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Dissertations / Theses on the topic 'American drama'

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Published: 4 June 2021

Last updated: 31 July 2024

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1

Attia, Alaa E. Mustafa Khalifa. "Capitalism and identity in modern American drama." Thesis, University of Newcastle upon Tyne, 2009. http://hdl.handle.net/10443/3152.

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The aim of the thesis is, through the analysis of four influential American plays of the twentieth-century, to explore the relationship between capitalism and identity. The discussed plays are similar in that they focus on what might be called a 'crisis of masculinity,' with different reactions from the feminine to that crisis. They trade on the oppositions implicit in that binary: the tension between public and private, bosses and workers, breadwinners and dependents, husbands and wives, parents and children. However, these plays are not interchangeable. Indeed, part of the purpose of this thesis is to situate them within their respective historical contexts through an examination of their form: social expressionism of Elmer Rice's The Adding Machine (1923), domestic realism of Clifford Odets's Awake and Sing! (1935), personal expressionism of Arthur Miller's Death of a Salesman (1949), and new realism of David Mamet's Glengarry Glen- Ross (1983). The selected plays integrate with each other in order to depict the individual's vulnerability, insecurity and alienation in American corporate business. I investigate how Rice's play responds to the emerging culture of consumption in America during the 1920s. I show the way in which the play, according to Antonio Gramsci's concept of Americanism, seeks to reveal the human cost, both at work and at home, of maximum industrial efficiency under Taylorism and Fordism. The discussion of Odets's play demonstrates how mass unemployment caused by the Great Depression of the 1930s challenges the traditional structure of the nuclear family: it radically defies the conventional American ideology of self-sufficiency and rugged individualism. The practically emasculating matriarch, the eroded authority of the Marxian and idealist patriarch, who ceases to be a provider, and the disturbed masculinity of the son are tracked. Further, I explore how Miller's play reflects the concepts of other-directness and conformity after World War II. I illustrate how the notion of work dominates and affects the life of the organization man in the home that, in tum, contributes to his anxiety and delusion as well as determines the validity of his values. Finally, the consequences and the requirements of social Darwinism, which takes the form of cutthroat competitiveness to achieve the American Dream in the 1980s, are pinpointed through examining Mamet's play. I argue that the businessman's need to establish and maintain a masculine identity parallels his obsession with success: for him, having means being.

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2

Ormianin, Maria Ascensión Jiménez Martin. "The theme of infanticide in modern American drama." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24337.

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3

Dashefsky, Sabrina. "Personajes en conflicto : análisis de personajes de escogidas obras de teatro Latinoamericano del siglo XX /." View abstract, 1998. http://library.ctstateu.edu/ccsu%5Ftheses/1525.html.

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Thesis (M.A.) -- Central Connecticut State University, 1998.
Thesis advisor: Dr. Lilián Uribe. "...in partial fulfillment of the requirements for the degree of Master of Arts in Spanish." Includes bibliographical references (leaves 132-138).

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4

Diamond, Catherine Theresa Cleeves. "The role of cross-cultural adaptation in the "Little Theater" movement in Taiwan /." Thesis, Connect to this title online; UW restricted, 1993. http://hdl.handle.net/1773/6650.

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5

Fenn, Jeffery W. "Culture under stress : American drama and the Vietnam War." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28668.

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The dissertation undertakes an analysis of the dramatic literature engendered by the Vietnam War in the 1960s and 1970s, and illustrates how the dramas of that period reflect the stresses and anxieties that assailed contemporary American society. It investigates the formative influences on the drama, the various styles in which it emerged, and the recurring themes and motifs. The thesis proceeds from the premise that the events of the 1960s fractured American society in a manner unknown since the Civil War. It demonstrates that the social, political, and intellectual divisiveness that characterized the society was interpreted in the theatre by dramatic metaphors of fragmentation of the individual and collective psyche, and that this fragmentation was reflected in characters who experienced a collective and individual sense of loss of cultural identity, cohesion and continuity. Included in the examination of the drama is a description of how the social upheaval of the period influenced playwrights to undertake a reassessment of American values and ethics, and to interpret in dramatic form the nature of the trauma of Vietnam for American society. The study includes a discussion of how individual and collective reality is based on cultural conditioning, and how the challenging of cultural myth in an extra-cultural milieu.
Arts, Faculty of
Theatre and Film, Department of
Graduate

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6

Li, Jing. "Self in community: twentieth-century American drama by women." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.

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This thesis argues that twentieth-century American women playwrights spearhead the drama of transformation, and their plays become resistance discourses that protest, subvert, or change the representation of the female self in community. Many create antisocial, deviant, and self-reflexive characters who become misfits, criminals, or activists in order to lay bare women's moral-psychological crises in community. This thesis highlights how selected women playwrights engage with, and question various dominant, regional, racial, or ethnic female communities in order to redefine themselves. Sophie Treadwell's Machinal and Marsha Norman's 'night, Mother are representative texts that explore how the dominant culture can pose a barrier for radical women who long for self-fulfillment. To cultivate their personhood, working class Caucasian women are forced to go against their existing community so as to seek sexual freedom and reproductive rights, which are regarded as new forms of resistance or transgression. While they struggle hard to conform to the traditional, gendered notion of female altruism, self-sacrifice and care ethics, they cannot hide their discontent with the gendered division of labor. They are troubled doubly by the fact that they have to work in the public sphere, but conform to their gender roles in the private sphere. Different female protagonists resort to extreme homicidal or suicidal measures in order to assert their radical, contingent subjectivities, and become autonomous beings. By becoming antisocial or deviant characters, they reject their traditional conformity, and emphasize the arbitrariness and performativity of all gender roles. Treadwell and Norman both envision how the dominant Caucasian female community must experience radical changes in order to give rise to a new womanhood. Using Beth Henley's Crimes of the Heart and Lorraine Hansberry's A Raisin in the Sun as examples, this thesis demonstrates the difficulties women may face when living in disparate communities. The selected texts show that Southern women and African-American women desperately crave for their distinct identities, while they long to be accepted by others. Their subjectivity is a constant source of anxiety, but some women can form strong psychological bonds with women from the same community, empowering them to make new life choices. To these women, their re-fashioned self becomes a means to reexamine the dominant white culture and their racial identity. African-American women resist the discourse of assimilation, and re-identify with their African ancestry, or pan-Africanism. In the relatively traditional southern community, women can subvert the conventional southern belle stereotypes. They assert their selfhood by means of upward mobility, sexual freedom, or the rejection of woman's reproductive imperative. The present study shows these women succeed in establishing their personhood when they refuse to compromise with the dominant ways, as well as the regional, racial communal consciousness. Maria Irene Fornes' Fefu and Her Friends and Wendy Wasserstein's The Heidi Chronicles are analyzed to show how women struggle to claim their dialogic selfhood in minoritarian communities (New England Community and Jewish Community). Female protagonists maintain dialogues with other women in the same community, while they choose their own modes of existence, such as single parenthood or political activism. The process of transformation shows that women are often disturbed by their moral consciousness, a result of their acceptance of gender roles and their submission to patriarchal authority. Their transgressive behaviors enable them to claim their body and mind, and strive for a new source of personhood. Both playwrights also advocate women's ability to self-critique, to differentiate the self from the Other, to allow the rise of an emergent self in the dialectical flux of inter-personal and intra-personal relations. The present study reveals that twentieth-century American female dramatists emphasize relationality in their pursuit of self. However, the transformation of the self can only be completed by going beyond, while remaining in dialogue with the dominant, residual, or emergent communities. For American women playwrights, the emerging female selves come with a strong sense of "in-betweenness," for it foregrounds the individualistic and communal dimensions of women, celebrating the rise of inclusive, mutable, and dialogic subjectivities.

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7

Coloma, Cares Estefanía. "Survivors in modern American tragedy." Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/130551.

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8

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 autonomy and separation from popular culture. This thesis examines how Weill troubles those notions by engaging with the musical, a so-called ‗middlebrow‘ form, with a disputed cultural value. It traces the reconsideration of the musical as a location for sociocultural analysis, highlighting David Savran‘s requirement that approaches to the musical recognise the form‘s material conditions of production. The thesis establishes its methodology built on Ric Knowles‘s cultural materialist approach to contemporary performance. This enables Weill‘s activities to be seen in their proper context: Weill‘s negotiation of entry into American art worlds, and the subsequent exchange of economic assets and Weill‘s active management of his cultural capital through the media are followed for the first time, clearly revealing the composer‘s working practices. The thesis suggests that Weill is a practitioner who consciously engages with American cultural industries. It addresses questions of authorship, demonstrating how Weill‘s contribution can be understood within complex sets of agencies. It establishes how Weill can be seen through his own model of the ‗composer as dramatist‘ and through Adorno‘s depiction of the composer as a Musikregisseur.

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Li, Ran. "Culture, gender and identity in American and Chinese television drama." Thesis, University of Macau, 2017. http://umaclib3.umac.mo/record=b3690706.

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10

McDaniel, L. Bailey. "Nurturing fallacies constructing the maternal in twentieth-century American drama /." [Bloomington, Ind.] : Indiana University, 2007. 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:3290759.

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Thesis (Ph.D.)--Indiana University, Dept. of English, 2007.
Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4711. Adviser: Stephen Watt. Title from dissertation home page (viewed May 22, 2008).

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11

Morrow, Sarah Emily. "Absent Characters as Proximate Cause in Twentieth Century American Drama." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_theses/58.

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This thesis explores the status of a specific subset of absent characters within twentieth century American drama. By borrowing the term “proximate cause” from tort law and illuminating its intricacies through David Hume’s A Treatise of Human Nature, this thesis re-appropriates proximate cause for literary studies. Rather than focus on characters whose existence remains the subject of critical debate, this set of absent characters presumably exists but never appear onstage. Despite their non-appearance onstage, however, these absent characters nonetheless have a profound effect upon the action that occurs during their respective plays. Highlighting the various ways in which these characters serve as the proximate cause for the onstage action of a given play will expand the realm of drama and literary studies in myriad ways.

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12

Harris, John Rogers. "The performance of black masculinity in contemporary black drama." Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054742668.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains vii, 233 p. Includes abstract and vita. Advisor: Stratos E. Constantinidis, Dept. of Theatre. Includes bibliographical references (p. 214-233).

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13

Graham, Shelley T. "Dramaturging education and educating dramaturgs : developing and establishing an undergraduate dramaturgy emphasis at Brigham Young University /." Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd511.pdf.

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14

James, Jeannine M. "A study of the life and work of Christopher Durang : laughing wild amidst severest woe /." Full text available online, 2008. http://www.lib.rowan.edu/find/theses.

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15

El-Shazly, Amany. "A stylistic account of conflict and characterization in Arthur Miller's family-relation plays." Thesis, Lancaster University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340512.

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16

Pinkney, Michael L. "African-American dramatic theory as subject of cultural studies : an historical overview and analysis /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488190109869644.

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17

Jerz, Dennis G. "Soul and society in a technological age, American drama, 1920-1950." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ58606.pdf.

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18

Vodden, Amy. "A cultural history of male homosexuality in twentieth-century American drama." Thesis, University of Exeter, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438739.

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19

Jenner, Mareike. ""Follow the evidence"? : methods of detection in American TV detective drama." Thesis, Aberystwyth University, 2013. http://hdl.handle.net/2160/973dbcaf-5796-42c5-a044-b51252c91b66.

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This thesis deals with methods of detection i.e. the mode of investigation employed to catch a criminal in American detective dramas on television. It divides methods of detection into the categories of ‘rational-scientific’ and ‘irrational-subjective’. ‘Rational-scientific’ methods of detection are linked to the literary tradition of Golden Age fiction and suggest an analytical distance to the crime. ‘Irrational-subjective’ methods are linked to a hard-boiled tradition and suggest (often emotional) ‘closeness’ to the victim, suspects or witnesses. Drawing on the work of Michel Foucault, John Fiske and Jason Mittell, this thesis views genre as discourse. As such, television genre is viewed as always changing and intersecting with a variety of other discourses, for example, representing social and political debates, shifts within the television industry and mirroring ideologies of ‘truth-finding’. It analyses methods of detection as a discourse internal to the genre, as a genre convention, as well as external to the genre i.e. as relating to discourses regarding social, political and industrial developments. It also explores how methods of detection, as an expression of ideologies of ‘truth-finding’, reveal how a specific series may be positioned in relationship to modern post-Enlightenment and postmodern discourses. A number of texts from different historical moments (Dragnet [NBC, 1951-1959], Quincy, M.E. [NBC, 1976-1983], CSI: Crime Scene Investigation [CBS, 2000- ], Hill Street Blues [NBC, 1981-1987], Twin Peaks [ABC, 1990-1991] and The Shield [fX, 2002-2008]) are analysed as examples of how individual genre texts represent these shifts in attitudes towards ‘truth-finding’. In a final step, this thesis analyses The Wire (HBO, 2002-2008) and Dexter (Showtime, 2006- ) as dramas that represent a more recent shift in the representation of ideologies of ‘truth-finding’ that may formulate ‘alternative’ methods of detection and a possible epistemological shift in postmodern culture.

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20

Riojas, María del Carmen. "A microethnography of Mexican American children during sociodramatic play in a preschool classroom /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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21

LaPlant, Donald David. "Metahistorical theater : recent American approaches to the dramatic presentation of historical material /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018378.

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Thesis (Ph. D.)--University of Oregon, 2001.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 243-250). Also available for download via the World Wide Web; free to University of Oregon users.

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22

Rodríguez, Chantal. "Performing Latinidad in Los Angeles pan-ethnic approaches in contemporary Latina/o theater and performance /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1905664631&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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23

Homan, Elizabeth A. "Cultural contexts and the American classical canon : contemporary approaches to performing Tennessee William's A Streetcar Named Desire /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9842537.

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24

Sebestyen, John S. "Culture, Crisis, and Community: Christianity in North American Drama at the Turn of the Millennium." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1242080581.

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25

Staton, Maria S. "Christianity in American Indian plays, 1760s-1850s." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1364944.

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The main purpose of this study is to prove that the view on the American Indians, as it is presented in the plays, is determined by two dissimilar sets of values: those related to Christianity and those associated with democracy. The Christian ideals of mercy and benevolence are counterbalanced by the democratic values of freedom and patriotism in such a way that secular ideals in many cases supersede the religious ones. To achieve the purpose of the dissertation, I sifted the plays for a list of notions related to Christianity and, using textual evidence, demonstrated that these notions were not confined to particular pieces but systematically appeared in a significant number of plays. This method allowed me to make a claim that the motif of Christianity was one of the leading ones, yet it was systematically set against another major recurrent subject—the values of democracy. I also established the types of clerical characters in the plays and discovered their common characteristic—the ultimate bankruptcy of their ideals. This finding supported the main conclusion of this study: in the plays under discussion, Christianity was presented as no longer the only valid system of beliefs and was strongly contested by the outlook of democracy.I discovered that the motif of Christianity in the American Indian plays reveals itself in three ways: in the superiority of Christian civilization over Indian lifestyle, in the characterization of Indians within the framework of Christian morality, and in the importance of Christian clergy in the plays. None of these three topics, however, gets an unequivocal interpretation. First, the notion of Christian corruption is distinctly manifest. Second, the Indian heroes and heroines demonstrate important civic virtues: desire for freedom and willingness to sacrifice themselves for their land. Third, since the representation of the clerics varies from saintliness to villainy, the only thing they have in common is the impracticability and incredulity of the ideas they preach. More fundamental truths, it is suggested, should be sought outside of Christianity, and the newly found values should be not so much of a "Christian" as of "democratic" quality.
Department of English

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26

Klein, Ottilie P. [Verfasser]. "Lethal Performances : Women Who Kill in Modern American Drama / Ottilie P. Klein." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2019. http://d-nb.info/1180213130/34.

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27

Ali, Roaa. "Arab American drama post 9/11 : cultural discourses of an othered identity." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6301/.

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The events of 9/11 deeply impacted the Arab American community, initiating a renewed Orientalist narrative that framed them as the “enemy within”. This thesis examines how Arab American playwrights are reclaiming their voice and agency to offer narratives of self-representation that unsettle and counter the discourse of Otherness that entraps them. Through an exploration of selected Arab American plays, this thesis examines the newly articulated Arab American identity, which aims to transcend an either/or dichotomy, despite being positioned on the periphery. Focusing on the racial, national, social, gender and sexual components of Arab American identity, this thesis problematises definitions of the “suspect” Arab, the “sexual” Arab and the “victimised” Arab woman and homosexual. It further questions the politics of visibility/invisibility influencing Arab American playwrights and theatre platforms as they attempt to defy their marginal positioning. It investigates the possibility of alternative theatrical spaces where Arab American playwrights can overstep the political and cultural limitations/demarcations imposed on them by a hegemonic “multicultural” discourse that privileges whiteness. In doing so, it celebrates the emergence of a resistant discourse within an Arab American theatre movement that liberates Arab American identity from Otherness.

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Nees, Heidi L. ""Indian" Summers: Querying Representations of Native American Cultures in Outdoor Historical Drama." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1352840321.

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29

Hanley, Mary Stone. "Learning to fly : the knowledge construction of African American adolescents through drama /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/7536.

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30

Méndez, Montesinos Delia Leticia. "From Spanish stage to California vineyards : the survival of the resilient simpleton /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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

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32

Khuzam, Maria. "'A black play can take you there' : the question of embodiment in African American women's drama." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/58075/.

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This research is concerned with the question of embodiment and body representation in plays written by African American women playwrights during the twentieth century. It starts with the early 1920s and ends around the turn of the twentyfirst century. This project negotiates issues of bodily manifestations and the evolvement of this manifestation from one decade to the next. My research is divided into an introduction, six chapters, and a conclusion; each chapter is concerned with examining bodily representation in a certain era. Chronologically presented, the chapters attempt to answer how embodiment at the beginning and at the close of the twentieth century differs. Although the better-known playwrights Susan-Lori Parks, Adrienne Kennedy and Ntozake Shange and the lesser-known playwrights Alice Childress, Sonia Sanchez (better known as a poet), and Marita Bonner share a concern with what might be called the “raced body,” they also seem to share a certain type of maternal heritage passed from one playwright to another. Therefore, this research contributes to the existing scholarship by, firstly, establishing a literary genealogy between African American women playwrights through their shared interest in the utilisation of the body-in-the-world as a form of resistance. Secondly, I present these playwrights as phenomenologists; through using this political body as a way of experiencing the world and experimenting with it, as a way of being in the world, those playwrights –in both modern and postmodern eras—become interpreters of and experimenters with meaning. Their perpetual commitment to defining the position of African American subject, especially that of African American woman, is entwined with an experimental approach of a black body that lives, registers, interprets, and attempts to re-write the hyphenated body (body-in-the-world).

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Weinberg, David. "American influence on the alternative theatre movement in Britain 1956-1980." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/32208/.

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This thesis argues that American experimental theatre practice was one key factor in the development of an important phase in the history of the alternative theatre movement in Britain during the period 1956-1980. The data for this thesis has been collected through interviews, archival work and a review of existing literature on post-war British theatre including the alternative theatre movement. The theoretical superstructure and modes of analysis build upon key concepts and theories in the work of Elizabeth Burns (1972) and Baz Kershaw (1992, 1999). The main historical developments or phenomena referred to are the activities of the experimental theatre groups associated with Jim Haynes, Charles Marowitz, Nancy Meckler and Ed Berman, four expatriate American theatre practitioners living in Britain during the time period 1956 1980. In addition this thesis examines important American based groups, Living Theatre (1947), Open Theatre (1964), La MaMa (1960) and Bread and Puppet (1965), which performed in Britain and which made an impact during the same period. The study also examines a wide range of indigenous British groups, Pip Simmons (1968), Foco Novo (1972-1989), Joint Stock (1974- 1989), as well as institutions, RSC (1961), Royal Court (1956) and individuals such as Max Stafford-Clark, Thelma Holt, John Arden, Anne Jellicoe and the Portable playwrights (1968- 1972) which in one way or another were influenced by American exemplars. It is important to state clearly that this study does not claim that American experimental theatre and performance practices were the only influence on this important phase in the history of alternative theatre in Britain. This study simply claims that prevailing themes as well as American experimental theatre groups and performance practices had a key impact which has not been properly acknowledged or examined by scholars. Such an examination will contribute to a more comprehensive and dynamic understanding of the forces which shaped the alternative theatre movement in Britain.

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34

Sakellari, Alexandra. "The scenic presentation of the Electra-myth in Greek, German and American drama." Thesis, University of Bristol, 1994. http://hdl.handle.net/1983/844c957b-a33e-4e4a-a6ba-a3b3bd83174d.

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35

Batchelder, Daniel Lev. "American Magic: Song, Animation, and Drama in Disney's Golden Age Musicals (1928-1942)." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1523442817785887.

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36

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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37

Thomas, Rachel. "Aging Ragefully: A Look at Aging Women in Four Contemporary American Dramas." TopSCHOLAR®, 2015. http://digitalcommons.wku.edu/theses/1464.

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Despite the growing feminist discourse in America, ageism continues to be a problem, partially due to stereotypical representations of aging women in the media and in literature. This thesis examines the portrayals of aging women in four American dramas: Zona Gale’s Miss Lulu Bett, Edward Albee’s The American Dream and The Sandbox, and Tracey Letts’ August: Osage County. Each of the aging matriarchs in these dramas plays a different role within her family structure; however, all employ others’ perceptions of them as a means of gaining or keeping control over their own situation. Chapter 1 examines Mrs. Bett from Zona Gale’s Miss Lulu Bett, and how she uses the way she is perceived by her family as a means of helping her daughter, even though her own fate is set. Chapter 2 explores the character Grandma from Edward Albee’s The American Dream and The Sandbox, and the ways in which Grandma uses her family’s perception of her, as well as her own rhetoric about aging, to establish her own selfdefinition. Chapter 3 discusses Violet, the matriarch of the family in Tracey Letts’s August: Osage County, and how she uses the way her family perceives her as a way to control the family’s destruction.

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Tougas, Ramona. "Performing Work: Internationalism and Theatre of Fact Between the U.S.A. and the U.S.S.R." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20525.

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Title: Performing Work: Internationalism and Theatre of Fact between the U.S.A. and the U.S.S.R. Theatre’s public, and yet intimate emotional ability to demarcate extraordinary occurrences and provoke communal escalation make it useful for internationalist organizing. “Performing Work: Internationalism and Theatre of Fact between the U.S. and the U.S.S.R.,” traces 1920s and 1930s leftist theatre through transnational circuits of political and aesthetic dialogue. I argue that these plays form a shared lexicon in response to regional economic and political challenges. Sergei Tretiakov’s Rychi, Kitai/Roar, China! (1926); Hallie Flanagan and Margaret Ellen Clifford’s Can You Hear Their Voices? (1931); Langston Hughes’s Scottsboro Limited (1931); and Hughes, Ella Winter, and Ann Hawkins’s Harvest (1933-34) constitute the dissertation’s primary texts. “Performing Work” begins by reading the Soviet play Roar, China! as a work of theatre of fact which performs conflicted internationalisms in plot, and in its politicized production history. The middle chapters track revisions to Soviet factography and internationalism by three American plays in light of the Depression, racism, feminism, and labor disputes. The study considers the reception of Russian and English translations, as well as figurative translations across cultural contexts. Performance theory and literary history support this analysis of dramatic forms—embodied, temporal, and textual. I narrow my study to four plays from the United States and Soviet Union to argue for the tangible impact of ephemeral contact and performance in order to resist polarizing simplification of relationships between these two countries. The three central figures of this study, Sergei Mikhailovich Tretiakov (1892-1937), Hallie Flanagan (1890-1969), and Langston Hughes (1909-1967) each had either direct or indirect contact with one another and with each other’s theatrical work. This study is primarily concerned with the transnational circulation of politically significant dramatic form and only secondarily occupied with verifying direct influence from one author to another. The four plays participate in transnational dialogue on working conditions, cultural imperialism, racist legal systems, and gender inequality. This dissertation includes previously published material.
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Jouve, Émeline. "Susan Glaspell's drama of revolt." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20116.

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Cerniglia, Kenneth James. "Becoming American : a critical history of ethnicity in popular theatre, 1849-1924 /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/10236.

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Anderson, Haley D. "Female Agency in Restoration and Nineteenth-Century Drama." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1560.

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This thesis examines issues of female agency in the plays The Rover and The Widow Ranter by Aphra Behn, Mrs. Warren's Profession by George Bernard Shaw, and Votes for Women! by Elizabeth Robins. The heroines of each of these plays work toward gaining agency for themselves, and in order to achieve this goal, they often stray from cultural norms of femininity and encroach on the masculine world. This thesis postulates that agency for women becomes a fluid notion, not statically defined. These plays show a fluctuating and evolving sense of feminine agency.

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Aronson, Shari Gay 1966. "La carpa: A descriptive model for teaching history through drama in education." Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/278492.

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This model proposes an approach for teaching history through drama in education. The program uses the framework of la carpa, a Mexican American theatrical tradition. Participants develop historical knowledge and skills of expression while they learn to use their own lives as a key to understanding the lives of others. In the past two decades in the U.S., drama teachers and youth project leaders have been employing social drama to encourage adolescents to express their fears, frustrations and experiences. As with the tradition of la carpa, the scripts reveal sentiments that may not be able to be spoken safely elsewhere. In contrast to the production of classic, scripted plays, social drama provides participants with the opportunity to create their own material using their own lives as primary resources. In addition to challenging participants aesthetically, the teaching model of la carpa fosters interpersonal development.

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Sivak, Nadine. "Howwe gonna find my me?, postcolonial identities in contemporary North American drama and film." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ53717.pdf.

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Sfeir, Maya. "A Comparative Analysis of Language and Gender in Selected French and American Modern Drama." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA021.

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Notre étude a pour objet d’examiner comment le genre et les relations de pouvoir et d’affinité sont construits à travers le discours dans deux pièces de théâtre françaises et deux pièces de théâtre américaines écrites durant l’époque moderne (1890-1914), Margaret Fleming (1890) de James A. Herne, He and She (1911) de Rachel Crothers, Les avariés (1902) de Eugène Brieux et La triomphatrice (1914) de Marie Lenéru. Le but de l’étude est de combler l’écart entre le champ d’étude du langage et du genre ainsi que dans le champ de l’analyse linguistique des textes de théâtre dans les mondes francophones et anglophones. Pour combler cette lacune, nous avons choisi de développer un modèle d’analyse ancré dans l’évolution récente du champ de langage et de genre tout en prenant en considération l’analyse linguistique des textes de théâtres. Le modèle joint les théories anglophones de l’analyse critique du discours ainsi que les théories de l’analyse du discours françaises et les théories d’énonciation. Notre analyse nous a démontré que dans les pièces françaises et américaines, les systèmes linguistiques français et anglais utilisent les mêmes stratégies et procès linguistiques pour représenter le genre et les relations. Nous avons également constaté que dans les textes dramatiques, le genre est situationnel, dépendant du contexte, et intersectionnel, se croisant avec d’autres catégories tels la classe, l’âge et l’ethnicité, et dans le cas des textes dramatiques, les genres dramatiques et les rôles des personnages. Nos résultats présentent de nouvelles façons d’étudier et de lire le genre dans les discours dramatiques et montrent aussi l’importance de joindre des approches multiculturelles
The purpose of this study was to investigate how gender, and power and affinity relationships areconstructed via discourse in two French and two American plays composed during the modern period (1890-1914): James A. Herne’s Margaret Fleming (1890), Rachel Crothers’s He and She (1911), Eugène Brieux’sLes Avariés (1902), and Marie Lenéru’s La Triomphatrice (1914). The study sought to fill the gap between,on the one hand, research in the field of language and gender that unsystematically analyzed literary anddramatic texts, and, on the other hand, studies in the field of the linguistic analysis of drama that analyzedlanguage and gender in plays without recourse to the theoretical underpinnings in language and genderstudies. To address this gap, a three-partite model analyzing the dramatic text, the situation of enunciation,and gendered discourses was developed, building on Critical Discourse Analysis and French DiscourseAnalysis, as well as research from the fields of language and gender, and the linguistic analysis of drama. Aclose examination of gendered representations and gendered usage using the model revealed that in Frenchand American drama, similar linguistic features are mostly deployed to construct gender and relationships.Results also showed that in dramatic texts, gender is situational, depending on context, and intersectional,often intersecting with other categories like class, age, and ethnicity, and in the case of dramatic texts,dramatic genres and roles. These findings present new ways of researching and reading gender in dramaticdiscourse. They also highlight the importance of combining multi-cultural approaches to analyze gender indramatic texts

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Nathans, Heather S. "Early American theatre from the Revolution to Thomas Jefferson : into the hands of the people /." Cambridge : Cambridge university press, 2006. http://catalogue.bnf.fr/ark:/12148/cb41226029j.

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Mavromatidou, Eleni. "The Role Of The (Postcolonial) Intellectual/Critic: Textualization Of History As Trauma: The African American And Modern Greek Paradigm." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1213616340.

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McKinley, Teresa M. "DysFunktional? Breakin' the Bricks and Shattering the Myths of African American Women." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/theses/2745.

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This thesis details the development of the full-length play, DyFuNkTioNal? from conception to the prewriting to full production over the course of the 2017-2020 school year at Southern Illinois University Carbondale. My intentions for writing this play was motivated by six thoughts: (1) the lack of interest within the Carbondale community to provide real opportunities for ethnic groups (in particular, African American preteens and teenagers) to participate in theatrical expression and other art forms that are introduced via art programs; (2) lack of motivation of the African-American teens to participate in the programs that the city of Carbondale provided; (3) my interest in Black feminist theory, which became popular in the 1960s as a response to the racism of the feminist movement and sexism of the Civil Rights Movement; (4) the art of graffiti as it slowly evolved from intolerance to tolerance of females, which leads to the tapping of the “glass ceiling” with the goal to shatter it in the near future; (5) to encourage and educate Black females no matter what age to realize and honor their personal value within society; and (6) to enlightened the viewer of issues regarding African American females whose plight is far different from their white counterparts. As explained by Princeton Professor Keeanga Yamahtta Taylor, “Black women’s experiences cannot be reduced to either race or gender but have to be understood on their own terms” (Smith, timeline.com, 2018). As the Combahee River Collective Statement read, “We realize that the only people who care enough about us to work consistently for our liberation is us.” (Smith, timeline.com, 2018)During the writing of the play, I was inspired by the words of Erykah Badu’s song Bag Lady, which ask women to “hold the mirrors to ourselves and be able to accept that we need work if we expect to catch the buses in our lives. The good parent bus, the education bus, the decent job bus, the healthy self-image bus all requires self-reflection and sometimes that doesn't sound like a bra-burning, ball-busting anthem” (Roricka, soulbounce.com, 2010). Therefore, this led to the question, would I be able to honestly create, a play that could positively change the viewer’s perception on the plight of African American women’s struggles of inequality while existing in a patriarchal and racist world?

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Doyle, Dennis M. (Dennis Michael) 1958. "American Gothic: A Group Interpretation Script Depicting the Plight of the Iowa Farmer." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500827/.

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This thesis examines the possibilities of social-context issues in interpretation. A group interpretation script relating the current difficult conditions of rural Iowa was compiled. Three experts in the field of interpretation were asked to evaluate the potential of this social-context script. It was discovered that a compiled interpretation script of Iowa literature can successfully depict the social concerns facing the family farms of Iowa.

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Däwes, Birgit. "Native North American theater in a global age sites of identity construction and transdifference." Heidelberg Winter, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2945427&prov=M&dok_var=1&dok_ext=htm.

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Caudell, Jennifer E. "A WHITE WOMAN’S VIEW INTO AFRICAN AMERICAN FEMALE OPPRESSION: DIRECTING DysFuNkTiOnAl? BY TERESA MCKINLEY." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/theses/2647.

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AN ABSTRACT OF THE THESIS OFJennifer Caudell, for the Master of Fine Arts degree in Theatre, presented on April 10, 2020, at Southern Illinois University Carbondale.TITLE: A WHITE WOMAN’S VIEW INTO AFRICAN AMERICAN FEMALE OPPRESSION: DIRECTING DysFuNkTiOnAl? BY TERESA MCKINLEYMAJOR PROFESSOR: Olusegun Ojewuyi “A White Woman’s View into African Amerian Female Oppression: Directing DysFuNkTiOnAl? by Teresa Mckinley” delineates the process by which the script was proposed, produced and performed as part of the Southern Illinois University Carbondale’s Big Muddy Play Festival for the Spring semester of 2020. It was presented in the Christian H. Moe Theatre in the Communications Building on the Southern Illinois University Carbondale campus on March 26 and 28, 2020. Chapter one details the research and analysis work completed by the director, Jennifer Caudell, before the pre-production phase of the project. Chapter two describes and analyzes the pre-production process from deciding to direct DysFuNkTiOnAl? to the beginning of the rehearsal process. In chapter three, the discussion will segue into the rehearsal and production process; this chapter will discuss challenges faced, problems solved, tactics and agendas used to create a fully realized and unified production. The final chapter, chapter four, will lay out the post-production process, including the performances of the show and the director’s evaluation of the final project and process.

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