To see the other types of publications on this topic, follow the link: Acting – History.
Dissertations / Theses on the topic 'Acting – History'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Acting – History.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Beatty, Joshua Fogarty. "Thinking Globally, Acting Locally: The Struggle for Community in Revolutionary Newport." W&M ScholarWorks, 2002. https://scholarworks.wm.edu/etd/1539626371.
Full text
2
Gatoux, Kristin Wolff Simeonsson Rune J. "History of child sexual abuse and acting out among adolescents in residential treatment." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,811.
Full textAbstract:
Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.Title from electronic title page (viewed Dec. 18, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of School Psychology." Discipline: Education; Department/School: Education.
3
Sèbe, Berny. "Celebrating British and French imperialism : the making of colonial heroes acting in Africa, 1870-1939." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670137.
Full textAbstract:
This thesis investigates the ways in which British and French imperial heroes involved in the exploration, conquest or administration of Mrica between 1870 and 1939 were selected, packaged and promoted to the various sections of the public of their respective countries. It seeks to unveil the commercial, political and personal interests that lay behind the imperial hero-making business. This research analyses the hidden mechanisms, as well as the reasons that led to the appearance of a new type of hero in the context of the 'new' T Imperialism and the 'Scramble for Mrica': private connections, political lobbies (especially colonial advocates and nationalists), commercial interests (journalists, writers, biographers, hagiographers, publishers, film-makers) and personal ambition, the combination of which underpinned the creation and success ofheroic reputations. The first part of the thesis investigates the process through which imperial heroes progressively became widely known in their homelands, and how it was facilitated by the technical and social improvements of the Second Industrial Revolution. Drawing upon a wide variety of printed and manuscript sources, it shows the ever-increasing commercial success of imperial heroes throughout the period, analyses how they could serve political ends, and explains the values for which 'they were held up as examples. The second part examines the case studies of two military commanders in times of Anglo-French rivalry in Africa (the Sirdar Kitchener and Major Marchand before, during and after the Fashoda confrontation of 1898), in order to compare the modalities of the development of these legends, and the different backdrops against which they took shape. This thesis is the first to combine quantitative evidence (such as print run figures) and qualitative sources (such as police records) to demonstrate conclusively the prevalence and complexity of the hero-making process brought about by the conquest of Mrica, and to evaluate the reception of these heroic myths among the public.
4
Burrows, Jonathan. "'The whole English stage to be seen for sixpence' : theatrical actors and acting styles in British cinema, 1908-1918." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327508.
Full text
5
O'Rourke, Christopher Paul. "Models, artistes and photoplayers : the film actor in Britain, 1895-1929." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610163.
Full text
6
Katritzky, M. A. "A study in the commedia dell'arte, 1560-1620 : with special reference to the visual records." Thesis, University of Oxford, 1995. http://ora.ox.ac.uk/objects/uuid:e9e53854-2a31-4bbf-8ed1-ee414aa7f5a3.
Full textAbstract:
The research field addressed by this thesis is the commedia dell'arte and its iconography in the period preceding Callot's Balli di Sfessania engravings of c. 1621. Its main aim is to provide a broad overview of the surviving early pictures in order to contribute towards a more detailed understanding of the history of the commedia deH'arte in the opening decades of its existence, 1560-1620, by using late renaissance pictures as a documentary source. My research method has three main steps. These are firstly, the identification of relevant pictures, on the basis of a detailed understanding of the early history of the commedia dell'arte, and taking a deliberately inclusive approach; secondly, the classification of such pictures according to art-historical methods, in order to associate them with specific named artists so that they can be placed in the context of an oeuvre and place of production; thirdly, interpretation of their theatrical content. Integral to the thesis are the 340 plates. Many feature pictures which were anonymous or implausibly attributed, and unknown to theatre historians, before they appeared here or in my publications. My inclusive approach has contributed towards the marked rehabilitation of carnival pictures which is evident in the most recent scholarship in this area. My new discoveries, and attributions and re-attributions of some of the 340 plates, summarized in the plate list, have enabled me to identify significant bodies of commedia-related pictures by a number of named late renaissance artists not previously associated with theatre iconography, and provide a broad overview of the early stock types, their costumes and settings; contributions which are stimulating further research in this area. Section I summarises the rise and spread of professional acting in sixteenth century Italy, some forerunners of the commedia dell'arte, and its early stock types. It also presents new documentary material, discovered in the course of my archival researches, which is relevant to the earliest commedia performance for which a comprehensive description survives, staged in Munich in 1568. Section II presents art-historical analyses of three groups of prints in Stockholm, and six paintings which are the subject of an article published in 1943. It also presents an overview of a large group of Flemish pictures whose relation to two Italian prints demonstrates the progressive stereotyping of commedia-related motifs which was already occurring around 1600. Section III offers theatrical interpretations of the pictures, concentrating on scenery, set and stages; actresses; a selection of stock characters, including Harlequin, Zanni and Pantalone, and also some less wellknown figures such as tedescos and matachins; and multiple and serial images. The renaissance Italian comedians' multiple roots in amateur humanist comedy, professional entertainment and popular carnival ritual gave them their early creativity and wide appeal, and left their mark on the iconography which, by the seventeenth century, like the commedia dell'arte itself, was, for the most part, settling into a predictable routine based on precedents and conventions.
7
Malone, Samuel C. III. "An Actor's Method to Building the Character of Hamlet in The Tragedy of Hamlet, Prince of Denmark." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2096.
Full textAbstract:
This thesis will set out to examine the process needed in order to deliver the character of Hamlet as a fully dimensional, complex human being who transcends time periods and class distinctions to connect with any audience of any background. This text will include biographical information about the author, William Shakespeare, as well as historical information about the circumstances and atmosphere surrounding the birth of this play. It will also include information about other performances, which will serve as references for comparison in terms of character development. Included in the scored actor’s script are the Sanford Meisner Techniques of moment-to-moment analysis and actioning as it relates to Konstantin Stanislavski’s system, as well as any additional actor’s notes that may have contributed to character development.
8
Botha, Estelle. "Where dance and drama meet again : aspects of the expressive body in the 20th century." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1704.
Full textAbstract:
Thesis (MDram (Drama))—University of Stellenbosch, 2006.Acknowledging theatrical styles such as physical theatre, Tanztheater and poor theatre as forms of ‘total theatre’, and recognizing that there has been a prolonged process of development to reach such a point, the first chapter investigates the historical divide between dramatic dance and drama as starting point. Subsequently, in considering the body as expressive medium, the impact of content and form on the training of the performers’ body for the theatrical context is also evaluated.
9
Skordis, Ranza (Ranza Nora-J). "Improvisation and playmaking : a look at some improvisation techniques and their applications during the directing process." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53461.
Full textAbstract:
Thesis (MDram)--Stellenbosch University, 2003.ENGLISH ABSTRACT: In this thesis the author investigates aspects of the use of improvisation and improvisational methods, techniques and exercises by modem practitioners. The study commences with a look at the beginnings of modem improvisation in the nineteenth century, when improvisation was used only tentatively by performers as a preproduction aid to the exploration of character and personal response. In more recent times the process has become one of collaboration and research; as a means of selfdiscovery, as a means of text creation and as a vehicle for finding a 'voice' for the silent majority within a particular community or society. This study also traces the use of improvisation in South Africa where the improvisational process has been incorporated into democratic and collaborative forms like workshop theatre and workers' theatre, and serves as a useful method of political investigation and conscientisation. The study will also briefly touch what on is now termed 'theatre-fordevelopment', since its practitioners make extensive use of improvisational techniques, and its techniques are allied to those of workers' and workshop theatre. The final chapter provides an application of the theories discussed in the bulk of the study in a brief discussion of the author's own attempts at utilising improvisation as a directing and scriptwriting tool in a student production.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek die outeur die gebruik van improvisasie en die verskillende metodes, tegnieke en praktiese toepassings daarvan deur moderne praktisyns. Die tesis begin deur te kyk na die oorsprong van moderne improvisasie in die 1ge eeu toe imporvisasie slegs tentatief deur akteurs gebruik is om vóór die produksiefase as 'n hulpmiddel te dien om 'n karakter en persoonlike reaksies te ondersoek. Die proses het onlangs tot een van samewerking en navorsing verander; as 'n methode tot selfontdekking, 'n hulpmiddel by teks-skepping en as 'n medium om 'n "stem te vind" vir die 'stille meerderheid' binne 'n gegewe gemeenskap of samelewing. Hierdie studie ondersoek ook die gebruik van improvisasie in Suid Afrika waar die improvisasieproses in demokratiese en spanwerk vorme soos bv. werkswinkelteater en werkersteater geïnkorporeer is, waar hulle as uiters nuttige vorme van politieke ondersoek en -bewusmaking dien. Die studie raak ook vlugtig aan 'teater-virontwikkeling', aangesien die praktisyns daarvan grootliks gebruik maak van improvisasie-tegnieke en die tegnieke wat hulle gebruik redelike ooreenstem met dié van werkswinkelteater en werkersteater. Die finale hoofstuk verskaf 'n toepassing van die verskeie teorieë wat in die hoofgedeelte van die tesis bespreek word, in 'n kort bespreking van die outeur se eie pogings om improvisasie as 'n regie- en teksskeppingsinstrument in 'n studenteproduksie, te gebruik.
10
Matthews, Laura S. "DIRECTING THROUGH ANCIENT MOVEMENT: An Experiment Exploring Ancient Greek Choral Structures on the Modern Stage." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5731.
Full textAbstract:
This thesis outlines my research and creative process of how to direct modern theatre under the structure of the Ancient Greek chorus, specifically through movement. I include a brief history of how the chorus functioned in Ancient Greek theatre; how movement shaped the chorus’ role as well as the story for the audience. Using the parameters of the chorus, I directed two theatrical productions, Jason Robert Brown’s Parade, and Sarah Ruhl’s adaptation of Virginia Woolf’s Orlando. Through exploration and analysis I conclude that using Ancient Greek choral movement in modern theatre helps to create a more specific story through gesture and space, bridges the gap between the audience and action onstage, and should be the foundation of how directing is taught in academic settings.
11
White, David Maurice. "Pedagogical Fusion." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/993.
Full textAbstract:
During the five semesters that I have been at VCU I have learned a great deal from the courses that I have been enrolled in but I have learned the most through my experiences as a Teaching Assistant. These experiences have been so valuable because of the wide range of subject areas in which I have been involved and the diverse instructors that I have assisted. Although I hesitate to use the word "problem" I feel that there is a tendency in teacher training for a student to latch onto one professor and model their teaching practices after that one mentor. While this is not always a bad thing I feel that it can lead some students down a dead-end path of self-exploration and individualization of their personal teaching style. I feel that I have been given a rare and invaluable opportunity in that I have been permitted to assist so many different teachers in such a wide array of subjects. In this thesis, I propose to examine the widely varied experiences that I have had here at VCU as a Teacher and Teaching Assistant. I will look at the teaching styles that I have witnessed, the methodologies and approaches of each course, and most importantly I will put forth my personal teaching philosophy that I have developed from my experiences here at VCU.
12
Anthony, Douglas Richard. "''Acting In'': A Tactical Performance Enables Survival and Religious Piety for Marginalized Christians in Odisha, India." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429801174.
Full text
13
Kondowe, Zandile Ziyanda. "Ukuzotywa kwabalinganiswa abafunzele ukuzibulala kwimidlalo ekhethiweyo yesiXhosa." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/536.
Full textAbstract:
Olu phando lugqale kubalinganiswa abafunzele ukuzibulala kwimidlalo ekhethiweyo yesiXhosa. Kwisahluko sokuqala ngumkhombandlela wolu phando, intshayelelo, injongo yophando, ubume besifundo namagqabantshintshi ngentyila bomi zababhali endicaphule kwiincwadi zabo namagama angundoqo. Kwezinye izahluko ingcingane ezahlukeneyo nalapho endingabalula ekaFreud isayikho-analisisi ndinaba ngokubanzi kumabakala awabekileyo afana nokuzalwa, isini, odiphasi khompleksi nephupha nenxaxheba yakhe ekugubhululeni okuyimfihlakalo ngokuthi aphande ubomi bomntu obadlulayo ukuze kubenokunyangwa impixano ekuye ngaphakathi. Enye ingcingane esetyenzisiweyo yile ingokuzibulala nalapho kuphononongwa ukuba ngobani abazibulalayo, abaqinisekileyo ngokufa kwabo, ukuzibulala ngesivumelwano nembalelwano abazishiyayo xa umntu ezibulala. Kwezinye izahluko ndiyibeka icace intsusa neziphumo zokuzibulala kwamaxhoba, ndayiphicotha nendlela ekuxhatshazwe ngayo amalungelo abalinganiswa ngabazali babo kuba benyanzela le mitshato yebhaxa ngenjongo yokuzuza ikhazi ngentombi zabo, nayo imixholo enxulumene nolu phando ndiyicaphule imixholo efana neyothando noqhankqalazo nomxholo wokutshatiswa kwabantwana ngebhaxa. Isahluko sesihlanu ngumqukumbelo jikelele nophononongo ngolu phando.
14
Hosea, Birgitta. "Substitutive bodies and constructed actors : a practice-based investigation of animation as performance." Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/3437/.
Full textAbstract:
The fundamental conceptualisation of what animation actually is has been changing in the face of material change to production and distribution methods since the introduction of digital technology. This re-conceptualisation has been contributed to by increasing artistic and academic interest in the field, such as the emergence of Animation Studies, a relatively new branch of academic enquiry that is establishing itself as a discipline. This research (documentation of live events and thesis) examines animation in the context of performance, rather than in terms of technology or material process. Its scope is neither to cover all possible types of animation nor to put forward a new ‘catch-all’ definition of animation, but rather to examine the site of performance in character animation and to propose animation as a form of performance. In elaborating this argument, each chapter is structured around the framing device of animation as a message that is encoded and produced, delivered and played back, then received and decoded. The PhD includes a portfolio of projects undertaken as part of the research process on which the text critically reflects. Due to their site-specific approach, these live events are documented through video and still images. The work represents an intertwining, interdisciplinary, post-animation praxis where theory and practice inform one another and test relationships between animation and performance to problematise a binary opposition between that which is live as opposed to that which is animated. It is contextualised by a review of historical practice and interviews with key contemporary practitioners whose work combines animation with an intermedial mixture of interaction design, fine art, dance and theatre.
15
Stoner, Zachary. "Hell is a Game Show: An Artistic Interpretation of the Afterlife." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524835391884507.
Full text
16
Marcus, Reker Katherine B. ""Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The Musical." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/876.
Full textAbstract:
This thesis proposes a critical study of the theoretical framework of Urinetown, asking the question of whether or not the show is truly a “Brechtian musical,” utilizing the tenets and beliefs of Bertolt Brecht. Set in a quirky, Gotham-like town where you have “to pay to pee” due to a severe drought, Urinetown follows a cast of absurdist characters as they navigate a society plagued by the perils of big business, ecological devastation, and the inequalities of capitalism. While the show appears to make a relevant social commentary, supporting a righteous rebellion to overthrow the evil Urine Good Company, in the end, by proving that revolution does not always succeed, writers, Kotis and Hollman invalidate these commentaries, proving that despite its Brechtian appearance, the show in its textual form is much more simply a comedic parody. However, Pomona College’s production, in which I played Hope Cladwell, takes on a much more severe tone, creating legitimate commentary by replacing many of the comedic, two-dimensional characters with living breathing, realities. In a text traditionally lacking authenticity, I approached Hope Cladwell with the intention of finding strength and satire in an otherwise vapid character.
17
Facio, Robert J. "How to Tame a Shrew (11 Things I Hate About Her) An Actor's Method to Characterizing Petruchio in The Taming of the Shrew." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1794.
Full textAbstract:
The Taming of the Shrew is an early comedy that exposes the oddities we take for granted: curious conventions, wild assumptions, gender roles, relationships, social status, fashion, and everything else we know so defectively. The given circumstances of the script and Petruchio are specific in choice, yet broad in interpretation. Petruchio, the catalyst behind Katherine’s character arc, needed to not only be believable in his ways, but likeable by the audience.
This thesis examines the process required to successfully develop and bring to life the character of Petruchio to our modern audience. It includes historical background information on William Shakespeare and the origins of the play itself, Sanford Meisner’s Techniques (moment-to-moment analysis & actioning) and Konstantin Stanislavski’s system are included with the scored actor’s script, journals recorded by the actor to verify his victories and defeats during the six-week production process and critiques to support the success of the production.
18
Impara, Christine Louise. "To Love is Human: Leonid Zorin's A Warsaw Melody Considering Concepts Love and Fate in Russian Culture Reflected in its Theatre Tradition." Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1589579622867398.
Full text
19
Griffith, Mary Peyton. "Power and Relationships in the Plays of Neil LaBute: Directing and Performing in Some Girl(s)." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/112.
Full textAbstract:
This thesis explores the major works of Neil LaBute's career as a playwright and screenwriter, including the criticism he has received on theatrical and literary levels. The themes most prevalent in the thesis are the use of power and manipulation in the relationships between LaBute's characters and the ongoing maturation of his characters that coincides with the maturation of his work. The second section of the thesis follows the production, directing, and acting in LaBute's play Some Girl(s).
20
Watt, Linda Ann. "One-Third of a Nation, the Second Amendment, a Living Newspaper Play." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5704.
Full textAbstract:
One-Third of a Nation, the Second Amendment, a Living Newspaper Play
Thesis By Linda Ann Watt for a MFA Degree in Theatre Pedagogy
Documentary theatre, including living newspapers and verbatim theatre, use socio-political commentary at critical moments in history to disseminate facts and offer ideological critique dramatizing the crisis through the lens of emotion, which can incite societal change. This thesis explores this didactic medium with a written play about the second Amendment and gun violence.
21
Sandeau, Jules. "The Unsinkable Kate : l'évolution de la persona de Katharine Hepburn et sa réception aux Etats-Unis." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30048.
Full textAbstract:
Partant du constat de l’extraordinaire pérennité de Katharine Hepburn en tant que star hollywoodienne de premier plan, ce travail se propose d’élucider les raisons de ce succès durable en examinant la réception dont l’actrice a fait l’objet aux États-Unis tout au long de sa carrière. À la croisée des star studies et des études de réception, cette étude articule analyse de sa persona (rôles interprétés à l’écran et à la scène, jeu d’actrice et image médiatique) et des traces de sa réception auprès du public états-unien (critiques de professionnels, courriers de fans, sondages, données de box-office, etc.). Grâce à une approche diachronique, les évolutions de son image et de sa réception sont réinscrites dans un contexte socio-historique en perpétuelle évolution, auquel la star a tenté de s’adapter avec plus ou moins de succès suivant les périodes. L’examen des matériaux extra-filmiques participant à la construction de son image ou témoignant de sa réception permettent d’éclairer sous un nouveau jour les performances de Hepburn, analysées dans leur dimension socio-culturelle, esthétique et actorale. Une attention particulière est portée aux dimensions de genre, de classe et de génération de sa personaAcknowledging the extraordinary longevity of Katharine Hepburn as a high-profile Hollywood star, this study seeks to shed light on the reasons behind this lasting success by examining her reception in the United States throughout her career. Combining both star studies and reception studies, this thesis articulates the analysis of her persona (her theater and film roles, her acting and media image) with evidence of her reception by the United States audience (critics, fan letters, polls, box-office figures, etc.). Using a diachronic approach, the evolutions of her image and its reception are incorporated within the framework of a socio-historical context in constant evolution, to which Hepburn tried to adapt with differing success depending on the period. The examination of the extra-filmic materials that contribute to her image or testify to her reception allow us to shed new light on Hepburn’s performances, analyzed from a socio-cultural, aesthetic and acting perspective. Special attention is given to the gender, class and age-related dimensions of her persona
22
Nolan, Patricia A. E. "Benedict Labre House : 1952-1966 : the history of an unofficial lay apostolate." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ64037.pdf.
Full text
23
Roberts, Corey Justin. "Consuming Brazil: Afro Brazilian Religion as a Base for Actor Training." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1023.
Full textAbstract:
Actor training, like the theatre in Brazil, has historically been a middle and upper class pursuit that followed European models, namely Stanislavski's system. Yet within Brazil there is a wealth of diverse cultures that are inherently theatrical and well suited for application in actor training. In this study I explore one such culture, the Afro Brazilian religion Umbanda. First, I examine its formation to illuminate how the religion itself performed (or served as a site for cultural interaction) throughout history. Then, I explore the practice of the religion both apart from and in relation to the theatre and Stanislavski's system. Using the archetypes of Umbanda as a base, I formulate a system of actor training that both allows access to a larger demographic of Brazilians, and also encourages cultural dialogue as an explicit part of acting process. I frame this study with two metaphors: anthropophagy, the notion of cannibalizing or consuming one culture by another; and, more specifically, the digestive tract. The anthropophagy movement in Brazil framed the country's thought throughout much of the 20th century; the digestive tract is a closer examination of the consuming process that epitomizes this system of actor training.
24
Ebot, Tabe Fidelis. "The history of History in South African secondary schools, 1994-2006." Thesis, University of the Western Cape, 2008. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_4379_1259564328.
Full textAbstract:
"
This MA thesis investigates the decision to marginalize History in C2005 at a time when there were expectations of the importance of the discipline in a democratic South Africa. It argues that the marginalization of the discipline in C2005 was not solely based on pedagogical reasons, but that it might have been influenced by political agendas. My research provides support for this view with evidence of the procedures inside the relevant government education policy committees. In addition, it explores the debates and processes that led to the reinstatement of the discipline in the Revised National Curriculum Statement for schools that was approved in April 2002 by the South African Cabinet..."
25
Regent, Nikola. "Magistra vitae : history as inducement of action." Thesis, University of Exeter, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504990.
Full textAbstract:
This study explores a specific way of thinking about history and its use: the idea of history as magistra vitae. It aims to uncover the previously underexplored influence that an emulative understanding of ancient history had in shaping the work of certain key modem political thinkers. Its specific focus is, however, narrower: the lessons from history centred on the individual, and only those: examples which further greatness. For authors adopting such an idea of history, the emulation of great examples from the past is taken as the key to the conduct of one's own life and, more importantly, as indispensable for men who lead a vita activa. The main interest of this work is turned towards the view of history as an inducement for action: as a stimulus to strive for a vita activa of great political accomplishments, providing the reader also with a lesson about how to achieve them.
26
Scandolara, Camilo. "Os estudios do Teatro de Arte de Moscou e a formação da pedagogia teatral no seculo XX." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285042.
Full textAbstract:
Orientador: Maria Lucia Levy CandeiasDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-08T08:49:02Z (GMT). No. of bitstreams: 1 Scandolara_Camilo_M.pdf: 4509987 bytes, checksum: c903d905692b040e95b375d9e3a3a31d (MD5) Previous issue date: 2006
Resumo: Este trabalho aborda a experiência dos estúdios do Teatro de Arte de Moscou (T.A.M.) como um dos pilares da formação da tradição teatral ocidental do século XX. Os estúdios do T.A.M. inserem-se em um movimento característico do processo de renovação teatral do início do século passado: o afastamento em relação aos centros da produção com o objetivo de reconstruir o ofício do ator e do diretor desde as suas bases. Partindo da constatação de que renovar o teatro implicava, antes de tudo, em criar uma pedagogia teatral sólida, Leopold Sulerjítski, Evguiêni Vakhtângov e Konstantin Stanislávski geraram espaços de experimentação nos quais a pedagogia era concebida como ato criativo, como atividade de invenção de possibilidades de teatro. Utiliza-se nesta pesquisa a análise das trajetórias de Sulerjítski e de Vakhtângov junto aos estúdios como referência para a compreensão do estabelecimento de um entendimento do fazer teatral que antecede e transcende a dimensão do espetáculo
Abstract: This dissertation approaches the experience of the Moscow Art Theatre studios, as one of the pillars of the formation of theatrical tradition in the West, in the Twentieth Century. The studios of the Moscow Art Theatre are part of a movement which characterizes the theatre renovation process of the beginning of the Twentieth Century, that is, the detachment from the main stream production, in order to re-build both acting and directing from their basis. Based on the notion that any theatre renewing would imply in the creation of a solid theatrical pedagogy, Leopold Sulerjítski, Evguiêni Vakhtângov and Konstantin Stanislávski created spaces for experimentation, in which such a pedagogy was conceived as acts of creation, as the invention of possibilities in theatre. Thus, this research presents the analysis of Sulerjítski's and Vakhtângov's trajectory in the MAT studios and offers new elements for the understanding of theatre practices which precede and transcend theatrical performances
Mestrado
Mestre em Artes
27
Pukszta, Claire A. "Myrrha Now: Reimagining Classic Myth and Mary Zimmerman's Metamorphoses in the #metoo Era." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1374.
Full textAbstract:
This paper represents the final culmination of a theater senior project. The project consisted of an analytical research paper, performance in a mainstage department production, and supporting process documentation. I portrayed Myrrha, Hunger, Zeus, and others in a production of the play Metamorphoses.
Through research on Mary Zimmerman’s 1998 play Metamorphoses, adapted from the works of Roman poet Ovid, this thesis grapples with the historical meaning of the myth of Myrrha. A polarizing figure, Myrrha was cursed to fall in lust with her father. By exploring of portrayals sexual assault onstage, I tackle themes of audience relationships to trauma and taboo subjects. I seek to understand the importance of her story in a modern context, specifically considering the #metoo movement and increasingly public discussions around sexual violence, rape culture, and systematic oppression. I stress our responsibility to understand how codifying stories on stage impacts audiences.
This project also contains my conceptualization for the characters I portrayed in Metamorphoses, my rehearsal journal, and post-show reflections. In these sections, I detail the acting theory behind my characters as well as the steps we took to adapt Metamorphoses for our community.
28
Montecillo, Victoria. "The Naïve Ingénue, The Plucky Everyman's Hero, and the Ingénue Gone Awry: The Satirical Deconstruction of Theatrical Character Tropes in Urinetown: The Musical." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/868.
Full textAbstract:
This thesis looks to explore Urinetown: The Musical through a critical and theoretical framework, analyzing the show's presentation and deconstruction of theatrical character tropes through musical satire. Using the theories of theatre theorists such as Bertolt Brecht, Peter Brook, and Augusto Boal, this thesis discusses the use of theatre as a device for political and social commentary. Additionally, this thesis focuses more specifically on the show's character of Penelope Pennywise as a new kind of character in the theatre: an "ingénue gone awry," within the context of approaching a performance of the character in a performance of the musical.
29
Jiang, Yun. "Comparative study on the history of derivative action." Thesis, University of Macau, 2016. http://umaclib3.umac.mo/record=b3525657.
Full text
30
Hart, Hilary 1969. "Sentimental spectacles : the sentimental novel, natural language, and early film performance." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/297.
Full textAbstract:
Advisor: Mary E. Wood.
xii, 181 leaves : ill. ; 29 cm. Print copy also available for check out and consultation in the University of Oregon's library under the call number: PS374.S714 H37 2004.The nineteenth-century American sentimental novel has only in the last twenty years received consideration from the academy as a legitimate literary tradition. During that time feminist scholars have argued that sentimental novels performed important cultural work and represent an important literary tradition. This dissertation contributes to the scholarship by placing the sentimental novel within a larger context of intellectual history as a tradition that draws upon theoretical sources and is a source itself for later cultural developments. In examining a variety of sentimental novels, I establish the moral sense philosophy as the theoretical basis of the sentimental novel's pathetic appeals and its theories of sociability and justice. The dissertation also addresses the aesthetic features of the sentimental novel and demonstrates again the tradition's connection to moral sense philosophy but within the context of the American elocution revolution. I look at natural language theory to render more legible the moments of emotional spectacle that are the signature of sentimental aesthetics. The second half of the dissertation demonstrates a connection between the sentimental novel and silent film. Both mediums rely on a common aesthetic storehouse for signifying emotions. The last two chapters of the dissertation compare silent film performance with emotional displays in the sentimental novel and in elocution and acting manuals. I also demonstrate that the films of D. W. Griffith, especially The Birth of a Nation, draw upon on the larger conventions of the sentimental novel.
31
Reekie, Duncan. "Not art : an action history of British underground cinema." Thesis, University of Plymouth, 2003. http://hdl.handle.net/10026.1/2329.
Full textAbstract:
My thesis is both an oppositional history and a (re)definition of British Underground Cinema culture (1959 - 2(02). The historical significance of Underground Cinema has long been ideologically entangled in a mesh of academic typologies and ultra leftist rhetoric, abducting it from those directly involved. The intention of my work is to return definition to the 'object' of study, to write from within. This process involves viewing the history of modem British culture not as a vague monolithic and hierarchic spectrum but rather as a distinct historical conflict between the repressive legitimate Art culture of the bourgeoisie and the radical illegitimate popular culture of the working class. In this context, Underground Cinema can be {re)defined as a radical hybrid culture which fused elements of popular culture, Counterculture and Anti-Art. However, the first wave of Underground Cinema was effectively suppressed by the irrational ideology of its key activists and the hegemonic power of the Art tradition. They disowned the radical popular and initiated an Avant-Garde/Independent cinema project which developed an official State administrated bourgeois alternative to popular cinema. My conclusion is that Underground Cinema still has the potential to become a radical and commercial popular culture but that this is now frustrated by an institutionalised State Art culture which has colonised the State funding agencies, higher education and the academic study of cinema. If the Underground is to flourish it must refuse and subvert this Art culture and renew its alliance with radical, experimental and commercial pop culture. My methodology is an holistic interactive praxis which combines research, writing, film/video making, digital design, performance and political activism. My final submission will be an open and heterodox mesh of polemic, history and entertainment. Its key components will be a written thesis which will locate this praxis within its intellectual context and a web site which will integrate my research and practice 1997-2003.
32
Van, Bever Donker Maurits Michiel. "Re-articulating history: historical play, nation, text." Thesis, University of the Western Cape, 2006. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_6157_1253237330.
Full textAbstract:
This dissertation was divided into two parts. In the first part questions of representation and textuality in the discipline of history will be explored with the aim of positing the historical play as productive for the writing of history after apartheid. In the second part it was attempted to specify the implications of this critique for the discipline of history through reading a number of historical narratives and plays together.
33
Nolan, Patricia A. E. "Benedict Labre House 1952-1966, the history of an unofficial lay apostolate /." Ottawa : National Library of Canada = Bibliothèque nationale du Canada, 2002. http://www.nlc-bnc.ca/obj/s4/f2/dsk3/ftp05/MQ64037.pdf.
Full text
34
Kelley, Jean Margaret 1966. "The Choctaw economy: Reciprocity in action." Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/291382.
Full textAbstract:
Although Europeans unquestioningly impacted the indigenous economies of the Americas, these original economies have shifted, but have never entirely disappeared. Early European witnesses of these tribal systems were often off the mark in interpreting their observations, especially when the data was forced into completely European models. With the secondary sources available, a less Eurocentric model of the 18th and 19th century Choctaw economy can be constructed. This reconstruction will help develop more accurate portrayals of functions within tribal societies.
35
Gnanapragasam, Alexander J. "Towards a holistic understanding of sustainability action : a life history approach." Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/12863.
Full text
36
Hebbes, T. R. "Histone acetylation and transcriptionally active chromatin." Thesis, University of Portsmouth, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.382541.
Full text
37
Clayton, Alison Louise. "Core histone acetylation of active genes." Thesis, University of Portsmouth, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240358.
Full text
38
Manganga, Kudakwashe. "An Agrarian History of the Mwenezi District, Zimbabwe, 1980-2004." Thesis, University of the Western Cape, 2007. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_8947_1257321849.
Full textAbstract:
The thesis examines continuity and change in the agrarian history of the Mwenezi District, southern Zimbabwe since 1980. It analyses agrarian reforms, agrarian practices and development initiatives in the district and situates them in the localised livelihood strategies of different people within the Dinhe Communa Area and the Mangondi resettlement Area in Lieu of the Fast-Track Land Reform Programme (FTLRP) since 2000. The thesis also examines the livelihood opportunities and challenges presented by the FTLRP to the inhabitants of Mwenezi.The thesis contributes to the growing body of empirical studies on the impact of Zimbabwe's ongoing land reform programme and to debates and discourses on agrarian reform.
39
Martin, Erica. "Action and advocacy, Alfred Fitzpatrick and the early history of Frontier College." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0018/MQ53317.pdf.
Full text
40
Myers, Kate. "School improvement in action : a critical history of a school improvement project." Thesis, University of Bristol, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284318.
Full text
41
LaReau, Brandon. "Dramatic Themes: Active Learning and Thematic Teaching in the Theatre History Classroom." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5755.
Full textAbstract:
This thesis explores major texts dealing with pedagogical theory and active learning in the context of a theatre history class. By comparing a class which is taught in the traditional, chronological format relying heavily on lectures to a class taught in a newer, thematic format utilizing active learning the thesis defines what student-centered learning means. Active learning, its benefits, and its implementation are explained and explored, along with the advantages and benefits of teaching thematically instead of chronologically. All of this is applied to a theatre history class in the resulting syllabus in chapter three. The syllabus creates a curriculum which uses themes to teach theatre history, while incorporating active learning activities and assignments throughout, to the benefit of the student. Ultimately, student-centered learning and its importance are explained and demonstrated using research, observation, and creation.
42
Safran, Benjamin. "Action pieces final." Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/571017.
Full textAbstract:
Music CompositionPh.D.;
Contemporary classical concert music could be part of the solution to build a just and sustainable future. My research demonstrates that such music, despite its niche, elitist positioning in contemporary American society, can contribute to social movements and change the world in meaningful, tangible ways when attention is paid to social movement strategy and structures of power. To reconsider the potential power of this music, I apply a range of methodologies from ethnography to hermeneutic analysis to nonviolent direct action strategy, drawing on the work of musicologists, ethnomusicologists, and social movement theorists. Given the elitism of the classical concert hall, it is a non-obvious genre in which to convey a social justice or leftist political theme, yet many composers try to do so. I examine five of these composers in depth: Laura Kaminsky, David Lang, Curt Cacioppo, Ludovico Einaudi, and Hannibal (who goes by other names but used the mononym Hannibal in the concert which
Temple University--Theses
43
Safran, Benjamin. "Action Piece 3." Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/571018.
Full textAbstract:
Music CompositionPh.D.;
Contemporary classical concert music could be part of the solution to build a just and sustainable future. My research demonstrates that such music, despite its niche, elitist positioning in contemporary American society, can contribute to social movements and change the world in meaningful, tangible ways when attention is paid to social movement strategy and structures of power. To reconsider the potential power of this music, I apply a range of methodologies from ethnography to hermeneutic analysis to nonviolent direct action strategy, drawing on the work of musicologists, ethnomusicologists, and social movement theorists. Given the elitism of the classical concert hall, it is a non-obvious genre in which to convey a social justice or leftist political theme, yet many composers try to do so. I examine five of these composers in depth: Laura Kaminsky, David Lang, Curt Cacioppo, Ludovico Einaudi, and Hannibal (who goes by other names but used the mononym Hannibal in the concert which
Temple University--Theses
44
McCurdy, Jessie, Alexandria Richardson, and Kathaleena Thirtle. "A People's History of Art Therapy." Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/800.
Full textAbstract:
The following research examined a survey on the identity and feelings of inclusion among alumni of Loyola Marymount University’s Marriage and Family Therapy with Specialization Training in Art Therapy graduate program. The survey found that a majority of the responding alumni did not feel their identities were represented in multiple aspects of the program, and there was a clear call to action for more representation of diversity. More research on the subject is needed to expand a variety of art therapy programs to better understand implications of art therapy pedagogy on identity, representation, and inclusivity within the art therapy community.
45
Deayton, Jane Robyn. "Natural history of cytomegalovirus disease in the era of highly active antiretroviral therapy." Thesis, University College London (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406128.
Full text
46
Cibrario, Luigi. "Evolutionary history of clathrin-mediated endocytosis and the eisosome." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3484.
Full textAbstract:
Endocytosis is both an ancient and a diverse feature of the eukaryotic cell. Studying how it evolved can provide insight into the nature of the last common eukaryotic ancestor, and the diversification of eukaryotes into the known extant lineages. In this thesis, I present two studies on the evolution of endocytosis. In the first part of the thesis I report results from a large-scale, phylogenetic and comparative genomic study of clathrin-mediated endocytosis (CME). The CME pathway has been studied to a great level of detail in yeast to mammal model organisms. Several protein families have now been identified as part of the complex set of protein-protein and protein-lipid interactions which mediate endocytosis. To investigate how such complexity evolved, first, I defined the modular nature of the CME interactome (CME-I) by literature review, and then I carried out a systematic phylogenetic and protein domain architecture analysis of the proteins involved. These data were used to construct a model of the evolution of the CME-I network, and to map the expansion of the network's complexity to the eukaryotic tree of life. In the second part of the thesis, I present results from evolutionary and functional studies of the eisosome, a protein complex which has been proposed to regulate the spatial distribution of endocytosis in S. cerevisiae. The phylogeny of eisosomes components Pil1 and Lsp1 reported here, suggests that eisosomes are likely to have originated at the base of the fungi, and then diversified significantly via multiple gene duplications. I thus studied the localisation and function of Pil1 and Lsp1 homologues in Magnaporthe oryzae to investigate the role of eisosomes in filamentous fungi. Results suggests that eisosomes are linked with septal formation and integrity in M. oryzae, and that the septal specific Pil2 paralogue was lost in budding yeasts. Together, the data presented in this thesis describe the evolutionary history of a complex biological system, but also highlights the problem of asymmetry in the understanding of endocytic diversity in the eukaryotes.
47
Lakin, Nicholas David. "The regulation of actin gene expression in Xenopus embryos." Thesis, University of Warwick, 1991. http://wrap.warwick.ac.uk/108299/.
Full textAbstract:
The main aim of this work was to identify the important cis-acting regulatory sequences, and the trans-acting factors with which they interact, which are required for the tissue-specific expression of the Xenopus borealis skeletal actin gene. All sequences necessary and sufficient for the correct spatial and temporal expression of the Xenopus borealis skeletal actin gene are located in a 156 bp fragment of the gene that spans from nucleotide residues -197 to -42 in its promoter. This region of the skeletal actin promoter contains three imperfect repeats of a CArG sequence motif that has been demonstrated to be important in the expression of other sarcomeric actin genes. Deletion analysis of the promoter of the Xenopus borealis skeletal actin gene, using Xenopus micro-injection techniques as a transient assay system for promoter activity, have identified that CArG box3 is essential for skeletal actin gene expression. By using band shift assays I have demonstrated that, under my assay conditions, CArG box2 is unable to bind any proteins in vitro . Conversely, the CArG boxl sequence exhibits two binding activities on band shift analysis. One of these is antigenically related to the transcription factor SRF, whilst the second appears to be distinct from this protein. CArG box3 also interacts with a protein in vitro. Although this sequence exhibits a similar shift to that of the CArG boxl/SRF complex on band shift analysis, my experiments suggest that this protein is distinct from SRF. A combination of the CArG boxl and CArG box3 motifs is unable to confer muscle-specific gene expression on a heterologous promoter. Furthermore, I have identified an upstream regulatory element (URE) in the Xenopus borealis skeletal actin gene promoter that spans from nucleotides -197 to -167 that is required for the expression of the gene, at least when sequences between nucleotide -42 and +28 are absent. The URE of the Xenopus borealis skeletal actin gene is capable of interacting with a trans-acting factor(s) in vitro. In addition to this a further region of the gene which spans from nucleotide residues -83 to -42 is also capable of interacting with a factor(s) in vitro. The mechanisms by which these multiple regulatory elements control the tissue-specific expression of the Xenopus borealis skeletal actin gene will be discussed.
48
Pinto, Rosilaine Carlos. "Conselho Popular de Vitória : formação e trajetória de um movimento, 1986-2004." Universidade Federal do Espírito Santo, 2008. http://repositorio.ufes.br/handle/10/6503.
Full textAbstract:
Made available in DSpace on 2016-12-23T14:36:48Z (GMT). No. of bitstreams: 1
Conselho Popular de Vitoria.pdf: 424320 bytes, checksum: 35ad75f50e1fc5dd7deeb968ced181fb (MD5)
Previous issue date: 2008-04-27O trabalho é um estudo de caso sobre o Conselho Popular de Vitória (CPV) organização representativa das associações de moradores do município de Vitória de sua fundação, em 1986, até 2004. Ancorado em autores que estudaram a participação política da sociedade civil nas décadas de 80 e 90 o objetivo é empreender uma análise que especifique o perfil de atuação deste movimento em termos de interesses e demandas, do seu papel junto aos movimentos de bairro que representa e da sua relação com o poder municipal. A estratégia de apreensão do objeto de estudo deu-se pela metodologia qualitativa que possibilita a compreensão de fenômenos, fatos e procedimentos particulares de pequenos grupos. O resultado da pesquisa revelou que o CPV, ao longo da sua trajetória, sofreu modificações no seu perfil de atuação. Se nos anos 80 apresentou uma postura mais independente na relação com o poder público, nos anos 90 assume uma posição mais próxima ao governo, fortalecida pelo processo de abertura e institucionalização dos canais de participação. Contudo, essa postura levaria ao longo dos anos a um padrão de relação extremamente frágil com o poder público e entidades dos movimentos de bairro, visto que, assumindo uma postura de parceiro e legitimador das ações do poder público, tem deixado de ser um operador das demandas da sociedade civil e se transformado em agente cooperador do poder público.
This paper is a case study about the CPV (Vitória Popular Council) organization that represents the resident associations in the city of Vitória from its foundation and in 1986 to 2004. Based on authors who studied the political participation of civil societies in the 1980s and 90s, the aim is to perform an analysis to specify the acting profile of this movement in terms of interest and demand; its role in the movements of the neighborhoods it represents and its relation with the city government. The study strategy adopted qualitative methodology, which allows understanding particular phenomena, facts and procedures of small groups. Results showed that CPV, throughout its history, has changed its acting focus. If in the 80s the movement had a more independent position towards the city government, in the 90s it took a position closer to the government, strengthened by the opening process and institutionalization of channels of participation. Nevertheless, this posture would lead to an extremely fragile relation with the government and neighborhood entities, throughout the years. Since the CPV has had a position of government s partner and legitimator of actions, it has quit being an operator of the civil society s demands and become a government collaborator.
49
Harris, Richard John. "An action research project to promote the teaching of culturally and ethnically diverse history on a secondary Postgraduate Certificate of Education history course." Thesis, University of Southampton, 2010. https://eprints.soton.ac.uk/336242/.
Full textAbstract:
This study, an action research project to promote the teaching of culturally and ethnically diverse history with history trainee teachers on a secondary postgraduate certificate of education (PGCE) course, encompasses two complete action research cycles. The first of which was during the academic year 2007-2008 and the second in 2008-2009. It draws together research from the fields of diversity education, history education and trainee teacher development. Concerns about the ability of trainee teachers from white, monocultural backgrounds to embrace diversity in their classroom practice, not only within the United Kingdom but internationally, were identified during the reconnaissance stage of the action research cycle. Data collected from eight experienced teachers and a cohort of history trainees in 2006-2007 revealed a range of specific concerns and an action plan was created to infuse the history PGCE course to address these. Thus emphasis was placed on including culturally and ethnically diverse content to help trainee history teachers appreciate the values and purposes of the subject and the appropriateness of content to be taught. There was also an increased focus on subject knowledge development, pedagogy and awareness of the impact of the history curriculum on pupils from diverse backgrounds. Seven trainees agreed to participate and provide data during the course 2007-2008. Questionnaires and ‘scenario’ interviews were used to gather data at the start and end of the course. This enabled the development of a new framework, the ‘confidence continuum’, which revealed that most trainees moved from a position of naïve confidence to greater uncertainty between the start and end of the course. A second action research cycle was therefore carried out with a different cohort in 2008-2009. The intention was to see how far a more explicit focus on diversity could embed this element into the practice of trainee teachers. The data, gathered at three points in the year using questionnaires and interviews from six participating trainees, revealed that a more explicit focus on diversity issues helped more trainees move to a position of greater confidence. Overall, the findings from this study show that it is possible for trainee history teachers from a white monocultural background to embrace diversity in their work, although this varies by individual. This research identifies the concerns that trainee teachers face, but more importantly it offers a new way to conceptualise their levels of confidence, through the ‘confidence continuum’, and in so doing demonstrates the complex interplay between different areas of knowledge and confidence. Further, it provides a theoretical model to explain the tensions which need to be addressed during a PGCE course. Together the continuum and the ‘tensions’ model identify and explain why trainees adopt particular positions. The study suggests further gains could be possible if school history departments and school mentors were supported in developing their practice in relation to culturally and ethnically diverse history.
50
Slaoui, Brahim. "L'action paulienne en droit marocain : histoire d'une institution jurisprudentielle." Perpignan, 2007. http://www.theses.fr/2007PERP0752.
Full textAbstract:
Les créanciers peuvent, en principe, saisir tous les biens de leur débiteur, lorsque ce dernier n'exécute pas ses obligations. Mais, on pouvait craindre qu'un débiteur insolvable ne s'abstienne à exécuter ses engagements. Cette abstention pourrait nuire à ses créanciers. Le débiteur pourrait passer des actes frauduleux avec autrui afin de priver le créancier de saisir les biens qui lui appartenaient et vider ainsi son patrimoine. En effet, si le débiteur n'exécute pas son obligation, le créancier peut saisir et faire vendre les biens figurant dans le patrimoine de ce dernier au jour de la poursuivre ; mais encore faut-il qu'il y en ait ; le créancier ne peut aller rechercher ceux qui ont été données ou aliénés auparavant, il n'a pas de droit de suite. Le créancier dépourvu de droit de suite et de droit de préférence est chirographaire. Les créanciers chirographaires ont une action qui leur permet d'attaquer les actes passés par le débiteur en fraude de leurs droits. Cette action révocatoire, dont l'origine remonte au droit romain, porte traditionnellement le nom d'action paulienne. Elle permet de supprimer le dommage subi par un créancier, victime de la fraude de son débiteur, en rétablissant à son égard la situation antérieure. Le créancier demande donc à ce que lui soient déclarés inopposables les actes par lesquels le débiteur a frauduleusement diminué son patrimoine pour créer ou augmenter son insolvabilité (donations, remises de dettes, ventes à vil prix. . . ). Pour que l'action soit recevable, il faut en premier lieu qu'il y ait appauvrissement du débiteur. En second lieu, l'action paulienne est subordonnée à la preuve de la fraude du débiteur. L'acte frauduleux est déclaré inopposable au créancier, mais il n'est pas annulé. Il peut saisir le bien et le faire vendre comme si celui-ci n'était pas sorti du patrimoine du débiteur. Le tiers doit restituer le bien en nature s'il existe ou fournir l'équivalent. La restitution n'a lieu qu'à concurrence de la créance. Dès lors, si la vente sur saisie donne une somme supérieure à la créance, le reliquat revient au tiers acquéreur. L'action paulienne ne profite qu'au créancier qui l'a exercée. Son application en droit marocain n'est pas absolue, mais repose sur un ensemble de conditions que les textes de la réglementation ne donnent pas encore une réponse précise. Il en résulte un nombre considérable de questions contre versées que la jurisprudence essaye encore de résoudre. Dans ce contexte, nous ne pouvons que nous aligner sur la thèse d'une réglementation expresse de l'action paulienne par le législateur marocain par la mise en place d'un texte spécifique la réglementantThe creditors can foreclose all the properties of their debtor when this latter doesn't meet his commitments. However, we could fear that an insolvent debtor abstains to meet his commitments. This abstention could harm his creditors. The debtor could pass fraudulent transactions with others in order to deprive the creditor from foreclosing his possessions and empty his assets. In fact, if the debtor doesn't meet his commitment, the creditor can foreclose and sell the properties listed in his assets but the creditor couldn't recover assets already given or alienated before the act of proceeding. The creditor devoid of the right of proceeding and the right of preference is unsecured. The unsecured creditors have an action that enables them to attack the transactions passed by a fraudulent debtor. This revocatory transaction whose origin goes back to the Roman law, takes traditionally the name of Paulienne transaction. It allows deleting the damage undergone by a creditor, victim of the debtor's fraud by restoring the previous situation. The creditor asks to be declared in opposable the acts that make the debtor's assets decreased so as to make them insolvent: (donations, debts cancelling, selling at a low price …. ). In order to make the act acceptable, there must be: first, making the debtor poor. Second, the Paulienne Act has to be subordinated to the proof of the debtor's fraud. The fraudulent transaction is declared in opposable for the creditor but not cancelled. The creditor can foreclose the possessions and sell it as if it wasn't part of the debtor's asset. The third party has to restore the existing natural properties or supply the equivalent. But if the sale on disclosure is superior to the credit, the remainder goes to the third party. The Paulienne Act profits only to the creditor who has executed it. Its implementation in the Moroccan law isn't absolute but based on a set of conditions which the regulations texts haven't yet given clear answer. This results in a considerable amount of counter conversant questions which the jurisprudence tries to solve. In this context, we can but be in line with the thesis of an express regulation of the Paulienne Act by the Moroccan legislator implementing a specific text that regulates it