Theater – Tennessee – Nashville - History; Thesis – University of Missouri – Kansas City – Theatre

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APA (6^th Edition):

Anderson, A. J. (2012). Nashville Community Theatre: from the Little Theatre Guild to the Nashville Community Playhouse. (Thesis). University of Missouri – Kansas City. Retrieved from http://hdl.handle.net/10355/14079

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Anderson, Andrea Jane. “Nashville Community Theatre: from the Little Theatre Guild to the Nashville Community Playhouse.” 2012. Thesis, University of Missouri – Kansas City. Accessed January 17, 2021. http://hdl.handle.net/10355/14079.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Anderson, Andrea Jane. “Nashville Community Theatre: from the Little Theatre Guild to the Nashville Community Playhouse.” 2012. Web. 17 Jan 2021.

Vancouver:

Anderson AJ. Nashville Community Theatre: from the Little Theatre Guild to the Nashville Community Playhouse. [Internet] [Thesis]. University of Missouri – Kansas City; 2012. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/10355/14079.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Anderson AJ. Nashville Community Theatre: from the Little Theatre Guild to the Nashville Community Playhouse. [Thesis]. University of Missouri – Kansas City; 2012. Available from: http://hdl.handle.net/10355/14079

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Akron

24. Gambill, Christin N. " A Poor Player That Struts and Frets His Hour Upon the Stage..." The English Theatre in Transition.

Degree: MA, Theatre Arts, 2016, University of Akron

URL: http://rave.ohiolink.edu/etdc/view?acc_num=akron1458984846

► This paper will explore the relationship between the English Renaissance theatre and the society in which it existed. Beginning with the reign of Elizabeth I,… (more)

Subjects/Keywords: Theater History; Theater; Theater Studies; Fine Arts; Performing Arts; English Renaissance theatre; Elizabeth I; early Stuarts; Interregnum; English theatre of the Restoration; Theatre

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APA (6^th Edition):

Gambill, C. N. (2016). " A Poor Player That Struts and Frets His Hour Upon the Stage..." The English Theatre in Transition. (Masters Thesis). University of Akron. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=akron1458984846

Chicago Manual of Style (16^th Edition):

Gambill, Christin N. “" A Poor Player That Struts and Frets His Hour Upon the Stage..." The English Theatre in Transition.” 2016. Masters Thesis, University of Akron. Accessed January 17, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=akron1458984846.

MLA Handbook (7^th Edition):

Gambill, Christin N. “" A Poor Player That Struts and Frets His Hour Upon the Stage..." The English Theatre in Transition.” 2016. Web. 17 Jan 2021.

Vancouver:

Gambill CN. " A Poor Player That Struts and Frets His Hour Upon the Stage..." The English Theatre in Transition. [Internet] [Masters thesis]. University of Akron; 2016. [cited 2021 Jan 17]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=akron1458984846.

Council of Science Editors:

Gambill CN. " A Poor Player That Struts and Frets His Hour Upon the Stage..." The English Theatre in Transition. [Masters Thesis]. University of Akron; 2016. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=akron1458984846

Louisiana State University

25. Hebert, Neal Anderson. Professional Wrestling: Local Performance History, Global Performance Praxis.

Degree: PhD, Theatre and Performance Studies, 2016, Louisiana State University

URL: etd-07112016-140347 ; https://digitalcommons.lsu.edu/gradschool_dissertations/2329

► Professional Wrestling: Local Performance History, Global Performance Praxis, is a work of interdisciplinary scholarship (combining elements of theatre history, performance studies, and philosophy) that addresses… (more)

Subjects/Keywords: theatre; theatre history; performance studies; Noel Carroll; Mary Sirridge; theater; theater history; professional wrestling; sport; analytic philosophy; aesthetics; philosophy of art

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APA (6^th Edition):

Hebert, N. A. (2016). Professional Wrestling: Local Performance History, Global Performance Praxis. (Doctoral Dissertation). Louisiana State University. Retrieved from etd-07112016-140347 ; https://digitalcommons.lsu.edu/gradschool_dissertations/2329

Chicago Manual of Style (16^th Edition):

Hebert, Neal Anderson. “Professional Wrestling: Local Performance History, Global Performance Praxis.” 2016. Doctoral Dissertation, Louisiana State University. Accessed January 17, 2021. etd-07112016-140347 ; https://digitalcommons.lsu.edu/gradschool_dissertations/2329.

MLA Handbook (7^th Edition):

Hebert, Neal Anderson. “Professional Wrestling: Local Performance History, Global Performance Praxis.” 2016. Web. 17 Jan 2021.

Vancouver:

Hebert NA. Professional Wrestling: Local Performance History, Global Performance Praxis. [Internet] [Doctoral dissertation]. Louisiana State University; 2016. [cited 2021 Jan 17]. Available from: etd-07112016-140347 ; https://digitalcommons.lsu.edu/gradschool_dissertations/2329.

Council of Science Editors:

Hebert NA. Professional Wrestling: Local Performance History, Global Performance Praxis. [Doctoral Dissertation]. Louisiana State University; 2016. Available from: etd-07112016-140347 ; https://digitalcommons.lsu.edu/gradschool_dissertations/2329

Stockholm University

26. Weber, Minon. Rediscovering Beatrice and Bianca: A Study of Oscar Wilde’s Tragedies The Duchess of Padua (1883) and A Florentine Tragedy (1894).

Degree: English, 2020, Stockholm University

URL: http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184574

► Towards the end of the 19th century Oscar Wilde wrote the four society plays that would become his most famous dramatical works: Lady Windermere’s Fan (1892), A… (more)

Subjects/Keywords: Oscar Wilde; Victorian Literature; Drama; Theatre; 19th Century Literature; Renaissance Drama; Theatre; Elizabethan Drama; Jacobean Drama; A Florentine Tragedy; The Duchess of Padua; Wilde; Wilde Studies; Transgression; Feminist Criticism; Historicist Criticism; Genetic Criticism; Specific Languages; Studier av enskilda språk

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APA (6^th Edition):

Weber, M. (2020). Rediscovering Beatrice and Bianca: A Study of Oscar Wilde’s Tragedies The Duchess of Padua (1883) and A Florentine Tragedy (1894). (Thesis). Stockholm University. Retrieved from http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184574

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Weber, Minon. “Rediscovering Beatrice and Bianca: A Study of Oscar Wilde’s Tragedies The Duchess of Padua (1883) and A Florentine Tragedy (1894).” 2020. Thesis, Stockholm University. Accessed January 17, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184574.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Weber, Minon. “Rediscovering Beatrice and Bianca: A Study of Oscar Wilde’s Tragedies The Duchess of Padua (1883) and A Florentine Tragedy (1894).” 2020. Web. 17 Jan 2021.

Vancouver:

Weber M. Rediscovering Beatrice and Bianca: A Study of Oscar Wilde’s Tragedies The Duchess of Padua (1883) and A Florentine Tragedy (1894). [Internet] [Thesis]. Stockholm University; 2020. [cited 2021 Jan 17]. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184574.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Weber M. Rediscovering Beatrice and Bianca: A Study of Oscar Wilde’s Tragedies The Duchess of Padua (1883) and A Florentine Tragedy (1894). [Thesis]. Stockholm University; 2020. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184574

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Pretoria

27. [No author]. An appreciative inquiry approach to community theatre on HIV and AIDS education for young people .

Degree: 2011, University of Pretoria

URL: http://upetd.up.ac.za/thesis/available/etd-02012011-203230/

► This dissertation positions Community Theatre as an agency for development and education based on the educational principles of Freire and Boal’s Theatre for Development. The… (more)

Subjects/Keywords: Development; Appreciative inquiry; Theatre of the oppressed; Pedagogy of the oppressed; Social change; Meaningful participation.; Theatre for development; Drama in education; Theatre in education; Conscientisation; Peer education; Community theatre; UCTD

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APA (6^th Edition):

author], [. (2011). An appreciative inquiry approach to community theatre on HIV and AIDS education for young people . (Masters Thesis). University of Pretoria. Retrieved from http://upetd.up.ac.za/thesis/available/etd-02012011-203230/

Chicago Manual of Style (16^th Edition):

author], [No. “An appreciative inquiry approach to community theatre on HIV and AIDS education for young people .” 2011. Masters Thesis, University of Pretoria. Accessed January 17, 2021. http://upetd.up.ac.za/thesis/available/etd-02012011-203230/.

MLA Handbook (7^th Edition):

author], [No. “An appreciative inquiry approach to community theatre on HIV and AIDS education for young people .” 2011. Web. 17 Jan 2021.

Vancouver:

author] [. An appreciative inquiry approach to community theatre on HIV and AIDS education for young people . [Internet] [Masters thesis]. University of Pretoria; 2011. [cited 2021 Jan 17]. Available from: http://upetd.up.ac.za/thesis/available/etd-02012011-203230/.

Council of Science Editors:

author] [. An appreciative inquiry approach to community theatre on HIV and AIDS education for young people . [Masters Thesis]. University of Pretoria; 2011. Available from: http://upetd.up.ac.za/thesis/available/etd-02012011-203230/

University of Pretoria

28. Maritz, Gerrit Ulrich. An appreciative inquiry approach to community theatre on HIV and AIDS education for young people.

Degree: Drama, 2011, University of Pretoria

URL: http://hdl.handle.net/2263/26490

► This dissertation positions Community Theatre as an agency for development and education based on the educational principles of Freire and Boal’s Theatre for Development. The… (more)

Subjects/Keywords: Development; Appreciative inquiry; Theatre of the oppressed; Pedagogy of the oppressed; Social change; Meaningful participation.; Theatre for development; Drama in education; Theatre in education; Conscientisation; Peer education; Community theatre; UCTD

Record Details Similar Records Cite « Share

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Maritz, G. (2011). An appreciative inquiry approach to community theatre on HIV and AIDS education for young people. (Masters Thesis). University of Pretoria. Retrieved from http://hdl.handle.net/2263/26490

Chicago Manual of Style (16^th Edition):

Maritz, Gerrit. “An appreciative inquiry approach to community theatre on HIV and AIDS education for young people.” 2011. Masters Thesis, University of Pretoria. Accessed January 17, 2021. http://hdl.handle.net/2263/26490.

MLA Handbook (7^th Edition):

Maritz, Gerrit. “An appreciative inquiry approach to community theatre on HIV and AIDS education for young people.” 2011. Web. 17 Jan 2021.

Vancouver:

Maritz G. An appreciative inquiry approach to community theatre on HIV and AIDS education for young people. [Internet] [Masters thesis]. University of Pretoria; 2011. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/2263/26490.

Council of Science Editors:

Maritz G. An appreciative inquiry approach to community theatre on HIV and AIDS education for young people. [Masters Thesis]. University of Pretoria; 2011. Available from: http://hdl.handle.net/2263/26490

University of Washington

29. Henderson, Bria Samoné. Being Big, Black & Ugly in a World that Ain't Got Space For Your Fat Ass: A Solo Performance of My Own Design.

Degree: 2018, University of Washington

URL: http://hdl.handle.net/1773/42277

► Being Big, Black, & Ugly in a World that Ain’t Got Space for Your Fat Ass is a thesis solo show that examines the direct… (more)

Subjects/Keywords:

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APA (6^th Edition):

Henderson, B. S. (2018). Being Big, Black & Ugly in a World that Ain't Got Space For Your Fat Ass: A Solo Performance of My Own Design. (Thesis). University of Washington. Retrieved from http://hdl.handle.net/1773/42277

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Henderson, Bria Samoné. “Being Big, Black & Ugly in a World that Ain't Got Space For Your Fat Ass: A Solo Performance of My Own Design.” 2018. Thesis, University of Washington. Accessed January 17, 2021. http://hdl.handle.net/1773/42277.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Henderson, Bria Samoné. “Being Big, Black & Ugly in a World that Ain't Got Space For Your Fat Ass: A Solo Performance of My Own Design.” 2018. Web. 17 Jan 2021.

Vancouver:

Henderson BS. Being Big, Black & Ugly in a World that Ain't Got Space For Your Fat Ass: A Solo Performance of My Own Design. [Internet] [Thesis]. University of Washington; 2018. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/1773/42277.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Henderson BS. Being Big, Black & Ugly in a World that Ain't Got Space For Your Fat Ass: A Solo Performance of My Own Design. [Thesis]. University of Washington; 2018. Available from: http://hdl.handle.net/1773/42277

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Washington

30. Glaser, Tamsen Michelle. STARDUST: A study of transformation.

Degree: 2018, University of Washington

URL: http://hdl.handle.net/1773/42281

► This thesis documents the creation of the capstone assignment for the Professional Actor Training Program - the creation and performance of a solo show entirely… (more)

Subjects/Keywords:

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APA (6^th Edition):

Glaser, T. M. (2018). STARDUST: A study of transformation. (Thesis). University of Washington. Retrieved from http://hdl.handle.net/1773/42281

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Glaser, Tamsen Michelle. “STARDUST: A study of transformation.” 2018. Thesis, University of Washington. Accessed January 17, 2021. http://hdl.handle.net/1773/42281.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Glaser, Tamsen Michelle. “STARDUST: A study of transformation.” 2018. Web. 17 Jan 2021.

Vancouver:

Glaser TM. STARDUST: A study of transformation. [Internet] [Thesis]. University of Washington; 2018. [cited 2021 Jan 17]. Available from: http://hdl.handle.net/1773/42281.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Glaser TM. STARDUST: A study of transformation. [Thesis]. University of Washington; 2018. Available from: http://hdl.handle.net/1773/42281

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

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Open Access Theses and Dissertations