subject:(performance studies)

1. Stud, Thea. Direction of the Musical: A Year with Frog and Toad.

Degree: MA, 2016, Central Washington University

URL: https://digitalcommons.cwu.edu/etd/775

► This project entailed the selection, background research and documentation, musical analysis, casting, direction, vocal coaching, and post-production analysis of Palo Verde College's production of… (more)

Subjects/Keywords: Performance Studies

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APA (6^th Edition):

Stud, T. (2016). Direction of the Musical: A Year with Frog and Toad. (Masters Thesis). Central Washington University. Retrieved from https://digitalcommons.cwu.edu/etd/775

Chicago Manual of Style (16^th Edition):

Stud, Thea. “Direction of the Musical: A Year with Frog and Toad.” 2016. Masters Thesis, Central Washington University. Accessed October 21, 2019. https://digitalcommons.cwu.edu/etd/775.

MLA Handbook (7^th Edition):

Stud, Thea. “Direction of the Musical: A Year with Frog and Toad.” 2016. Web. 21 Oct 2019.

Vancouver:

Stud T. Direction of the Musical: A Year with Frog and Toad. [Internet] [Masters thesis]. Central Washington University; 2016. [cited 2019 Oct 21]. Available from: https://digitalcommons.cwu.edu/etd/775.

Council of Science Editors:

Stud T. Direction of the Musical: A Year with Frog and Toad. [Masters Thesis]. Central Washington University; 2016. Available from: https://digitalcommons.cwu.edu/etd/775

2. Stud, Thea. The One Voice Project.

Degree: MA, 2014, Central Washington University

URL: https://digitalcommons.cwu.edu/etd/771

► Ellis Elementary is an inner-city school that serves a multi-lingual population and serves a demographic consisting primarily of international refugee groups and low-income households.… (more)

Subjects/Keywords: Performance Studies

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APA (6^th Edition):

Stud, T. (2014). The One Voice Project. (Masters Thesis). Central Washington University. Retrieved from https://digitalcommons.cwu.edu/etd/771

Chicago Manual of Style (16^th Edition):

Stud, Thea. “The One Voice Project.” 2014. Masters Thesis, Central Washington University. Accessed October 21, 2019. https://digitalcommons.cwu.edu/etd/771.

MLA Handbook (7^th Edition):

Stud, Thea. “The One Voice Project.” 2014. Web. 21 Oct 2019.

Vancouver:

Stud T. The One Voice Project. [Internet] [Masters thesis]. Central Washington University; 2014. [cited 2019 Oct 21]. Available from: https://digitalcommons.cwu.edu/etd/771.

Council of Science Editors:

Stud T. The One Voice Project. [Masters Thesis]. Central Washington University; 2014. Available from: https://digitalcommons.cwu.edu/etd/771

Edith Cowan University

3. Lavers, Katrina. Sighting Circus: Perceptions of circus phenomena investigated through diverse bodies.

Degree: 2014, Edith Cowan University

URL: http://ro.ecu.edu.au/theses/1496

► This thesis is an investigation into modern circus from its beginnings in 1768 through to present day contemporary circus arts. Eight diverse bodies in modern… (more)

▼ This thesis is an investigation into modern circus from its beginnings in 1768 through to present day contemporary circus arts. Eight diverse bodies in modern and contemporary circus are explored. These eight bodies act as different lenses to focus enquiry into gaps or ruptures in the grand narratives of circus, to reveal previously missing voices and histories and to set in place new approaches to perceiving circus phenomena. In The Political Body, the phenomenon of embodied protest is identified and explored in relation to contemporary circus works. The importance of the engaged spectator is identified in determining political, poetic and metaphorical meanings in contemporary circus acts, even when those meanings go beyond what the artist may have originally intended. This active act of deciphering by the spectator can add to the perception of depth and complexity in some contemporary circus arts, which is especially relevant in works that can be read as a hybrid of performance art and circus. In The Body of Space, the importance of space as a central and defining element in the development of circus is highlighted. Circus is pinpointed as a forerunner in the development of innovative performance spaces and in the resultant emergence of new and influential performance aesthetics. In the section The Body of Zooësis the representations of two different animals in circus are traced. In the first chapter in this section The Body of the Horse - the horse is identified as being of pivotal importance to the development of modern circus. The horse’s history and its representation in circus are traced through from the beginnings of modern circus to the contemporary horse circuses now emerging in Quebec. In The Wild Body, the history of the representation of wild cats in circus is investigated in relation to a rising tide of popular support for the rights of animals. Circus’ responses to these shifts in public opinion are revealed in the emergence of new acts created to appease public concern, and in the emergence of new rhetoric designed to portray circuses as ‘cross-species families’ or ‘conservation arks.’ In The Extraordinary Body, after an initial exploration of the history of the exhibition of freaks in circus, the lack of differently abled performers in contemporary circus is interrogated. The phenomenon of ‘crip-face’ or ‘crip-drag’ in which the mannerisms of the disabled are adopted by able-bodied performers is investigated in contemporary circus performance and newly emerging circuses in England and Australia combining both disabled and able-bodied performers are identified. In The Exceptional Body the gradually reducing parameters for the performing body in contemporary circus are identified and interrogated. In The Unmarked Body, a gap in the grand narrative of circus is identified and the history of African American circus in North America is developed. This history is traced from the beginnings of modern circus in North America through to the present day. In The Resilient Body the origins of social circus are…

Subjects/Keywords: Other Theatre and Performance Studies; Performance Studies

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APA (6^th Edition):

Lavers, K. (2014). Sighting Circus: Perceptions of circus phenomena investigated through diverse bodies. (Thesis). Edith Cowan University. Retrieved from http://ro.ecu.edu.au/theses/1496

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):

Lavers, Katrina. “Sighting Circus: Perceptions of circus phenomena investigated through diverse bodies.” 2014. Thesis, Edith Cowan University. Accessed October 21, 2019. http://ro.ecu.edu.au/theses/1496.

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

MLA Handbook (7^th Edition):

Lavers, Katrina. “Sighting Circus: Perceptions of circus phenomena investigated through diverse bodies.” 2014. Web. 21 Oct 2019.

Vancouver:

Lavers K. Sighting Circus: Perceptions of circus phenomena investigated through diverse bodies. [Internet] [Thesis]. Edith Cowan University; 2014. [cited 2019 Oct 21]. Available from: http://ro.ecu.edu.au/theses/1496.

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

Council of Science Editors:

Lavers K. Sighting Circus: Perceptions of circus phenomena investigated through diverse bodies. [Thesis]. Edith Cowan University; 2014. Available from: http://ro.ecu.edu.au/theses/1496

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

University of Texas – Austin

4. -4496-0762. Gordas : fat Latinas taking the stage.

Degree: PhD, Theatre, 2019, University of Texas – Austin

URL: http://dx.doi.org/10.26153/tsw/2207

► In Gordas:Fat Latinas Taking the Stage I analyze the performances of Jennylin Duany’s Cabaret Unkempt, Nancy Millán’s La Mujer Invisible, and Victoria Grise and Irma… (more)

▼ In Gordas:Fat Latinas Taking the Stage I analyze the performances of Jennylin Duany’s Cabaret Unkempt, Nancy Millán’s La Mujer Invisible, and Victoria Grise and Irma Mayorga’s The Panza Monologues in order to illustrate how, by performing their subjectivities as fat women of color, Duany, Millán, and Grise empower themselves. I argue that by sharing personal stories in performance, these artists critique and challenge weight-based stereotypes. Furthermore, they reveal the intersections between the construction of fatness and gender, race and sexuality. Further, I investigate how these performers utilize autobiographical performance to open spaces for critical dialogue about how the fat body is constructed in the U.S. These artists illustrate the ways in which autobiographical performance is uniquely suited to alliance building. More specifically, in Cabaret Unkempt Duany elevates Jenny, her performance persona, to diva status, thereby accessing an alternative and subversive space where the typically devalued Black fat body is centered, desired, and unattainable. Then through poetry, confessional monologue, and dance Duany invites the audience to see her body as whole, beautiful, and virtuosic. In La Mujer Invisible, a confessional rock concert, Millán shares personal anecdotes about growing up and becoming a professional actress that imbedded in her the belief that she needed to lose weight in order to achieve her personal and professional goals. She goes on to trouble ideas of race, mental health, and worthiness. Grise and Mayorga use the panza (“belly”) as a metaphor for the body that reveals the socio-political realities of being Chicana. I assert that by sharing personal stories and placing their fat, racialized bodies center stage, these performers reclaim their value as artists and human beings. In so doing, they make themselves visible and reveal the intersectionality of the construction of fatness with gender, sexuality, race, and ethnicity. Finally, they become transformative agents by encouraging the audience to recognize and examine their own prejudices, and to become allies against fat stigmatization. Advisors/Committee Members: Paredez, Deborah, 1970- (advisor), Jones, Omi Osun Joni L., 1955- (advisor), Canning, Charlotte (committee member), Bonin-Rodriguez, Paul (committee member), Arroyo-Martinez, Jossianna (committee member).

Subjects/Keywords: Fat studies; Performance studies; Latina/o performance

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APA (6^th Edition):

-4496-0762. (2019). Gordas : fat Latinas taking the stage. (Doctoral Dissertation). University of Texas – Austin. Retrieved from http://dx.doi.org/10.26153/tsw/2207

Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete

Chicago Manual of Style (16^th Edition):

-4496-0762. “Gordas : fat Latinas taking the stage.” 2019. Doctoral Dissertation, University of Texas – Austin. Accessed October 21, 2019. http://dx.doi.org/10.26153/tsw/2207.

Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete

MLA Handbook (7^th Edition):

-4496-0762. “Gordas : fat Latinas taking the stage.” 2019. Web. 21 Oct 2019.

Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete

Vancouver:

-4496-0762. Gordas : fat Latinas taking the stage. [Internet] [Doctoral dissertation]. University of Texas – Austin; 2019. [cited 2019 Oct 21]. Available from: http://dx.doi.org/10.26153/tsw/2207.

Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete

Council of Science Editors:

-4496-0762. Gordas : fat Latinas taking the stage. [Doctoral Dissertation]. University of Texas – Austin; 2019. Available from: http://dx.doi.org/10.26153/tsw/2207

Note: this citation may be lacking information needed for this citation format:
Author name may be incomplete

University of Ottawa

5. Morrison, Krystal. Musicology, Discourse, and the Performer’s Body: Understanding Music from the Inside .

Degree: 2018, University of Ottawa

URL: http://hdl.handle.net/10393/37129

► Current research in music scholarship appears to be trending towards the “embodied” yet from the vantage point of the performer this progression seems to be… (more)

Subjects/Keywords: Performance Studies; Embodiment

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APA (6^th Edition):

Morrison, K. (2018). Musicology, Discourse, and the Performer’s Body: Understanding Music from the Inside . (Thesis). University of Ottawa. Retrieved from http://hdl.handle.net/10393/37129

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):

Morrison, Krystal. “Musicology, Discourse, and the Performer’s Body: Understanding Music from the Inside .” 2018. Thesis, University of Ottawa. Accessed October 21, 2019. http://hdl.handle.net/10393/37129.

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

MLA Handbook (7^th Edition):

Morrison, Krystal. “Musicology, Discourse, and the Performer’s Body: Understanding Music from the Inside .” 2018. Web. 21 Oct 2019.

Vancouver:

Morrison K. Musicology, Discourse, and the Performer’s Body: Understanding Music from the Inside . [Internet] [Thesis]. University of Ottawa; 2018. [cited 2019 Oct 21]. Available from: http://hdl.handle.net/10393/37129.

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

Council of Science Editors:

Morrison K. Musicology, Discourse, and the Performer’s Body: Understanding Music from the Inside . [Thesis]. University of Ottawa; 2018. Available from: http://hdl.handle.net/10393/37129

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

University of Arkansas

6. Hockenbrough, Grant. Beside Myself.

Degree: MFA, Theatre (MFA), 2018, University of Arkansas

URL: https://scholarworks.uark.edu/etd/2747

This thesis consists of my statement of artistry, and documentation of artistic materials and thesis related performances. Advisors/Committee Members: Amy Herzberg, Michael Landman, Steven Marzolf.

Subjects/Keywords: Acting; Performance Studies

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APA (6^th Edition):

Hockenbrough, G. (2018). Beside Myself. (Masters Thesis). University of Arkansas. Retrieved from https://scholarworks.uark.edu/etd/2747

Chicago Manual of Style (16^th Edition):

Hockenbrough, Grant. “Beside Myself.” 2018. Masters Thesis, University of Arkansas. Accessed October 21, 2019. https://scholarworks.uark.edu/etd/2747.

MLA Handbook (7^th Edition):

Hockenbrough, Grant. “Beside Myself.” 2018. Web. 21 Oct 2019.

Vancouver:

Hockenbrough G. Beside Myself. [Internet] [Masters thesis]. University of Arkansas; 2018. [cited 2019 Oct 21]. Available from: https://scholarworks.uark.edu/etd/2747.

Council of Science Editors:

Hockenbrough G. Beside Myself. [Masters Thesis]. University of Arkansas; 2018. Available from: https://scholarworks.uark.edu/etd/2747

University of Arkansas

7. Shelton, Cody Levi. Takin' Care of Business.

Degree: MFA, Theatre (MFA), 2018, University of Arkansas

URL: https://scholarworks.uark.edu/etd/2779

This thesis consists of my statement of artistry, and documentation of artistic materials and thesis related performances. Advisors/Committee Members: Amy Herzberg, Steven Marzolf, Michael Landman.

Subjects/Keywords: Acting; Performance Studies

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APA (6^th Edition):

Shelton, C. L. (2018). Takin' Care of Business. (Masters Thesis). University of Arkansas. Retrieved from https://scholarworks.uark.edu/etd/2779

Chicago Manual of Style (16^th Edition):

Shelton, Cody Levi. “Takin' Care of Business.” 2018. Masters Thesis, University of Arkansas. Accessed October 21, 2019. https://scholarworks.uark.edu/etd/2779.

MLA Handbook (7^th Edition):

Shelton, Cody Levi. “Takin' Care of Business.” 2018. Web. 21 Oct 2019.

Vancouver:

Shelton CL. Takin' Care of Business. [Internet] [Masters thesis]. University of Arkansas; 2018. [cited 2019 Oct 21]. Available from: https://scholarworks.uark.edu/etd/2779.

Council of Science Editors:

Shelton CL. Takin' Care of Business. [Masters Thesis]. University of Arkansas; 2018. Available from: https://scholarworks.uark.edu/etd/2779

University of Nevada – Las Vegas

8. Lanz, Megan R. Silence: Exploring Salvatore Sciarrino’s style through L’opera per flauto.

Degree: DMA, Music, 2010, University of Nevada – Las Vegas

URL: https://digitalscholarship.unlv.edu/thesesdissertations/730

► The purpose of this paper is to examine the works in Salvatore Sciarrino’s (b. 1947) collection L’opera per flauto written for solo flute and… (more)

Subjects/Keywords: Music; Performance Studies

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APA (6^th Edition):

Lanz, M. R. (2010). Silence: Exploring Salvatore Sciarrino’s style through L’opera per flauto. (Doctoral Dissertation). University of Nevada – Las Vegas. Retrieved from https://digitalscholarship.unlv.edu/thesesdissertations/730

Chicago Manual of Style (16^th Edition):

Lanz, Megan R. “Silence: Exploring Salvatore Sciarrino’s style through L’opera per flauto.” 2010. Doctoral Dissertation, University of Nevada – Las Vegas. Accessed October 21, 2019. https://digitalscholarship.unlv.edu/thesesdissertations/730.

MLA Handbook (7^th Edition):

Lanz, Megan R. “Silence: Exploring Salvatore Sciarrino’s style through L’opera per flauto.” 2010. Web. 21 Oct 2019.

Vancouver:

Lanz MR. Silence: Exploring Salvatore Sciarrino’s style through L’opera per flauto. [Internet] [Doctoral dissertation]. University of Nevada – Las Vegas; 2010. [cited 2019 Oct 21]. Available from: https://digitalscholarship.unlv.edu/thesesdissertations/730.

Council of Science Editors:

Lanz MR. Silence: Exploring Salvatore Sciarrino’s style through L’opera per flauto. [Doctoral Dissertation]. University of Nevada – Las Vegas; 2010. Available from: https://digitalscholarship.unlv.edu/thesesdissertations/730

University of Kansas

9. List, Jeff. MassillonProud: A Performance Studies Approach to High School Football and Localized Meaning-Making.

Degree: PhD, Theatre, 2015, University of Kansas

URL: http://hdl.handle.net/1808/19064

► Residents in Massillon, OH understand their relationship to the town through the lens of football. Football offers residents a narrative to which they can accede… (more)

▼ Residents in Massillon, OH understand their relationship to the town through the lens of football. Football offers residents a narrative to which they can accede when the popularized narratives of the town fail to appropriately frame their experiences. The construction of Massillon as a blue-collar small town conflicts with historical narratives presented by other local institutions. Re-enacting the football narrative constructs a sense of self that rationalizes civic identities when confronted with counter-narratives. High school football, then, perpetuates the local, blue collar sense of self. By advancing the football narrative, they can claim that racial and class relations are less relevant in their lives because football enacts a classless and colorblind meritocracy. Because black and white players work where only talent matters, race and class are no longer determinants of success and opportunity. The spectacles and rituals of football also inform residents’ relationship to the team. They valorize the team and socialize newcomers and children into the embodied performances which create emotional attachments. Attachment has reached such proportions for some that they ascribe a biological or essential quality to football. The essential quality of the team also gets perpetuated though discourse and everyday practices. Residents conflate team and town where supporting the team means supporting the town. People enact civic identities as they recirculate the football narrative. Beginning with Paul Brown, an infrastructure supporting the team has grown into a celebratory complex of hundreds of projects and programs. Participation in the complex enhances the oneness of being part of the team. People access the greatness associated with the team by constructing a team identity. Individual, civic, and team identities coalesce during McKinley Week, where residents can combat others who represent what they strive to overcome. The repetition of images and performances ingrains the attraction to the team. Residents use football as a mechanism for meaning-making. Advisors/Committee Members: Bial, Henry (advisor), Leon, Mechele (cmtemember), Gronbeck-Tedesco, John (cmtemember), Hodges Persely, Nicole (cmtemember), Chappell, Ben (cmtemember).

Subjects/Keywords: Theater; American studies; Cultural Performance; Football; Performance Studies; Performativity; Social performance

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APA (6^th Edition):

List, J. (2015). MassillonProud: A Performance Studies Approach to High School Football and Localized Meaning-Making. (Doctoral Dissertation). University of Kansas. Retrieved from http://hdl.handle.net/1808/19064

Chicago Manual of Style (16^th Edition):

List, Jeff. “MassillonProud: A Performance Studies Approach to High School Football and Localized Meaning-Making.” 2015. Doctoral Dissertation, University of Kansas. Accessed October 21, 2019. http://hdl.handle.net/1808/19064.

MLA Handbook (7^th Edition):

List, Jeff. “MassillonProud: A Performance Studies Approach to High School Football and Localized Meaning-Making.” 2015. Web. 21 Oct 2019.

Vancouver:

List J. MassillonProud: A Performance Studies Approach to High School Football and Localized Meaning-Making. [Internet] [Doctoral dissertation]. University of Kansas; 2015. [cited 2019 Oct 21]. Available from: http://hdl.handle.net/1808/19064.

Council of Science Editors:

List J. MassillonProud: A Performance Studies Approach to High School Football and Localized Meaning-Making. [Doctoral Dissertation]. University of Kansas; 2015. Available from: http://hdl.handle.net/1808/19064

California State University – Sacramento

10. Crago-Schneider, Benjamin. Social studies alive.

Degree: MA, Education (Curriculum and Instruction, 2010, California State University – Sacramento

URL: http://hdl.handle.net/10211.9/322

► This project is a collaborative project between Benjamin Crago-Schneider and Julie Pepper. The work for this project was shared equally by the two authors. This… (more)

Subjects/Keywords: Social studies; Arts; Performance; Theatrical performance; Curriculum

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APA (6^th Edition):

Crago-Schneider, B. (2010). Social studies alive. (Masters Thesis). California State University – Sacramento. Retrieved from http://hdl.handle.net/10211.9/322

Chicago Manual of Style (16^th Edition):

Crago-Schneider, Benjamin. “Social studies alive.” 2010. Masters Thesis, California State University – Sacramento. Accessed October 21, 2019. http://hdl.handle.net/10211.9/322.

MLA Handbook (7^th Edition):

Crago-Schneider, Benjamin. “Social studies alive.” 2010. Web. 21 Oct 2019.

Vancouver:

Crago-Schneider B. Social studies alive. [Internet] [Masters thesis]. California State University – Sacramento; 2010. [cited 2019 Oct 21]. Available from: http://hdl.handle.net/10211.9/322.

Council of Science Editors:

Crago-Schneider B. Social studies alive. [Masters Thesis]. California State University – Sacramento; 2010. Available from: http://hdl.handle.net/10211.9/322

Virginia Commonwealth University

11. Wynn, Andrew Ross. Candor & Ebb: Searching For My Truth Through Solo Performance.

Degree: MFA, Theatre, 2018, Virginia Commonwealth University

URL: https://scholarscompass.vcu.edu/etd/5373

► This thesis is an examination of autobiographical solo performance. It explores the use of personal trauma and illness in the dramatic form. In addition… (more)

Subjects/Keywords: Solo Performance; Comedy; Theatre and Performance Studies

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APA (6^th Edition):

Wynn, A. R. (2018). Candor & Ebb: Searching For My Truth Through Solo Performance. (Thesis). Virginia Commonwealth University. Retrieved from https://scholarscompass.vcu.edu/etd/5373

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):

Wynn, Andrew Ross. “Candor & Ebb: Searching For My Truth Through Solo Performance.” 2018. Thesis, Virginia Commonwealth University. Accessed October 21, 2019. https://scholarscompass.vcu.edu/etd/5373.

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

MLA Handbook (7^th Edition):

Wynn, Andrew Ross. “Candor & Ebb: Searching For My Truth Through Solo Performance.” 2018. Web. 21 Oct 2019.

Vancouver:

Wynn AR. Candor & Ebb: Searching For My Truth Through Solo Performance. [Internet] [Thesis]. Virginia Commonwealth University; 2018. [cited 2019 Oct 21]. Available from: https://scholarscompass.vcu.edu/etd/5373.

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

Council of Science Editors:

Wynn AR. Candor & Ebb: Searching For My Truth Through Solo Performance. [Thesis]. Virginia Commonwealth University; 2018. Available from: https://scholarscompass.vcu.edu/etd/5373

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

12. Williams, Dawn Monique. “What Country Friends Is This?”: Creating Shakespeare’s Twelfth Night Onstage, A Director's Journey.

Degree: MFA, Theater, 2011, University of Massachusetts

URL: https://scholarworks.umass.edu/theses/737

► This written portion of my thesis is aimed at documenting how I, the director, as both interpretive and generative artist, took William Shakespeare’s Twelfth… (more)

Subjects/Keywords: Shakespeare; Theatre; Drama; Performance Studies; Blues; Performance Studies; Theatre and Performance Studies; Theatre History

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APA (6^th Edition):

Williams, D. M. (2011). “What Country Friends Is This?”: Creating Shakespeare’s Twelfth Night Onstage, A Director's Journey. (Masters Thesis). University of Massachusetts. Retrieved from https://scholarworks.umass.edu/theses/737

Chicago Manual of Style (16^th Edition):

Williams, Dawn Monique. ““What Country Friends Is This?”: Creating Shakespeare’s Twelfth Night Onstage, A Director's Journey.” 2011. Masters Thesis, University of Massachusetts. Accessed October 21, 2019. https://scholarworks.umass.edu/theses/737.

MLA Handbook (7^th Edition):

Williams, Dawn Monique. ““What Country Friends Is This?”: Creating Shakespeare’s Twelfth Night Onstage, A Director's Journey.” 2011. Web. 21 Oct 2019.

Vancouver:

Williams DM. “What Country Friends Is This?”: Creating Shakespeare’s Twelfth Night Onstage, A Director's Journey. [Internet] [Masters thesis]. University of Massachusetts; 2011. [cited 2019 Oct 21]. Available from: https://scholarworks.umass.edu/theses/737.

Council of Science Editors:

Williams DM. “What Country Friends Is This?”: Creating Shakespeare’s Twelfth Night Onstage, A Director's Journey. [Masters Thesis]. University of Massachusetts; 2011. Available from: https://scholarworks.umass.edu/theses/737

University of KwaZulu-Natal

13. Untiedt, Glenda Louise. Scenography in context : a comparative analysis of the influences on set designs for Wolfgang Amadeus Mozart's opera The Magic Flute (1791) with specific reference to selected set designers.

Degree: MA, Drama and performance studies, 2013, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/9669

► The aim of this dissertation is to comparatively analyse the set designs for Wolfgang Amadeus Mozart’s (1756-1791) opera, The Magic Flute (1791), with specific reference… (more)

▼ The aim of this dissertation is to comparatively analyse the set designs for Wolfgang Amadeus Mozart’s (1756-1791) opera, The Magic Flute (1791), with specific reference to selected set designers from the 18th to the early 21st century. The selection was made in light of each set designer’s unique design concepts for The Magic Flute which were all realised as stage settings in a proscenium arch theatre. In order to analyse the designs, it is necessary to trace theatrical practices and chronologically examine the reforms that affected the visual and spatial representation of scenography from the 18th to the 20th Chapter one provides a brief overview of the development of the proscenium arch stage. It examines the architectural reforms that were made to the proscenium arch in order to accommodate deeper stages and changes in stage settings. In addition, Chapter one investigates methods that theatre architects used to alter the proscenium arch and forestage in order to create a unity between the audience members and the performance. century. The set designs for The Magic Flute by Emanuel Johann Schikaneder (1791), Karl Friederich Schinkel (1816), David Hockney (1978) and William Kentridge (2007) will be analysed within the context of this investigation. Chapter two further considers the architectural modifications that were made to the stage and auditoria of opera theatres in more detail, from the first U-shaped auditorium onwards. It is essential to consider the different architectural structures of opera theatres because in order for each designer to initiate their design concept, they would be required to consider the architectural limitations of their chosen auditoria. The architectural structure would be determined by the foyer area, the style and arrangement of seating and the size of the proscenium arch and stage. Chapter three, by means of a comparative analysis, considers the social and cultural influences on the design concepts of Schikaneder, Schinkel and Hockney and how they informed those of Kentridge for The Magic Flute. It also provides a brief overview of stage lighting, scenic styles and stage machinery used in opera from the 16th to the 20th Chapter four classifies the theatrical spaces used in opera theatres by examining three key areas in an opera theatre, in relation to the foyer, auditorium and stage area. This investigation will be conducted with specific reference to the Theatre Auf Der Wieden, The Royal Opera House, the old Glyndebourne Opera House and The Artscape Opera House. In addition to this it will examine the selected designers’ approach to their design concepts by comparatively analysing the stage settings of Schikaneder, Schinkel, Hockney and Kentridge for The Magic Flute and the stage technology that was used to realise their design concepts. Thereafter, the set designs for Kentridge’s production and how they were conceptualised from a South African perspective will be examined. century Chapter five summarises the ways in which scenography is influenced by architectural, cultural and… Advisors/Committee Members: McMurtry, Mervyn Eric (advisor).

Subjects/Keywords: Drama and performance studies.

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APA (6^th Edition):

Untiedt, G. L. (2013). Scenography in context : a comparative analysis of the influences on set designs for Wolfgang Amadeus Mozart's opera The Magic Flute (1791) with specific reference to selected set designers. (Masters Thesis). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/9669

Chicago Manual of Style (16^th Edition):

Untiedt, Glenda Louise. “Scenography in context : a comparative analysis of the influences on set designs for Wolfgang Amadeus Mozart's opera The Magic Flute (1791) with specific reference to selected set designers.” 2013. Masters Thesis, University of KwaZulu-Natal. Accessed October 21, 2019. http://hdl.handle.net/10413/9669.

MLA Handbook (7^th Edition):

Untiedt, Glenda Louise. “Scenography in context : a comparative analysis of the influences on set designs for Wolfgang Amadeus Mozart's opera The Magic Flute (1791) with specific reference to selected set designers.” 2013. Web. 21 Oct 2019.

Vancouver:

Untiedt GL. Scenography in context : a comparative analysis of the influences on set designs for Wolfgang Amadeus Mozart's opera The Magic Flute (1791) with specific reference to selected set designers. [Internet] [Masters thesis]. University of KwaZulu-Natal; 2013. [cited 2019 Oct 21]. Available from: http://hdl.handle.net/10413/9669.

Council of Science Editors:

Untiedt GL. Scenography in context : a comparative analysis of the influences on set designs for Wolfgang Amadeus Mozart's opera The Magic Flute (1791) with specific reference to selected set designers. [Masters Thesis]. University of KwaZulu-Natal; 2013. Available from: http://hdl.handle.net/10413/9669

University of KwaZulu-Natal

14. Haarhoff, Mandisa Roeleene. Representing nation in post-apartheid South Africa film : Invictus, Jerusalema and A small town called Descent.

Degree: MA, Drama and performance studies, 2013, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/10409

► This dissertation explores three South African films, Invictus (2009), Jerusalema (2008) and A Small Town Called Descent (2010), as representative of the post-apartheid socio-political and… (more)

Subjects/Keywords: Drama and performance studies.

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APA (6^th Edition):

Haarhoff, M. R. (2013). Representing nation in post-apartheid South Africa film : Invictus, Jerusalema and A small town called Descent. (Masters Thesis). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/10409

Chicago Manual of Style (16^th Edition):

Haarhoff, Mandisa Roeleene. “Representing nation in post-apartheid South Africa film : Invictus, Jerusalema and A small town called Descent.” 2013. Masters Thesis, University of KwaZulu-Natal. Accessed October 21, 2019. http://hdl.handle.net/10413/10409.

MLA Handbook (7^th Edition):

Haarhoff, Mandisa Roeleene. “Representing nation in post-apartheid South Africa film : Invictus, Jerusalema and A small town called Descent.” 2013. Web. 21 Oct 2019.

Vancouver:

Haarhoff MR. Representing nation in post-apartheid South Africa film : Invictus, Jerusalema and A small town called Descent. [Internet] [Masters thesis]. University of KwaZulu-Natal; 2013. [cited 2019 Oct 21]. Available from: http://hdl.handle.net/10413/10409.

Council of Science Editors:

Haarhoff MR. Representing nation in post-apartheid South Africa film : Invictus, Jerusalema and A small town called Descent. [Masters Thesis]. University of KwaZulu-Natal; 2013. Available from: http://hdl.handle.net/10413/10409

University of KwaZulu-Natal

15. Naguran, Lerisa Ansuya. A social capital perspective on prison theatre and change : a case study at the youth centre, Westville Correctional Facility, Durban.

Degree: MA, Drama and performance studies, 2011, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/7778

► This dissertation explores the effects of a Prison Theatre project conducted at the Youth Centre at Westville Correctional Centre in 2010. It explores the relationship… (more)

▼ This dissertation explores the effects of a Prison Theatre project conducted at the Youth Centre at Westville Correctional Centre in 2010. It explores the relationship between change and increased levels of Social Capital that staff and offenders attribute to the performances. The centre houses male offenders between the ages of 18 and 25. The project was of particular interest because it involved offenders, correctional staff and management. The plays were made using a problem-posing methodology that involved the audience in proposing solutions. These were documented and circulated to management, staff, and offenders. The plays addressed three topics. The first topic was chosen by the cast, and the other two topics were chosen by the management. The topics were: Increasing self-esteem in the Youth Centre (Chosen by offenders); No smoking policy (Chosen by management); Sexual assault (Chosen by management). I interviewed the cast, a sample of the audience, and correctional staff and managers. The data was analysed in terms of levels and elements of Social Capital (Putnam, 1995) and included Negative Social Capital. I have not found other examples of research in the field of Prison Theatre that have made use of concepts related to Social Capital to analyse the impact of theatre projects. This research therefore establishes a new area of focus for the field of Prison Theatre. The findings proved that the theatre project was an effective means of increasing communication between members of different gangs and between correctional staff and offenders in a non-threatening manner. This provided opportunities for changes in relations of power and increased problem solving in the correctional environment. As a result two systemic changes occurred. The staff provided feedback on offenders‟ requests and complaints and designated smoking areas were created. The findings demonstrate how notions of Social Capital can explain how theatre affects change in a correctional context because it focuses on social dynamics rather than systemic issues. This is important in a correctional environment where offender‟s ability to effect systemic change is limited. Advisors/Committee Members: John, Christopher (advisor).

Subjects/Keywords: Drama and performance studies.

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APA (6^th Edition):

Naguran, L. A. (2011). A social capital perspective on prison theatre and change : a case study at the youth centre, Westville Correctional Facility, Durban. (Masters Thesis). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/7778

Chicago Manual of Style (16^th Edition):

Naguran, Lerisa Ansuya. “A social capital perspective on prison theatre and change : a case study at the youth centre, Westville Correctional Facility, Durban.” 2011. Masters Thesis, University of KwaZulu-Natal. Accessed October 21, 2019. http://hdl.handle.net/10413/7778.

MLA Handbook (7^th Edition):

Naguran, Lerisa Ansuya. “A social capital perspective on prison theatre and change : a case study at the youth centre, Westville Correctional Facility, Durban.” 2011. Web. 21 Oct 2019.

Vancouver:

Naguran LA. A social capital perspective on prison theatre and change : a case study at the youth centre, Westville Correctional Facility, Durban. [Internet] [Masters thesis]. University of KwaZulu-Natal; 2011. [cited 2019 Oct 21]. Available from: http://hdl.handle.net/10413/7778.

Council of Science Editors:

Naguran LA. A social capital perspective on prison theatre and change : a case study at the youth centre, Westville Correctional Facility, Durban. [Masters Thesis]. University of KwaZulu-Natal; 2011. Available from: http://hdl.handle.net/10413/7778

University of KwaZulu-Natal

16. Malimba, Noxolo Anele. Writing black sisters : interrogating the construction by selected black female playwrights of performed black female identities in contemporary post-apartheid South African theatre.

Degree: MA, Drama and performance studies, 2012, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/7779

► Theatre is a political space which often reflects the social, political and personal conditions and consciousness of our society. It is also a place that… (more)

▼ Theatre is a political space which often reflects the social, political and personal conditions and consciousness of our society. It is also a place that allows for the speaking of private stories; a space that proffers the construction, re-construction, articulation and re-articulation of identities. Coloured, Indian and Bantu (1) identities were all defined ‘black’ within the simplistic categorisation of the complex, problematic apartheid (2) system that perceived individuals as either ‘black' (3) or ‘white’. As much as the apartheid system is one wherein the notion of ‘black’ shifted, it remained a system in which ‘black’ was often constructed as a homogeneous category of identity. In its zenith during the late 1940s, apartheid’s ‘blacks’ referred to the Bantu populace. Coloured and Indian identities were therein recognised as not ‘white’, and so were inadvertently considered ‘black’; perhaps just not ‘black enough’. Coloured and Indian identities were therefore located as vague and marginalised identities in a system that while on the one hand did not impose the same fierce oppression as inflicted on the Bantu, was also one which on the other hand excluded these groups from enjoying the benefits of being privileged whites. Then came the 1980s which saw a shift in the make-up of black/ness where apartheid ideology was concerned. With the birth of the invidious tricameral system which came to govern South African society until the emergence of a democratic nation in 1994, ‘black’ was now broken down and defined into its constituent parts: Bantu, Coloured and Indian. Although this system seemingly regarded each of these race groups, in that each was now named and thus acknowledged as opposed to simply being defined as the homogeneous category of ‘black’, it was nonetheless a system that separated and consequently gave rise to unequal power relations not only between ‘black’ and ‘white’, but now also within these three distinct black/nesses existing within ‘black’. Navigating the most historically marginalised of identities – the black female – this dissertation examines the construction of black South African female identities in the respective post-1994-produced play texts by six black South African female playwrights: Motshabi Tyelele’s Shwele Bawo (In Homann, 2009), Bongi Ndaba’s unpublished play text Shaken (see appendix A), Lueen Conning-Ndlovu’s A Coloured Place (In Perkins, 1999), Rehane Abrahams’ What the water gave me (In Fourie, 2006), Krijay Govender’s Women in Brown (In Chetty, 2002) and Muthal Naidoo’s Flight from the Mahabarath (In Perkins, 1999). This dissertation will in part engage character analyses of Bantu, Coloured and Indian female identities as articulated across the six play texts. Each category of black/ness will be explored in its own chapter, where the characters relevant to that particular black/ness shall be examined. This separation of chapters into these categories is by way of highlighting that endless differences in black/ness exist within the label ‘black’. While this particular… Advisors/Committee Members: Loots, Lliane (advisor).

Subjects/Keywords: Drama and performance studies.

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APA (6^th Edition):

Malimba, N. A. (2012). Writing black sisters : interrogating the construction by selected black female playwrights of performed black female identities in contemporary post-apartheid South African theatre. (Masters Thesis). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/7779

Chicago Manual of Style (16^th Edition):

Malimba, Noxolo Anele. “Writing black sisters : interrogating the construction by selected black female playwrights of performed black female identities in contemporary post-apartheid South African theatre.” 2012. Masters Thesis, University of KwaZulu-Natal. Accessed October 21, 2019. http://hdl.handle.net/10413/7779.

MLA Handbook (7^th Edition):

Malimba, Noxolo Anele. “Writing black sisters : interrogating the construction by selected black female playwrights of performed black female identities in contemporary post-apartheid South African theatre.” 2012. Web. 21 Oct 2019.

Vancouver:

Malimba NA. Writing black sisters : interrogating the construction by selected black female playwrights of performed black female identities in contemporary post-apartheid South African theatre. [Internet] [Masters thesis]. University of KwaZulu-Natal; 2012. [cited 2019 Oct 21]. Available from: http://hdl.handle.net/10413/7779.

Council of Science Editors:

Malimba NA. Writing black sisters : interrogating the construction by selected black female playwrights of performed black female identities in contemporary post-apartheid South African theatre. [Masters Thesis]. University of KwaZulu-Natal; 2012. Available from: http://hdl.handle.net/10413/7779

University of KwaZulu-Natal

17. Mangenda, Hannah. (Per)forming answers : using applied theatre techniques as a tool for qualitative research.

Degree: MA, Drama and performance studies, 2011, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/7786

► From the 1970s onwards Applied Theatre (AT) has become an ever more popular tool for communication in fields as varied as education, development, therapy, social… (more)

▼ From the 1970s onwards Applied Theatre (AT) has become an ever more popular tool for communication in fields as varied as education, development, therapy, social action, business and others (see for example Blatner (ed.), 2007; Prentki & Preston (eds.), 2009). Over the same time period there has been a continuous questioning amongst academics not only of the most effective research methods but increasingly also of the philosophy underlying research efforts (Narayan & Srinivasan, 1994; Parks et al, 2005; Wilkins, 2000). There are therefore more and more researchers who, in their attempts to 'democratise‘ the research process, are beginning to use arts-based inquiry methods (Sanders, 2006). These generally allow a more inclusive, creative and in-depth approach to research, allowing the participants (the researched‘) more control over the process and the issues discussed and often benefiting them by imparting skills through the process (Belliveau, 2006; Peseta, 2007). Applied Theatre based research is part of this relatively new development (Conrad, 2004; Nelson, 2009) and it is at this junction of academic inquiry and AT where this research is situated. The major objective of this dissertation is to investigate the possible usage and value of Applied Theatre techniques as a tool for qualitative research, specifically when working with participants not familiar with drama and theatre exercises over a short period of time (a few hours). In partnership with the student society Students Against Rape And Hate (S.A.R.A.H.), a once-off Applied Theatre workshop was conducted in a UKZN residence in September 2009. The aim of this workshop was to establish some answers to the questions provided by S.A.R.A.H. about students‘ views of relationships in general and in residences specifically and the society‘s possible work there. To be able to compare the outcome of the workshop with the outcome of a more common research tool, a questionnaire asking the same questions was given out among other students in the same residence. Research subjects from both groups as well as S.A.R.A.H. members were later interviewed about their experiences and impressions. Comparing the data obtained through the different research methods described above, this dissertation not only evaluates whether the data collected with AT was useful and whether the process was practical for the researchers, but it also looks at the benefits the process itself had for all stakeholders involved. Indeed, it is this comparison of the 'product outcomes‘ and the 'process outcomes‘ that forms the backbone of the conclusions drawn. Advisors/Committee Members: Young-Jahangeer, Miranda (advisor).

Subjects/Keywords: Drama and performance studies.

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APA (6^th Edition):

Mangenda, H. (2011). (Per)forming answers : using applied theatre techniques as a tool for qualitative research. (Masters Thesis). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/7786

Chicago Manual of Style (16^th Edition):

Mangenda, Hannah. “(Per)forming answers : using applied theatre techniques as a tool for qualitative research.” 2011. Masters Thesis, University of KwaZulu-Natal. Accessed October 21, 2019. http://hdl.handle.net/10413/7786.

MLA Handbook (7^th Edition):

Mangenda, Hannah. “(Per)forming answers : using applied theatre techniques as a tool for qualitative research.” 2011. Web. 21 Oct 2019.

Vancouver:

Mangenda H. (Per)forming answers : using applied theatre techniques as a tool for qualitative research. [Internet] [Masters thesis]. University of KwaZulu-Natal; 2011. [cited 2019 Oct 21]. Available from: http://hdl.handle.net/10413/7786.

Council of Science Editors:

Mangenda H. (Per)forming answers : using applied theatre techniques as a tool for qualitative research. [Masters Thesis]. University of KwaZulu-Natal; 2011. Available from: http://hdl.handle.net/10413/7786

University of KwaZulu-Natal

18. Tait, Kirsten Laura. From animated film to theatrical spectacle : a semiotic analysis of the scenography and recreation of Beauty and the Beast (1994) and The Lion King (1997).

Degree: MA, Drama and performance studies, 2010, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/5003

► This dissertation aims to analyse the re-creation and transformation of animated films into theatrical spectacles, by examining two Walt Disney animations and productions as case… (more)

▼ This dissertation aims to analyse the re-creation and transformation of animated films into theatrical spectacles, by examining two Walt Disney animations and productions as case studies: Beauty and the Beast (1991 & 1994) and The Lion King (1994 & 1997), designed by Stanley Meyer (Beauty and the Beast [1994]) and Julie Taymor (The Lion King [1997]), respectively. Through a semiotic analysis of the productions viewed in the Monte-Teatro in Johannesburg (Beauty and the Beast [2007]) and the Lyceum in London (The Lion King [2010]), the scenographic choices of the designers are examined to ascertain the ways in which the re-creation and transformation from animation to theatre occurs. A study of the different styles is conducted, as the case studies were visually different from each other, and from their animated counterparts. Each case study contributes to an understanding of the process whereby an animated film can be transformed and re-created for the theatre. An investigation into The Walt Disney Company, from its inception to its present day theatrical productions, is undertaken to illustrate how The Walt Disney Company has become an influential force in the international performance industry. Responses by reviewers are used to demonstrate how The Walt Disney Company was influenced to alter the conceptual approach for its subsequent theatrical production. To aid in the analysis of the scenographic designs, the theoretical writings of Martin Esslin (1987) and Keir Elam (1980) are consulted to develop an understanding of how designs are integral to the reception of any production. Developments of scenography are explored from Aristotle who states that theatre does not need any spectacle (design) to portray the poetry of the performance, to Sternfeld’s analysis of megamusicals which illustrates the spectacular designs that have become integral to the development of certain productions, and genres. Using Wickstrom’s article on The Lion King an examination of how the commodities produce meaning from the production is undertaken. This dissertation provides insight into the development of scenographic designs and the recreation and transformation of specific elements from animated film to theatrical spectacle through an appropriation of theories about transposing theatre into film (Egil Tornqvist, 2009). This, in conjunction with Guy Debord’s theories (1995) on the society of the spectacle, aids in the analysis of the spectacle/scenography. Advisors/Committee Members: McMurtry, Mervyn Eric (advisor).

Subjects/Keywords: Drama and performance studies.

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APA (6^th Edition):

Tait, K. L. (2010). From animated film to theatrical spectacle : a semiotic analysis of the scenography and recreation of Beauty and the Beast (1994) and The Lion King (1997). (Masters Thesis). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/5003

Chicago Manual of Style (16^th Edition):

Tait, Kirsten Laura. “From animated film to theatrical spectacle : a semiotic analysis of the scenography and recreation of Beauty and the Beast (1994) and The Lion King (1997).” 2010. Masters Thesis, University of KwaZulu-Natal. Accessed October 21, 2019. http://hdl.handle.net/10413/5003.

MLA Handbook (7^th Edition):

Tait, Kirsten Laura. “From animated film to theatrical spectacle : a semiotic analysis of the scenography and recreation of Beauty and the Beast (1994) and The Lion King (1997).” 2010. Web. 21 Oct 2019.

Vancouver:

Tait KL. From animated film to theatrical spectacle : a semiotic analysis of the scenography and recreation of Beauty and the Beast (1994) and The Lion King (1997). [Internet] [Masters thesis]. University of KwaZulu-Natal; 2010. [cited 2019 Oct 21]. Available from: http://hdl.handle.net/10413/5003.

Council of Science Editors:

Tait KL. From animated film to theatrical spectacle : a semiotic analysis of the scenography and recreation of Beauty and the Beast (1994) and The Lion King (1997). [Masters Thesis]. University of KwaZulu-Natal; 2010. Available from: http://hdl.handle.net/10413/5003

Goldsmiths College (University of London)

19. Nalimova, Elena. Demystifying Galina Ustvolskaya : critical examination and performance interpretation.

Degree: PhD, 2012, Goldsmiths College (University of London)

URL: http://research.gold.ac.uk/8013/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.571235

► This thesis presents a performer’s view of Galina Ustvolskaya and her music with the aim of demystifying her artistic persona. The author examines the creation… (more)

▼ This thesis presents a performer’s view of Galina Ustvolskaya and her music with the aim of demystifying her artistic persona. The author examines the creation of ‘Ustvolskaya Myth’ by critically analysing Soviet, Russian and Western literature sources, oral history on the subject and the composer’s personal recollections, and reveals paradoxes and parochial misunderstandings of Ustvolskaya’s personality and the origins of her music. Having examined all the available sources, the author argues that the ‘Ustvolskaya Myth’ was a self-made phenomenon that persisted due to insufficient knowledge on the subject. In support of the argument, the thesis offers a performer’s interpretation of Ustvolskaya as she is revealed in her music. The author examines Ustvolskaya’s music from two viewpoints, a scholar and a performer, and draws upon inter-textual connections between Ustvolskaya’s music and Russian literature (Gogol, Dostoevsky, oberiuty) and aesthetics; analyses the influences of Russian musical traditions (Russian folklore, znamenny raspev) and some artistic individuals (Mussorgsky, Shostakovich, and Stravinsky), and examines the nature of Ustvolskaya’s spirituality and religiosity. The performance aspects of Ustvolskaya’s music are discussed as well as the specific nature of her writing for instruments, particularly the piano, and the interpretation and perception of her music by both the performers and the audience. The thesis examines the performance history of Ustvolskaya’s works, and draws on interview materials with musicians who knew the composer and performed her music. The author’s own performance experience and that derived from the ‘Ustvolskaya at Chetham’s’ project which involved young musicians in studying and performing Ustvolskaya’s compositions, underlined the practical value of the research. While supporting the view of Ustvolskaya as a singular composer, the thesis stands to demystify and reevaluate her artistic image.

Subjects/Keywords: 780.92; Musicianship/Performance studies

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APA (6^th Edition):

Nalimova, E. (2012). Demystifying Galina Ustvolskaya : critical examination and performance interpretation. (Doctoral Dissertation). Goldsmiths College (University of London). Retrieved from http://research.gold.ac.uk/8013/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.571235

Chicago Manual of Style (16^th Edition):

Nalimova, Elena. “Demystifying Galina Ustvolskaya : critical examination and performance interpretation.” 2012. Doctoral Dissertation, Goldsmiths College (University of London). Accessed October 21, 2019. http://research.gold.ac.uk/8013/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.571235.

MLA Handbook (7^th Edition):

Nalimova, Elena. “Demystifying Galina Ustvolskaya : critical examination and performance interpretation.” 2012. Web. 21 Oct 2019.

Vancouver:

Nalimova E. Demystifying Galina Ustvolskaya : critical examination and performance interpretation. [Internet] [Doctoral dissertation]. Goldsmiths College (University of London); 2012. [cited 2019 Oct 21]. Available from: http://research.gold.ac.uk/8013/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.571235.

Council of Science Editors:

Nalimova E. Demystifying Galina Ustvolskaya : critical examination and performance interpretation. [Doctoral Dissertation]. Goldsmiths College (University of London); 2012. Available from: http://research.gold.ac.uk/8013/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.571235

University of KwaZulu-Natal

20. Moulder, Brandon Michael. "Cleansing the actor" : an appropriated acting methodology utilising the performance theories of Jerzy Grotowski in a South African context- a case study of the cleansing (2011/2013).

Degree: Drama and performance studies, 2015, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/12263

► This dissertation focuses on my key research question, “How Grotowski’s performance theories and actor training could be adapted for use in developing my own appropriated… (more)

▼ This dissertation focuses on my key research question, “How Grotowski’s performance theories and actor training could be adapted for use in developing my own appropriated acting methodology in post-apartheid South Africa”. I have found that there is a gap in the Grotowskian research field in South Africa for a documented rehearsal process and production that examines how Grotowski’s performance theories/actor training around Poor Theatre (1957-1969), Paratheatre (1970-1975) and Theatre of Sources (1976-1982) can be appropriated and adapted to create a working acting methodology. This documented rehearsal process is provided in this dissertation in the form of two case studies that detail the two phases of my theatre project The Cleansing (2011/2013), providing narratives of what the two productions looked like as well as a detailed analysis of each phases Grotowskian appropriated acting methodology. The Cleansing (2011/2013) is a culmination of my research and knowledge gathered during my university years towards creating a Grotowskian inspired production; the research and rehearsal process conducted during both productions provides valuable information that will aid future scholars in understanding and developing their own acting methodology using the theories of Jerzy Grotowski. I frame these two case studies amongst an analysis of Athol Fugard’s Orestes (1971) and Mbongeni Ngema, Percy Mtwa and Barney Simon’s Woza Albert! (1983) as a means to demonstrate the adaptability of Grotowski’s performance theories/actor training in apartheid South Africa. Then further framing it in post-apartheid South Africa through an analysis of Fana Tshabalala’s Indumba (2013). I conclude by offering insight into the further development of my appropriated acting methodology. I propose the development of further exercises and the evolution of the process, so as to keep it relevant to the times and build a repertoire of exercises that could aid future performers and young theatre makers. Advisors/Committee Members: Loots, Lliane (advisor).

Subjects/Keywords: Drama and performance studies.

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APA (6^th Edition):

Moulder, B. M. (2015). "Cleansing the actor" : an appropriated acting methodology utilising the performance theories of Jerzy Grotowski in a South African context- a case study of the cleansing (2011/2013). (Thesis). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/12263

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):

Moulder, Brandon Michael. “"Cleansing the actor" : an appropriated acting methodology utilising the performance theories of Jerzy Grotowski in a South African context- a case study of the cleansing (2011/2013).” 2015. Thesis, University of KwaZulu-Natal. Accessed October 21, 2019. http://hdl.handle.net/10413/12263.

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

MLA Handbook (7^th Edition):

Moulder, Brandon Michael. “"Cleansing the actor" : an appropriated acting methodology utilising the performance theories of Jerzy Grotowski in a South African context- a case study of the cleansing (2011/2013).” 2015. Web. 21 Oct 2019.

Vancouver:

Moulder BM. "Cleansing the actor" : an appropriated acting methodology utilising the performance theories of Jerzy Grotowski in a South African context- a case study of the cleansing (2011/2013). [Internet] [Thesis]. University of KwaZulu-Natal; 2015. [cited 2019 Oct 21]. Available from: http://hdl.handle.net/10413/12263.

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

Council of Science Editors:

Moulder BM. "Cleansing the actor" : an appropriated acting methodology utilising the performance theories of Jerzy Grotowski in a South African context- a case study of the cleansing (2011/2013). [Thesis]. University of KwaZulu-Natal; 2015. Available from: http://hdl.handle.net/10413/12263

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

University of Colorado

21. Kehlenbach, Janine Ann. Productions of Spanish Golden Age Drama in Great Britain and Spain.

Degree: PhD, Theatre & Dance, 2011, University of Colorado

URL: http://scholar.colorado.edu/thtr_gradetds/10

► Spanish Golden Age Drama is mostly studied in language departments where it is treated as literature to be read. Few scholars have studied Spanish… (more)

Subjects/Keywords: Theatre and Performance Studies

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APA (6^th Edition):

Kehlenbach, J. A. (2011). Productions of Spanish Golden Age Drama in Great Britain and Spain. (Doctoral Dissertation). University of Colorado. Retrieved from http://scholar.colorado.edu/thtr_gradetds/10

Chicago Manual of Style (16^th Edition):

Kehlenbach, Janine Ann. “Productions of Spanish Golden Age Drama in Great Britain and Spain.” 2011. Doctoral Dissertation, University of Colorado. Accessed October 21, 2019. http://scholar.colorado.edu/thtr_gradetds/10.

MLA Handbook (7^th Edition):

Kehlenbach, Janine Ann. “Productions of Spanish Golden Age Drama in Great Britain and Spain.” 2011. Web. 21 Oct 2019.

Vancouver:

Kehlenbach JA. Productions of Spanish Golden Age Drama in Great Britain and Spain. [Internet] [Doctoral dissertation]. University of Colorado; 2011. [cited 2019 Oct 21]. Available from: http://scholar.colorado.edu/thtr_gradetds/10.

Council of Science Editors:

Kehlenbach JA. Productions of Spanish Golden Age Drama in Great Britain and Spain. [Doctoral Dissertation]. University of Colorado; 2011. Available from: http://scholar.colorado.edu/thtr_gradetds/10

University of KwaZulu-Natal

22. Moulder, Brandon Michael. "Cleansing the actor" : an appropriated acting methodology utilising the performance theories of Jerzy Grotowski in a South African context - a case study of The Cleansing.

Degree: Drama and performance studies, 2015, University of KwaZulu-Natal

URL: http://hdl.handle.net/10413/12001

► This dissertation focuses on my key research question, “How Grotowski’s performance theories and actor training could be adapted for use in developing my own appropriated… (more)

▼ This dissertation focuses on my key research question, “How Grotowski’s performance theories and actor training could be adapted for use in developing my own appropriated acting methodology in post-apartheid South Africa”. I have found that there is a gap in the Grotowskian research field in South Africa for a documented rehearsal process and production that examines how Grotowski’s performance theories/actor training around Poor Theatre (1957-1969), Paratheatre (1970-1975) and Theatre of Sources (1976-1982) can be appropriated and adapted to create a working acting methodology. This documented rehearsal process is provided in this dissertation in the form of two case studies that detail the two phases of my theatre project The Cleansing (2011/2013), providing narratives of what the two productions looked like as well as a detailed analysis of each phases Grotowskian appropriated acting methodology. The Cleansing (2011/2013) is a culmination of my research and knowledge gathered during my university years towards creating a Grotowskian inspired production; the research and rehearsal process conducted during both productions provides valuable information that will aid future scholars in understanding and developing their own acting methodology using the theories of Jerzy Grotowski. I frame these two case studies amongst an analysis of Athol Fugard’s Orestes (1971) and Mbongeni Ngema, Percy Mtwa and Barney Simon’s Woza Albert! (1983) as a means to demonstrate the adaptability of Grotowski’s performance theories/actor training in apartheid South Africa. Then further framing it in post-apartheid South Africa through an analysis of Fana Tshabalala’s Indumba (2013). I conclude by offering insight into the further development of my appropriated acting methodology. I propose the development of further exercises and the evolution of the process, so as to keep it relevant to the times and build a repertoire of exercises that could aid future performers and young theatre makers. Advisors/Committee Members: Loots, Lliane (advisor).

Subjects/Keywords: Drama and performance studies.

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APA (6^th Edition):

Moulder, B. M. (2015). "Cleansing the actor" : an appropriated acting methodology utilising the performance theories of Jerzy Grotowski in a South African context - a case study of The Cleansing. (Thesis). University of KwaZulu-Natal. Retrieved from http://hdl.handle.net/10413/12001

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):

Moulder, Brandon Michael. “"Cleansing the actor" : an appropriated acting methodology utilising the performance theories of Jerzy Grotowski in a South African context - a case study of The Cleansing.” 2015. Thesis, University of KwaZulu-Natal. Accessed October 21, 2019. http://hdl.handle.net/10413/12001.

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

MLA Handbook (7^th Edition):

Moulder, Brandon Michael. “"Cleansing the actor" : an appropriated acting methodology utilising the performance theories of Jerzy Grotowski in a South African context - a case study of The Cleansing.” 2015. Web. 21 Oct 2019.

Vancouver:

Moulder BM. "Cleansing the actor" : an appropriated acting methodology utilising the performance theories of Jerzy Grotowski in a South African context - a case study of The Cleansing. [Internet] [Thesis]. University of KwaZulu-Natal; 2015. [cited 2019 Oct 21]. Available from: http://hdl.handle.net/10413/12001.

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

Council of Science Editors:

Moulder BM. "Cleansing the actor" : an appropriated acting methodology utilising the performance theories of Jerzy Grotowski in a South African context - a case study of The Cleansing. [Thesis]. University of KwaZulu-Natal; 2015. Available from: http://hdl.handle.net/10413/12001

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

University of Canterbury

23. Towart, Luke Ward. John Cassavetes: At the Limits of Performance.

Degree: Humanities and Creative Arts, 2014, University of Canterbury

URL: http://hdl.handle.net/10092/9657

► This thesis examines the central role of performance in three of the films of John Cassavetes. I identify Cassavetes’ unique approach to performance and analyze… (more)

Subjects/Keywords: Cinema Studies; Cassavetes; Performance; Film

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APA (6^th Edition):

Towart, L. W. (2014). John Cassavetes: At the Limits of Performance. (Thesis). University of Canterbury. Retrieved from http://hdl.handle.net/10092/9657

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):

Towart, Luke Ward. “John Cassavetes: At the Limits of Performance.” 2014. Thesis, University of Canterbury. Accessed October 21, 2019. http://hdl.handle.net/10092/9657.

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

MLA Handbook (7^th Edition):

Towart, Luke Ward. “John Cassavetes: At the Limits of Performance.” 2014. Web. 21 Oct 2019.

Vancouver:

Towart LW. John Cassavetes: At the Limits of Performance. [Internet] [Thesis]. University of Canterbury; 2014. [cited 2019 Oct 21]. Available from: http://hdl.handle.net/10092/9657.

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

Council of Science Editors:

Towart LW. John Cassavetes: At the Limits of Performance. [Thesis]. University of Canterbury; 2014. Available from: http://hdl.handle.net/10092/9657

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

Goldsmiths College (University of London)

24. Gerber, Anzél. Critical success factors in cello training : a comparative study.

Degree: 2008, Goldsmiths College (University of London)

URL: http://research.gold.ac.uk/8055/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497844

► The research focused on the identification and ranking of critical success factors that contribute most significantly towards the training of a cello student. The empirical… (more)

Subjects/Keywords: 787.4071; Musicianship/Performance studies

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APA (6^th Edition):

Gerber, A. (2008). Critical success factors in cello training : a comparative study. (Doctoral Dissertation). Goldsmiths College (University of London). Retrieved from http://research.gold.ac.uk/8055/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497844

Chicago Manual of Style (16^th Edition):

Gerber, Anzél. “Critical success factors in cello training : a comparative study.” 2008. Doctoral Dissertation, Goldsmiths College (University of London). Accessed October 21, 2019. http://research.gold.ac.uk/8055/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497844.

MLA Handbook (7^th Edition):

Gerber, Anzél. “Critical success factors in cello training : a comparative study.” 2008. Web. 21 Oct 2019.

Vancouver:

Gerber A. Critical success factors in cello training : a comparative study. [Internet] [Doctoral dissertation]. Goldsmiths College (University of London); 2008. [cited 2019 Oct 21]. Available from: http://research.gold.ac.uk/8055/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497844.

Council of Science Editors:

Gerber A. Critical success factors in cello training : a comparative study. [Doctoral Dissertation]. Goldsmiths College (University of London); 2008. Available from: http://research.gold.ac.uk/8055/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497844

Goldsmiths College (University of London)

25. Lexer, Sebastian. Live electronics in live performance : a performance practice emerging from the piano+ used in free improvisation.

Degree: 2012, Goldsmiths College (University of London)

URL: http://research.gold.ac.uk/8005/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.571229

► This thesis explores a performance practice within free improvisation. This is not a theory based improvisation – performances do not require specific preparation and the… (more)

▼ This thesis explores a performance practice within free improvisation. This is not a theory based improvisation – performances do not require specific preparation and the music refrains from repetition of musical structures. It engages in investigative and experimental approaches emerging from holistic considerations of acoustics, interaction and instrument, and also philosophy, psychology, sociopolitics and technology. The performance practice explores modes and approaches to working with the given potentiality of an electronically augmented acoustic instrument and involves the development of a suitably flexible computerised performance system, the piano+, combining extended techniques and real-time electroacoustic processes, which has the acoustic piano at its core. Contingencies of acoustic events and performance gestures – captured by audio analysis and sensors and combined to control the parameter space of computer processes – manipulate the fundamental properties of sound, timbre and time. Spherical abstractions, developed under consideration of Agamben’s potentiality and Sloterdijk’s philosophical theory of spheres, allow a shared metaphor for technical, instrumental, personal, and interpersonal concerns. This facilitates a theoretical approach for heuristic and investigative improvisation where performance is considered ‘Ereignis’ (an event) for sociopolitically aware activities that draw on the situational potentiality and present themselves in fragile and context dependent forms. Ever new relationships can be found and developed, but can equally be lost. Sloterdijk supplied the concept of knowledge resulting from equipping our ‘inner space’, an image suiting non-linearity of thought that transpires from Kuhl’s psychological PSI-theory to explain human motivation and behaviour. The role of technology – diversion and subversion of sound and activity – creates a space between performer and instrument that retains a fundamental pianism but defies expectation and anticipation. Responsibility for one’s actions is required to deal with the unexpected without resorting to preliminary strategies restricting potential discourses, particularly within ensemble situations. This type of performance embraces the ‘Ereignis’.

Subjects/Keywords: 781.43; Musicianship/Performance studies

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APA (6^th Edition):

Lexer, S. (2012). Live electronics in live performance : a performance practice emerging from the piano+ used in free improvisation. (Doctoral Dissertation). Goldsmiths College (University of London). Retrieved from http://research.gold.ac.uk/8005/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.571229

Chicago Manual of Style (16^th Edition):

Lexer, Sebastian. “Live electronics in live performance : a performance practice emerging from the piano+ used in free improvisation.” 2012. Doctoral Dissertation, Goldsmiths College (University of London). Accessed October 21, 2019. http://research.gold.ac.uk/8005/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.571229.

MLA Handbook (7^th Edition):

Lexer, Sebastian. “Live electronics in live performance : a performance practice emerging from the piano+ used in free improvisation.” 2012. Web. 21 Oct 2019.

Vancouver:

Lexer S. Live electronics in live performance : a performance practice emerging from the piano+ used in free improvisation. [Internet] [Doctoral dissertation]. Goldsmiths College (University of London); 2012. [cited 2019 Oct 21]. Available from: http://research.gold.ac.uk/8005/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.571229.

Council of Science Editors:

Lexer S. Live electronics in live performance : a performance practice emerging from the piano+ used in free improvisation. [Doctoral Dissertation]. Goldsmiths College (University of London); 2012. Available from: http://research.gold.ac.uk/8005/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.571229

26. Pore, Robert J. Shifting Perception in Tragedy: September 2001 to September 2002 in Theatre.

Degree: Theatre Arts, 2012, University of Puget-Sound

URL: http://soundideas.pugetsound.edu/theatre_theses/1

► This paper explores the performances and plays that were produced in reaction to the September 2001 terrorist attacks in relation to classical and contemporary… (more)

Subjects/Keywords: Theatre and Performance Studies

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APA (6^th Edition):

Pore, R. J. (2012). Shifting Perception in Tragedy: September 2001 to September 2002 in Theatre. (Thesis). University of Puget-Sound. Retrieved from http://soundideas.pugetsound.edu/theatre_theses/1

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):

Pore, Robert J. “Shifting Perception in Tragedy: September 2001 to September 2002 in Theatre.” 2012. Thesis, University of Puget-Sound. Accessed October 21, 2019. http://soundideas.pugetsound.edu/theatre_theses/1.

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

MLA Handbook (7^th Edition):

Pore, Robert J. “Shifting Perception in Tragedy: September 2001 to September 2002 in Theatre.” 2012. Web. 21 Oct 2019.

Vancouver:

Pore RJ. Shifting Perception in Tragedy: September 2001 to September 2002 in Theatre. [Internet] [Thesis]. University of Puget-Sound; 2012. [cited 2019 Oct 21]. Available from: http://soundideas.pugetsound.edu/theatre_theses/1.

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

Council of Science Editors:

Pore RJ. Shifting Perception in Tragedy: September 2001 to September 2002 in Theatre. [Thesis]. University of Puget-Sound; 2012. Available from: http://soundideas.pugetsound.edu/theatre_theses/1

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

27. Sotelo Castro, Luis Carlos. Participation cartography : performance, space, and subjectivity.

Degree: PhD, 2009, University of Northampton

URL: http://nectar.northampton.ac.uk/2966/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.545837

► This study presents the term Participation Cartography as an overarching category of analysis for a wide range of artistic practices that, in one way or… (more)

▼ This study presents the term Participation Cartography as an overarching category of analysis for a wide range of artistic practices that, in one way or another, enable participants to position themselves subjectively in relation to a given performed space. By re-defining cartography from a discipline concerned with the visual representation of the observable world into a performance praxis that requires audience participation, enabling participants to position themselves in relation to a given performed space, I expand the range of practices considered by previous literature. Further, I raise issues in relation to the connections of subjectivity, space, performance, and cartography. My argument is that Participation Cartography describes a type of practice in and through which the Subject who moves in space is both mapped and positioned. By linking Felix Guattari’s (1995) term ‘cartography of subjectivity’ with Deirdre Heddon’s (2008) investigation on autobiographical tours made by artists (‘autotopographies’), Participation Cartography locates the practices here under study within a terrain that blurs everyday life and art, autobiography and representation of subjects-in-movement. In so doing, Participation Cartography expands previous notions such as ‘psychogeography’ (Kanarinka, 2006, McDonough, 2002), ‘collaborative mapping’ (Sant, 2004), ‘locative media’ (Hemment, 2006) and ‘autotopography’ (Heddon, 2008). Participation Cartography describes a type of social activity or, in Allan Kaprow’s terms, a kind of ‘participation performance’ (Kaprow, 2003) that enables participants to present the self (Goffman, 1990) as a being-in-motion within the public arena of performance. Michel De Certeau’s (1984) ‘The Practice of Everyday Life’ is used as a theoretical model to analyse the tensions raised by Participation Cartography between the artists’ strategies, the participants’ performances, and the representations of those performances that remain. Positioning, as used within a field in social psychology called ‘Positioning Theory’ (Harre and Van Langenhove, 1999) is applied to the analysis of the practices here under study. Participation Cartography turns the spectator into a participant. More concretely, participants are turned into both producers and users of cartographies of the Subject they co-produce with others. As a self-reflexive practice that creates agency, it enables participants to fabricate interconnections between performance, space, and subjectivity, blurring the boundaries between art and therapy. Key practices that are discussed in this thesis include a locative media project by Jen Southern (UK) and Jen Hamilton (Canada) titled Running Stitch (2006), Untitled Action for the Arches (2005), a live art work by Kira O’Reilly (Ireland), and my own collaborative pieces, The Shoemakers’ Ball (2006) and We the Colombia National Team (2003)

Subjects/Keywords: 700; PN2041 Performance studies

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APA (6^th Edition):

Sotelo Castro, L. C. (2009). Participation cartography : performance, space, and subjectivity. (Doctoral Dissertation). University of Northampton. Retrieved from http://nectar.northampton.ac.uk/2966/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.545837

Chicago Manual of Style (16^th Edition):

Sotelo Castro, Luis Carlos. “Participation cartography : performance, space, and subjectivity.” 2009. Doctoral Dissertation, University of Northampton. Accessed October 21, 2019. http://nectar.northampton.ac.uk/2966/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.545837.

MLA Handbook (7^th Edition):

Sotelo Castro, Luis Carlos. “Participation cartography : performance, space, and subjectivity.” 2009. Web. 21 Oct 2019.

Vancouver:

Sotelo Castro LC. Participation cartography : performance, space, and subjectivity. [Internet] [Doctoral dissertation]. University of Northampton; 2009. [cited 2019 Oct 21]. Available from: http://nectar.northampton.ac.uk/2966/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.545837.

Council of Science Editors:

Sotelo Castro LC. Participation cartography : performance, space, and subjectivity. [Doctoral Dissertation]. University of Northampton; 2009. Available from: http://nectar.northampton.ac.uk/2966/ ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.545837

University of Louisville

28. Papailler, Iva-Kristi Maria. The Tempest defending Prospera : the ideation of spiritual lineage and practice in performance for an Afro-Haitian American actor.

Degree: M.F.A., 2014, University of Louisville

URL: 10.18297/etd/1093 ; https://ir.library.louisville.edu/etd/1093

► Imagine: William Shakespeare’s final hero, Prospero and all of his beautiful and majestic White, Italian maleness played by an Afro-Haitian American actress. Something changes.… (more)

▼ Imagine: William Shakespeare’s final hero, Prospero and all of his beautiful and majestic White, Italian maleness played by an Afro-Haitian American actress. Something changes. No longer does the audience see a traditional view of the character onstage. The audience sees a woman of African descent delivering lines written for a man of European descent. They may or may not question what they are seeing: certainly, I the actor, must. My Blackness brings an ancestral line to the production that makes a variety of traditional African religions part of Prospera’s spiritual lineage. My Blackness and gender also imbue Prospera with a cultural and ancestral world view that presents dynamic possibilities for interpretation of the character. These opportunities for diversity shaped the magic, redemption of and the spiritual practices of the Prospera I performed. My spiritual practices have influenced and been influenced by my journey as a theatre artist. The magic of theatre, the craft of acting and the pursuit of its mastery has broadened my knowledge and understanding of my spiritual lineage. This thesis will examine the ideas presented in the previous statement in the framework of theatre as a spiritual practice and its potential as a healing art. In Chapters 1 and 2 of this thesis I will chronicle my discovery of and development in this medium before I entered the MFA in Theatre Performance and Graduate Certificate in African American Theatre programs at the University of Louisville. In Chapter 3 I will chronicle how my classroom experiences aided in my spiritual and artistic growth. In Chapter 4 I will explore how the practice of Tai Chi and Qi Gong influenced my artistic and spiritual development. In Chapter 5, I will discuss my spiritual and artistic experiences of selected rehearsal and production processes I participated in while a student in the program. In Chapter 6, I will explore the spiritual lineage and practice I imagined for Prospera with emphasis on the questions I have raised in the introductory statement. In Chapter 7, I will discuss the preparation, rehearsal and performance processes of my thesis role as Prospera in The Tempest. Finally, in Chapter 8, I will present my conclusions regarding the questions stated in the above introduction. Advisors/Committee Members: Burton, Nefertiti.

Subjects/Keywords: Theatre and Performance Studies

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APA (6^th Edition):

Papailler, I. M. (2014). The Tempest defending Prospera : the ideation of spiritual lineage and practice in performance for an Afro-Haitian American actor. (Masters Thesis). University of Louisville. Retrieved from 10.18297/etd/1093 ; https://ir.library.louisville.edu/etd/1093

Chicago Manual of Style (16^th Edition):

Papailler, Iva-Kristi Maria. “The Tempest defending Prospera : the ideation of spiritual lineage and practice in performance for an Afro-Haitian American actor.” 2014. Masters Thesis, University of Louisville. Accessed October 21, 2019. 10.18297/etd/1093 ; https://ir.library.louisville.edu/etd/1093.

MLA Handbook (7^th Edition):

Papailler, Iva-Kristi Maria. “The Tempest defending Prospera : the ideation of spiritual lineage and practice in performance for an Afro-Haitian American actor.” 2014. Web. 21 Oct 2019.

Vancouver:

Papailler IM. The Tempest defending Prospera : the ideation of spiritual lineage and practice in performance for an Afro-Haitian American actor. [Internet] [Masters thesis]. University of Louisville; 2014. [cited 2019 Oct 21]. Available from: 10.18297/etd/1093 ; https://ir.library.louisville.edu/etd/1093.

Council of Science Editors:

Papailler IM. The Tempest defending Prospera : the ideation of spiritual lineage and practice in performance for an Afro-Haitian American actor. [Masters Thesis]. University of Louisville; 2014. Available from: 10.18297/etd/1093 ; https://ir.library.louisville.edu/etd/1093

29. Downes, Brent T. From life, to page, to stage: Exploring theatrical artistry, community and storytelling with Margery and Michael Forde.

Degree: PhD, 2013, Australian Catholic University

URL: https://researchbank.acu.edu.au/theses/439

► This research is a qualitative and ethnographic case study of the works, practices, processes and philosophies of two contemporary Queensland playwrights, Margery and Michael Forde.… (more)

Subjects/Keywords: Theatre and Performance Studies

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APA (6^th Edition):

Downes, B. T. (2013). From life, to page, to stage: Exploring theatrical artistry, community and storytelling with Margery and Michael Forde. (Doctoral Dissertation). Australian Catholic University. Retrieved from https://researchbank.acu.edu.au/theses/439

Chicago Manual of Style (16^th Edition):

Downes, Brent T. “From life, to page, to stage: Exploring theatrical artistry, community and storytelling with Margery and Michael Forde.” 2013. Doctoral Dissertation, Australian Catholic University. Accessed October 21, 2019. https://researchbank.acu.edu.au/theses/439.

MLA Handbook (7^th Edition):

Downes, Brent T. “From life, to page, to stage: Exploring theatrical artistry, community and storytelling with Margery and Michael Forde.” 2013. Web. 21 Oct 2019.

Vancouver:

Downes BT. From life, to page, to stage: Exploring theatrical artistry, community and storytelling with Margery and Michael Forde. [Internet] [Doctoral dissertation]. Australian Catholic University; 2013. [cited 2019 Oct 21]. Available from: https://researchbank.acu.edu.au/theses/439.

Council of Science Editors:

Downes BT. From life, to page, to stage: Exploring theatrical artistry, community and storytelling with Margery and Michael Forde. [Doctoral Dissertation]. Australian Catholic University; 2013. Available from: https://researchbank.acu.edu.au/theses/439

Clemson University

30. Williams, David. The Man On the Postcard.

Degree: MA, English, 2011, Clemson University

URL: https://tigerprints.clemson.edu/all_theses/1175

► The Man On the Postcard is the tale of a generational struggle against 'history' itself, in which one family attempts to discover the identity of… (more)

▼ The Man On the Postcard is the tale of a generational struggle against 'history' itself, in which one family attempts to discover the identity of a hero long ignored by the US. On one August afternoon in 1916, the USS Memphis capsized off the coast of the Dominican Republic after being caught in a massive tsunami. Howard Weaver, just seventeen, was nearly lost to the unforgiving ocean before being saved by a native fisherman. Decades later, Weaver would leave his sons, Frank and Nathan, with a single remnant of this unknown hero's legacy: a faded postcard bearing his likeness. Now, in 2011, Frank and Nathan – with the help of Frank's son, Travis – conduct their own investigation to solve the mystery. Their search yields shocking realizations about American occupation, military atrocities, and the unfortunate willingness of an entire nation to seemingly overlook one of the bleaker eras in its history (including the part it played in inciting dictator Rafael Trujillo's rise to power). But will it lead them to the truth? Will all stay committed to the course? Or, will they falter after learning that their country was capable of an injustice that persisted twice as long as the First World War? The narrative fluctuates between WWI and the contemporary to offer a striking contrast between history as it's been recorded and how it actually unfolded. What exactly is 'history,' though? This is the central question my work addresses. History is not necessarily what's happened; it is, also, what is said to have happened. It's an authored depiction of time, place & people. Consequently, storytelling is perhaps the most enduring means of passing down, and honoring, our pasts. I do not offer an exact rendition of August 29th, 1916 or the events that followed. The Man On the Postcard is, rather, an imaginative response that attempts to 'fill in the blanks' left by historians and to give resonance to the actions of a forgotten hero. Advisors/Committee Members: Charney, Mark, Naimou , Angela, Bushnell , Cameron.

Subjects/Keywords: Theatre and Performance Studies

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APA (6^th Edition):

Williams, D. (2011). The Man On the Postcard. (Masters Thesis). Clemson University. Retrieved from https://tigerprints.clemson.edu/all_theses/1175

Chicago Manual of Style (16^th Edition):

Williams, David. “The Man On the Postcard.” 2011. Masters Thesis, Clemson University. Accessed October 21, 2019. https://tigerprints.clemson.edu/all_theses/1175.

MLA Handbook (7^th Edition):

Williams, David. “The Man On the Postcard.” 2011. Web. 21 Oct 2019.

Vancouver:

Williams D. The Man On the Postcard. [Internet] [Masters thesis]. Clemson University; 2011. [cited 2019 Oct 21]. Available from: https://tigerprints.clemson.edu/all_theses/1175.

Council of Science Editors:

Williams D. The Man On the Postcard. [Masters Thesis]. Clemson University; 2011. Available from: https://tigerprints.clemson.edu/all_theses/1175

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