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Thematische Bibliographien / American Folk and Theatre / Dissertationen

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Dissertationen zum Thema „American Folk and Theatre“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 21. Februar 2023

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1

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

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2

Kanaridis, Mina, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "Investigating a singing voice in diverse genres and styles : a discussion of context and process." THESIS_CAESS_CAR_Kanaridis_M.xml, 2002. http://handle.uws.edu.au:8081/1959.7/241.

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The author investigates the voice in diverse genres and styles, documenting and interpreting vocal performance through a contextual analysis of specifically chosen repertoire. This repertoire is drawn from collaboration with two musical groups, the Renaissance Players and Coda and from the author's artistic direction and presentation of four diverse recitals: American Songs, Italian Baroque, American Folk and Theatre and Nostalgia. Each recital is treated as a separate case study, in which the process of selecting, rehearsing and performing the repertoire is closely examined. Recordings and se

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3

Hill, Caroline. "Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555276218786986.

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4

Kanaridis, Mina. "Investigating a singing voice in diverse genres and styles : a discussion of context and process." Thesis, View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/241.

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The author investigates the voice in diverse genres and styles, documenting and interpreting vocal performance through a contextual analysis of specifically chosen repertoire. This repertoire is drawn from collaboration with two musical groups, the Renaissance Players and Coda and from the author's artistic direction and presentation of four diverse recitals: American Songs, Italian Baroque, American Folk and Theatre and Nostalgia. Each recital is treated as a separate case study, in which the process of selecting, rehearsing and performing the repertoire is closely examined. Recordings and se

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5

Schoone-Jongen, Terence G. "Tulip time, U. S. A. staging memory, identity and ethnicity in Dutch-American community festivals /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1172255860.

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6

Poe, Preston. "American folk." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000590.

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7

Tolley, Rebecca. "Review of American Folk." Digital Commons @ East Tennessee State University, 2001. https://dc.etsu.edu/etsu-works/5706.

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8

Carpenter, Lisa. "Folk into Art: John Fahey, Modernism and the American Folk Revival." W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1516639659.

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John Fahey’s music holds a distinct place in the mid-century folk revival--distinct because he is difficult to fit in with traditional narratives of the revival. John Fahey created a unique musical style through incorporation of traditional American music with classical music forms. His musical “quotations” and renditions of American blues, folk, ragtime, Protestant hymns, and parlor songs did not merely revive traditional music, but gave it new form and newfound respect in order to further artistic exploration. Fahey was a musical modernist, infusing tradition with the new. Fahey’s work can b

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9

Dobler, Robert. "New American Ways of Death: Anxiety, Mourning, and Commemoration in American Culture." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18430.

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The experiences of grief and mourning in response to loss are fundamentally transformative to the self-identity of the mourner, necessitating an array of ritualized behaviors at the communal and individual levels. These rituals of mourning both create a space in which this transformation may take place and provide the structure that can direct that transformation. My focus is on historical and emerging forms of vernacular commemoration, by which I refer to material forms that are created by, acted upon, or in other ways utilized by a person experiencing grief in the service of regaining a sens

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10

Lopez, Edwin Gerardo Aybar. "American Folk Traditions in Piano Concert Music." Diss., North Dakota State University, 2013. https://hdl.handle.net/10365/27102.

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This paper describes concert music for the piano that is heavily influenced by or entirely based on folk music traditions from the Americas. First, the term folk music and problems arising from its use are explained. The three main groups of people from which most of the folk music of the Americas originated are also briefly described. The main music covered will be by the composers Samuel Barber (United States), Juan Morel Campos (Puerto Rico), Heitor Villa-Lobos (Brazil), and Louis Moreau Gottschalk (United States). Each composer is represented by one or two pieces. Each piece is analyzed in

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11

Nyce, Zachary David Robert. "Heartening Folk: Frederic Rzewski's North American Ballads as an Extension of Folk Culture." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1558449012996443.

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12

Kline, Daniel P. "Bringing Pocci’s “Hansel and Gretel” to America: A Study and Translation of a Puppet Show." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1211208363.

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13

May, Theresa J. "Earth matters : ecology and American theatre /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/10223.

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14

Ogier, Jarod M. "“Foundations of Folk: The Federal Music Project, The Joint Committee on Folk Arts, and the Archive of American Folk-Song”." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354588034.

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15

Lorenz, Stephen Fox. "Cosmopolitan Folk| The Cultural Politics of the North American Folk Music Revival in Washington, D.C." Thesis, The George Washington University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3615789.

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<p> This dissertation looks at the popular American folksong revival in the Washington, D.C., metropolitan region during the Cold War and Civil Rights era. Examination of folk revival scholarship, local media reports and cultural geography, and the collected interviews and oral histories of Washington area participants, reveals the folk and blues revival was a mass mediated phenomenon with contentious factions. The D.C. revival shows how restorative cultural projects and issues of authenticity are central to modernity, and how the function of folksong transformed from the populist, labor orien

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16

Chamberlin, Phillip Mark. "Folk Wiki : the shared traditions of folk music and the Wiki way." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001822.

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17

Brooks, Queen E. "The ties that bind : art of an African American artist." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1144433506.

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18

Bailey, Ebony Lynne. "Re(Making) the Folk: The Folk in Early African American Folklore Studies and Postbellum, Pre-Harlem Literature." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594919307993345.

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19

Obermueller, Joseph A. "Applied Theatre: History, Practice, and Place in American Higher Education." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3151.

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The goal of this paper is to examine the practice of Applied Theatre in order to better define the genre and make a case for its legitimization and inclusion in higher theatre education. By looking at the theatre practitioners of the 20th century who paved the way for its existence as well as modern practitioners, a definition will be distilled down to five core characteristics of the practice with several case studies illustrating those characteristics. Once a clear distinction has been made between Applied Theatre and other similar genres, the case will be made for why the field should be co

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20

Bruckmueller, Michael J. "An American Actor's Dialect." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1419.

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Over the course of the past ten years, both studying and teaching Voice & Speech for the Actor, I have become frustrated with the status quo of so called 'standard speech'. The two dialects that I have studied in depth are Edith Skinner's 'American Classical Stage Standard' and Kenneth Crannell's 'Career Speech'. I have found something lacking in both the Skinner dialect and Crannell's 'Career Speech'. Yet, I believe that each has a strength from which the other could benefit. The specificity of the Skinner dialect makes 'American Classical Stage Standard' not only easy to learn but also an ex

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21

Waidley, Karin Ann. "Violence interrupted : American youth and theatre in crisis /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/10227.

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22

McNerney, Sheila Rebecca. "Institutionalizing the American theatre : the Ford Foundation and the resident professional theatre, 1957-1965 /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/10216.

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23

Montez, Noe Wesley. "Staging post-memories commemorative Argentine theatre 1989-2003 /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3380115.

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Thesis (Ph.D.)--Indiana University, Dept. of Theatre and Drama., 2009.<br>Title from PDF t.p. (viewed on Jul 14, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4529. Adviser: Rakesh H. Solomon.

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24

Curenton, Myron Wade. "Plowshares Theatre Company the first twenty years." Diss., Connect to online resource - MSU authorized users, 2008.

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Thesis (M.A.)--Michigan State University. Dept. of Theatre, 2008.<br>"The objective of this study is to discuss the history and origin of the Plowshares Theatre Company based upon an interview with the current artistic director, Gary Anderson, and his assistant, Dr. Addell [Austin] Anderson"-- vFrom the abstract. Title from PDF t.p. (viewed on Aug. 4, 2009) Also issued in print.

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25

Carpenter, Damian A. "Lead Belly, Woody Guthrie, Bob Dylan and American Folk Outlaw Performance." Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/1472484428.

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With its appeal predicated upon what civilized society rejects, there has always been something hidden in plain sight when it comes to the outlaw figure as cultural myth. Damian A. Carpenter traverses the unsettled outlaw territory that is simultaneously a part of and apart from settled American society by examining outlaw myth, performance, and perception over time. Since the late nineteenth century, the outlaw voice has been most prominent in folk performance, the result being a cultural persona invested in an outlaw tradition that conflates the historic, folkloric, and social in a cultural

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26

Chang, Eury Colin. "Railroad plays : performing reconciliation in Asian North American theatre." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44240.

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Railroad plays: performing reconciliation in Asian North American theatre is a study into a specific sub-genre of theatre coming out of the Asian Canadian and Asian American demographic. I use the term "railroad plays" to describe a body of work that gives voice to immigrant experiences working on the railroad. In a nutshell, railroad plays allow us to revisit and better understand historical prejudices of the late 19th and early 20th century. Additionally "performing reconciliation" is a term I use to suggest how contemporary theatre can help minority groups to engage in social activism, by i

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27

Rogers, Amanda. "Geographies of identity and performance in Asian American theatre." Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498905.

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This thesis examines performative geographies of racial and ethnic identity and how these operate through the specific artistic practices, aesthetics and spaces of Asian American theatre. This is achieved through an ethnographic methodology that examines the rehearsals and staged performances of two Asian American productions in Los Angeles: Imelda: A New Musical (East West Players) and Solve for X (Lodestone Theatre Ensemble). The thesis brings together two bodies of work on performance that have remained separate within geography, namely: performance as a socialised practice of identity and

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28

Brown, Jocelyn A. "Assessing color blind casting in American theatre and society." Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3303858.

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29

Weitzenkamp, Mark Philip. "The influence of Barret H. Clark on American theatre /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/10224.

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30

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

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Folk plays have been performed in many different cultures all over the world, notwithstanding the level of material development and the distinctive features of the societies in which they are found. In the North-East of Brazil, they have probably been played since the beginning of the country's history in the sixteenth century. This thesis examines the origins, the most relevant characteristics and the contemporary meaning of four of these folk theatre forms which are still performed in the North-East of Brazil, namely, the Bumba-meu-Boi, the Cheganca, the Pastoril and the Mamulengo, stressing

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31

Yarnelle, David. "Conceiving American Chekhov: Nikos Psacharopoulos and the Williamstown Theatre Festival." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/291967.

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This thesis examines the work of director Nikos Psacharopoulos on the plays of Anton Chekhov while Executive Director at The Williamstown Theatre Festival in Massachusetts. Components of Psacharopoulos' productions are contextualized within an American tradition of producing Chekhov and elements identified in previous research by Laurence Senelick. Using the constituents of Senelick's analysis, Psacharopoulos' work is examined in two general areas: his teaching, directing, and rehearsal techniques with the Chekhov texts, and the qualities in production of the plays at The Williamstown Theatre

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32

Mowery, Samantha. "Stephen Foster and American song a guide for singers /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234810817.

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33

Weimer, Emery Christian. "An Examination of American Sideshow Banners as Folk Art, ca. 1920-1960." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3302/.

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This thesis redresses the lack of scholarly attention paid to painted circus banners produced in the United States during the first half of the twentieth century by exploring the extent to which American folk art painting scholarship, methodologies, and objects can be used to articulate the meaning and significance of banner painting. This study expands the disciplinary treatment of banner painting by introducing domesticated art as a means of representing non-academic art produced in the U.S. The thesis also presents a model for exploring banner painting after identifying traditional American

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34

Kerley, Sarah C. "If I Had a Hammer: American Folk Music and the Radical Left." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2614.

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Folk music is one of the most popular forms of music today; artists such as Mumford and Sons and the Carolina Chocolate Drops are giving new life to an age-old music. It was not until the 1950s that new popular interest in folk music began. Earlier, folk music was used by leftist organizations as a means to reach the masses. It assumed because of this history that many folk artists are sympathetic to the Left. By looking at the years from 1905-1975 with the end of the Vietnam War, this study hopes to present the notion that even though these artists produced music that promoted leftist ideals,

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35

Reside, Douglas Larue. "THE ELECTRONIC EDITION AND TEXTUAL CRITICISM OF AMERICAN MUSICAL THEATRE." UKnowledge, 2006. http://uknowledge.uky.edu/gradschool_diss/350.

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For many, contemporary theatre is represented by the musical. The form remains, however, virtually unstudied by literary scholars. In part, this may be a result of the difficulty of accessing the texts. Reading a musical from a traditional codex is no easy matter. The integration of text and music in a musical make it inappropriate to separate the two. One can try to follow along with a cast recording. In most cases, though, this is awkward. Many cast albums record a significantly modified version of the score and lyrics and few include the entire work. Further, musical theatre texts often exi

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36

Foradori, Anne Bill. "Marc Blitzstein's Regina : a pivotal work in American musical theatre." Connect to resource, 1994. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1171311460.

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37

Devlin, Luke. "The trickle down effect : the 1911/1912 Abbey Theatre tour of America and its impact on early African American theatre." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25684.

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This thesis will examine the direct and indirect impact the Irish National theatre had upon American theatre in general and the African American theatre in particular. It discusses the relationship between the Irish theatrical movement during the Irish Literary Renaissance and the drama that was produced during the Harlem Renaissance. To do this Rorty’s concepts of the ‘strong poet’ and ‘ironist’ will be utilized. The bleeding and cross contamination of culture, it is contended, was due to the American tour that the Irish Players undertook in 1911/12. The tour, although staged in white theatre

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38

Grogan, Mary Christopher. "VICARIOUS VILLAINY: A CRITICAL LITERARY ANALYSIS OF SYMPATHETIC VILLAINY IN AMERICAN MUSICAL THEATRE." UKnowledge, 2014. http://uknowledge.uky.edu/theatre_etds/1.

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A disproportionate amount of research into musical theatre focuses on the positive and accessible nature of the books and librettos. Very little, if any, research into musical theatre explores its darker side, specifically the considerable amount of villainy (i.e., traditionally immoral and/or criminal behavior) practiced by some of its protagonists. Moreover, it is important to note that several of the most popular musicals contain villainous characters, and that many of these characters are highly popular and even sympathetic (i.e., understandable, pitiable, and deserving of compassion) to a

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39

Awi, Jane Pumai. "Creating new folk opera forms of applied theatre for HIV and AIDS education in Papua New Guinea." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/81643/1/Jane%20Awi%20Thesis.pdf.

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This research investigated the potential of folk opera as a tool for HIV and AIDS education in Papua New Guinea. It began with an investigation on the indigenous performativities and theatricalities of Papua New Guineans, conducting an audit of eight selected performance traditions in Papua New Guinea. These traditions were analysed, and five cultural forms and twenty performance elements were drawn out for further exploration. These elements were fused and combined with theatre techniques from western theatre traditions, through a script development process involving Australians, Papua New Gu

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40

Fink, Lawrence E. "The American Playwright Theatre: creating a partnership between commercial and educational theatre as an alternative to Broadway in the 1960s and 1970s." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1387446799.

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41

Winchester, Mark David. "Cartoon theatricals from 1896 to 1927 : Gus Hill's cartoon shows for the American Road Theatre." Connect to resource, 1995. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1263910411.

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42

Cox, David George. "White American elites and the 'folk-lore' of black Southerners, c. 1875-1900." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609739.

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43

Moran, Patrick. "A 16 BAR CUT:THE HISTORY OF AMERICAN MUSICAL THEATREAN ORIGINAL SCRIPT AND MONOGRAPH DOCUMENT." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2294.

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A final thesis for my Master of Fine Arts degree should encompass every aspect of the past few years spent in the class room. Therefore, as a perfect capstone to my degree, I have decided to conceive, write, and perform a new musical with my classmate Rockford Sansom entitled The History of Musical Theatre: A 16 Bar Cut. The History of Musical Theatre: A 16 Bar Cut will be a two-man musical that will capsulate all of musical theatre history in a single evening. Starting with the Greeks and finishing in the present, the show will comedically inform the audience, while paying homage to, the asto

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44

Fisler, Benjamin Daniel. "The phenomenology of racialism blackface puppetry in American theatre, 1872-1939 /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2464.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2005.<br>Thesis research directed by: Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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45

Metzger, Sean Aaron. "The Chinese fetish : fashioning Asian/American bodies in theatre and film /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2005. http://uclibs.org/PID/11984.

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46

Lee, Carrie Kathryn. "Something Beautiful: Craft and Survival in North American Alternative Theatre Companies." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1155844310.

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47

Sokalski, Joseph Anton. "The theatre of Steele MacKaye, pictorial illusion on the American stage." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ41578.pdf.

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48

Krasner, David. "Resistance, parody, and double consciousness in African American theatre, 1895-1910 /." Thesis, Connect to Dissertations & Theses @ Tufts University, 1996.

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Thesis (Ph.D.)--Tufts University, 1996.<br>Adviser: William Sun. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 315-341). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

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49

McCloud, Shonn. "African-American Men and a Journey Through Musical Theatre and Opera." Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1622.

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The purpose of this study is to outline the origins of African-American men in musical theatre, uncover their contributions to the art form, and explore how their legacy is continued today. I was inspired to do this research because through my undergraduate curriculum I have only narrowly studied African-American men in musical theatre and opera history. Upon realizing the lack of attention to this subject matter, not only in my curriculum but in historical resources, I was inspired to address the need for this research. The courses I have taken included Theatre History 1 and 2 and Musical The

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50

Whitfield, Sarah. "Kurt Weill : the 'composer as dramatist' in American musical theatre production." Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/657.

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The aim of this thesis is to critically examine Weill‘s negotiation of American cultural industries and his collaborative practice in making musicals there. It addresses the influence of the earlier, now discredited, concept of ‗Two Weills‘, which has engendered an emphasis on identity within the current literature. It proposes that Weill scholarship has been further constrained by problematic perceptions of Weill‘s position as both a European modernist composer and an exile in America. Each of these contexts suggests romanticised notions of appropriate behaviour, for a composer, and of autono

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