To see the other types of publications on this topic, follow the link: Art and drama.
Dissertations / Theses on the topic 'Art and drama'
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 'Art and drama.'
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
Macdonald, Megan. "Performance art, liturgy and the performance of belief." Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/2426.
Full textAbstract:
The history of art and religion is intricately linked in Western culture. This thesis focuses on one strand of this relationship and is concerned with the role of performance practices in relation to spirituality in the West. Contemporary performance practice and theory are at the centre of this research. Case studies on the Roman Catholic Liturgy and the performance artist Marina Abramovi! are used to show how traditional analyses of spiritual performance have not accounted for the effects and affects of metaphysics in how we understand belief. I argue that examinations of spiritual performance are needed which do not try to understand such performances in terms of their representative meaning, but rather, seek to account for their performative qualities as practices that both instantiate and manifest belief. Performative theory has been used extensively to analyse language and human action, specifically the performance of gender. Here belief is taken as the subject of performative action and rituals are examined as performance practices which perform belief. Starting with Jacques Derrida, I begin a discussion of metaphysics and representation, tracing the nature of Western understandings of belief from Plato, to Friedrich Nietzsche, to Derrida, and to contemporary theological investigations into the nature of the human soul. This establishes the metaphysical history of the treatment of belief as well as various theoretical attempts to move past this model. The work of J.L. Austin, John R. Searle, Judith Butler and Saba Mahmood is employed to examine belief through speech act theory as a verb and finally through performative theory as an action. The first half of the thesis contextualises Western belief as a culturally specific entity that has not been analysed or understood in relation to its physical and material aspects, as well as developing an analysis of performative action. The second half applies the performative approach to the case studies.
2
Easton, Léonore. "Livegraphy performance art, language, and the multiplicity of sense." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/501.
Full textAbstract:
This thesis is constructed in three parts. Each one of them offers a reflection on the common ideas disseminated about Live Art, conceptual dance and postdramatic theatre, i.e. that these practices reject the notion of mimesis as it is supposed to represent reality, they reject text in favour of a phenomenological language and they produce a form of non-sense which should be translated into meaning. Each of these statements will be problematized. I will argue that Live Art is producing mimesis even if it works against representation and although its actions are performed for real. It does not represent reality, but neither does it present the Real. It is producing a version of the "Real", which is the definition of mimesis. I will then argue that if these practices create a phenomenological language, it relies on a form of writing that is being produced live by the work. Finally, I will propose that the non-sense constructed by this writing process should not be forced into a meaning, but should be read as a fluid linguistics, which in some instances will be concretely a linguistics of fluids. By this I intend to point out that the meaning of the constructed non-sense will never be fixed nor unique. The work only becomes meaningful because it remains permeable to meanings. These three steps all participate in the "undoing of meaning"; relying on a process involving destruction within construction to then allow reconstruction. Mimesis, logos and sense need to be taken apart before these concepts can be thought anew. It is the rigidity of the conventional systems of apprehension which has to become permeable to allow a fluid multiplicity of meanings. In conclusion I will draw some parallels between performance art and feminism in their appropriation of the concept of mimesis and their approach to language outside the structure of logos and I will suggest that the performances which explore and expose these concepts adopt a feminist philosophical strategy. 1 I chose to use this spelling closer to the French spelling of “non-sens”, which does not have in French the colloquial use it has in English and is more directly related to the philosophical concept. The hyphenated word better translates the idea of a reverse image of the word “sense”.
3
Karim-Cooper, Farahnaz Vera. "'Beautied with plast'ring art' : cosmeticism in English Renaissance drama and culture." Thesis, Royal Holloway, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401770.
Full text
4
Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.
Full textAbstract:
Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist.
This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressionism began much earlier than scholars believe and ended much later than 1924. This thesis examines the conflicts in Germany that led to Expressionism and which authors and artists influenced Expressionists. It will also show that after Expressionism ceased to be the dominant art form in Germany, many former Expressionists continued to use expressionistic form in their works but ceased to use expressionistic content. This thesis argues that both the periodization and canonization of Expressionism should be expanded to include all works that may be classified as having expressionistic form.
5
Jacobus, Laura Sara. "Gesture in the art, drama and social life of late medieval Italy." Thesis, Online version, 1994. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.363474.
Full text
6
Chow, Po-fun Wendy. "Marketing of local drama production in Hong Kong /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19876555.
Full text
7
Yousif, Lina. "Utepedagogik, drama och bild : språkutvecklande arbetsmetoder." Thesis, Södertörn University College, Lärarutbildningen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3422.
Full textAbstract:
The purpose of this essay is to examine how out-pedagogy, drama and art can be used as means of promoting language development of bi-and multi-language learners, and to show what benefits these three methods offer to children of year three of an elementary school in Stockholm City. This is a small survey of work-style and the results are based on observations and interviews with five teachers which included three class teachers, one resource teacher and one other language teacher and it was carried out two full days of observations in both classroom and outdoor environment. In this work, I note how out-pedagogy, drama and art can help bi- and multilingual children develop language. My study shows, in accordance with the respondents interviewed, as well as research in general that out-pedagogy, drama and art is language development practices. They argue that out-pedagogy and the aesthetic elements promote language development of bi- and multilingual children in different ways and complements the traditional approach. Through my observation and interview with the teachers, I came to know that they were implementing integrated teaching (though they do not realise, they follow it). Gibbons in his book "Stärk språket stärk lärandet" emphasizes the importance of working on an integrated approach and in particular the meeting the demands of multilingual children. (Gibbons, 2009). There is no doubt that these three methods are language-development practices in the meeting with more language bars. But some of the interviewees expressed negative opinion about drama and art. However I could not find any research indicating negative opinion about out-pedagogy. My results shows that out-pedagogy and its aesthetic elements integrated language and linked several of the child's senses, emotions and thinking in a natural and enjoyable way and promoted language development of bi- and multilingual children.
8
Chow, Po-fun Wendy, and 周寶芬. "Marketing of local drama production in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31268730.
Full text
9
Reyes, Rose Helena 1954. "Passagens : rito e drama na escola." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/254140.
Full textAbstract:
Orientador: Ana Angélica Medeiros AlbanoTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-27T13:17:54Z (GMT). No. of bitstreams: 1 Reyes_RoseHelena_D.pdf: 19938134 bytes, checksum: 11b97fdc7cd1bb24a5afd74a84626a53 (MD5) Previous issue date: 2014
Resumo: A presente pesquisa consiste no relato de uma práxis pedagógica construída ao longo de 23 anos no âmbito do Ensino Fundamental, na Escola Casa Via Magia. É um relato da história de uma experiência de ritual de passagem com as crianças do quinto ano, último ano delas na nossa escola. Uma montagem de teatro que foi se tornando um drama ritual que busca favorecer as mudanças na vida dessas crianças nesse momento: crescer, mudar de nível escolar e de escola. Traz a memória dessa construção, uma reflexão sobre o tecer da metodologia e da cosmovisão desse trabalho de encenação, que inclui um diálogo entre os saberes, entre as artes e delas com as ciências, entre artistas educadores e as crianças, entre as crianças elas mesmas e de cada um consigo mesmo. Retoma certas referências do teatro contemporâneo e/ou experimental (Stanilavski, Artaud, Grotowski e Brook), da arte-educação de Read e da psicanálise (especialmente de Lacan e Freud, entre outros). Faz contato com a pesquisa antropológica de Lévi-Strauss, Van Gennep, Turner, DaMatta e outros, assim como contato com reflexões filosóficas, especialmente de Heidegger e dos estudiosos de sua obra. Em última instância trata-se de dar atenção aos encontros e despedidas de nossas vidas e do desvelamento do nosso ser, sempre ser-com. Um cuidado que a arte, a educação e a rede de afetos têm podido potencializar nessa experiência a ser compartilhada
Abstract: This research consists on the report of a pedagogical praxis built over 23 years within the framework of elementary teaching at Casa Via Magia Elementary School. It is a report of the history of a rite of passage experience with children of the fifth grade that are leaving the school. A theater production that became a ritual drama which aims to encourage changes in the lives of these children in this specific phase: growing, changing of school and educational level. It brings the memory of that construction, a reflection on the weaving of this methodology and the worldview of this staging work, which includes a dialogue between knowledges, arts, arts with sciences, between art educators and children, between the children themselves and each one with themselves. Reviewing certain references of contemporary and/or experimental theater (Stanilavski, Artaud, Grotowski and Brook), Read¿s art-education and psychoanalysis (especially Lacan and Freud, among others). Getting in touch with the anthropological researches of Lévi-Strauss, Van Gennep, Turner, Da Matta and others, as well as contacts with philosophical thoughts, especially Heidegger¿s and researchers on his work. Ultimately it is about giving attention to encounters and farewells of our lives and the unveiling of our being, always being-with. A well care that art, education and the network of affections have been able to enhance in this experience to be shared
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutora em Educação
10
Ravadrad, Azam. "The social determination of art : a theoretical and empirical investigation /." [Campbelltown, N.S.W. : The Author], 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030701.140851/index.html.
Full text
11
Pace, Carla Renee. "Awakening the Artistic Sout: A Personal Journey Inspired by Modern Drama and Fine Art." Ohio Dominican University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=odu1403221946.
Full text
12
Asplan, Michael Jay. "PAINTING THE DRAMA OF HIS COUNTRY: RACIAL ISSUES IN THE WORK OF WIFREDO LAM IN CUBA, 1941-1952." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin973709584.
Full text
13
LAW, Yuen Fun Muriel. "Drama as method : recontextualizing project learning for HK secondary schools." Digital Commons @ Lingnan University, 2012. https://commons.ln.edu.hk/cs_etd/16.
Full textAbstract:
This doctoral study is grounded in the work of cultural studies and its concern for pedagogy and education. The study investigated a local pedagogical issue— Independent Enquiry Study (IES)—a specific form of social inquiry in the core subject Liberal Studies (LS) in Hong Kong senior secondary schools. It took a designated IES classroom as the point of intervention and as the basis for exploring transformed pedagogical practices in Hong Kong secondary school education. My vantage point of the intervention rested on participant-observation through action research and critical contextual analysis of the action-research site and its relations to the wider social contexts. With a conceptual-analytical framework of drama and the performative, developed from William’ notion of drama and Schechner’s notion of make-belief and make-believe performances, this study examined how the method of drama could mediate a group of senior secondary students’ extended process of inquiry into social issues in contemporary Hong Kong society.
Findings reveal that IES in Hong Kong senior secondary schools is almost already performative in nature and IES students were almost already performers eager to present themselves to their teacher-assessors as knowledge builders capable of reflective thinking. In fact, these students subscribed to the positivistic and cynical practices of reproducing existing curricular (and media) discourses and applying them to understanding the social. In performing seeming acts of inquiry, these IES students would re-enact the prescribed curricular (and media) discourses of understanding and reproducing the existing social order.
Research findings indicate that drama can be a method of work that supports student inquirers socially as a group. Liminal dramatic spaces and the use of dramatic role and real-life image afforded the participant-students the opportunity to create, experience, and interpret an imaginary world, promoting social inquiry. The spaces helped give shape to students’ diverse roles including those of IES co-informant, member of society, and peer IES learner-assessor. By activating these roles, students momentarily suspended self-other relations and the mechanically induced perceptions of social realities typified by conventional IES method. Drama also functions as a lens. It reflects how the method of IES typifies students’ roles as performers and sustains their dependence on templates of work and on the teachers’ assessment guides. Research findings further show that the performative make-belief schooling practices encompassed the everyday school life of the participating students and their teachers, and indeed subsumed and contained the effects of my dramatic interventions within the action-research context. The IES students at this specific research site were subjected to a process of cynical subject formation. When it comes to social inquiry, these students’ cynical IES practices, including cynical IES reasoning, is partly the result of the teachers’ instructional needs. Hence, dramatic and academic interventions in IES processes will be ineffective if wider school and social contextual elements are not reworked. The study calls for collective efforts from academics and scholars to intervene in all levels of educational practices, with the aim of remaking the vast contextual sweep of teaching and learning in Hong Kong as a way out of these cynical and positivistic inquiry-learning practices.
14
Bain, Keith Norman. "Hyperartifical cinema and the art of cool." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52880.
Full textAbstract:
Thesis (PhD)--Stellenbosch University, 2002.ENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om "realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie "werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak. Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word. Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid", byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde (moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en moontlik te dehumaniseer). Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het. In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete "realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat voorheen onbekende en versteek was te demistifiseer en populariseer. Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word). Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer" vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie. Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou" (remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat onafhanklik is van hul werklikheidsstatus in die wêreld.
15
Henry, Meghann Elise. "Devising dramaturgy an investigation into the art of dramatic composition when devising theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002157.
Full text
16
Lutzker, Peter. "The art of foreign language teaching improvisation and drama in teacher development and language learning." Tübingen Basel Francke, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2970328&prov=M&dok_var=1&dok_ext=htm.
Full text
17
Phillips, LaFon Louise. "Pathways to understanding: Children with hearing loss respond to literature through language, drama and art." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/284030.
Full textAbstract:
This longitudinal, nine-semester, teacher research investigation focuses upon young, hearing-impaired students' responses to literature through the sign systems of Language, drama and art. Theories underlying this study are the transactional theory of literature as conceptualized by Louise Rosenblatt (1938-1983) and the semiotic process of signification put forth by C. S. Peirce (1839-1914). The questions guiding this investigation focused upon (1) the role of literature in this classroom, (2) the role of dramatization in students' "lived-through" experiences of literature, (3) patterns of visual and verbal response in these students' drawings and dictations, and (4) changes in these children's visual and verbal literary responses over the course of time. Research findings indicated a steadfast pattern of visual response (n = 559), i.e., students depicted story characters (94%), story settings (3%), or something else brought to mind (3%) in responding to literature through art. This focus was found also in students' accompanying dictations which explicated story characters' actions or feelings 41% of the time. These dictated responses revealed that students also gave retellings of story events (22%), paraphrases of story events (20%), identifications of items in drawings (4%), combined paraphrase/retellings of story events (4%), evaluations (6%) or other types of statements (1%). This study indicates that retelling as a form of literary response can serve multiple purposes within the classroom context and merits further investigation. Uniquely characteristic and focused themes of personal response were found in this investigation as well. Three of these themes are explicated in case studies of selected students whose responses to classroom literary experiences led each to pursue a path of self-realization as an artist, language learner, and contemplator of self-identity. This study indicates that contextualized literary experience within and across multiple sign systems allowed these hearing-impaired students to develop multifaceted understandings of literature, art, drama, language and life. These multifaceted understandings, in turn, led these children to deeper understandings of their own worlds of experience.
18
Tung, Yu-Ting. "Nodame Cantabile: A Japanese Television Drama and its Promotion of Western Art Music in Asia." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1229915111.
Full text
19
Martinsson, Malin. "I ett hörn av ett hörn i en annan del av Köping : En diskursiv studie av tidskriften DramaForum." Thesis, Högskolan i Gävle, Avdelningen för utbildningsvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-22142.
Full textAbstract:
In this essay, I examine whether the journal Drama Forum constitutes presupposed perceptions of people with intellectual disabilities. The aim is to examine the discourse of intellectual disability in the Swedish drama teacher’s industry magazine DramaForum. The method I use is discourse analysis and the approach is poststructuralist. The results are analyzed on the basis of Crip Theory, and three themes based on stereotypical assumptions. My conclusion is that Drama Forum visualize intellectual disabilities mostly from one of these themes. I analyze the parent discourse relation to underlying discourses and discuss its relationship to the social practice that is its origin.I denna uppsats undersöker jag om tidskriften DramaForum konstituerar förgivet tagna uppfattningar av personer med intellektuell funktionsnedsättning. Syftet är att granska diskursen kring intellektuell funktionsnedsättning i de svenska dramapedagogernas branschtidskrift DramaForum. Den metod jag använder mig av är diskursanalys och ansatsen är poststrukturalistisk. Resultatet är analyserat med utgångspunkt i Crip Theory, och tre teman som bygger på stereotypa antaganden. Min slutsats är att DramaForum framställer intellektuell funktionsnedsättning till största del utifrån ett av dessa teman. Jag analyserarar den överordnade diskursens förhållande till underliggande diskurser samt diskuterar dess relation till den sociala praktik som är dess ursprung.
20
Jones, Philip Richard. "Dramatherapy : its development and core therapeutic processes." Thesis, University of Hertfordshire, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369761.
Full text
21
Rulison, Megan. "The Full Complexity of Being Human: A Study of Science and Art." Thesis, Boston College, 2006. http://hdl.handle.net/2345/369.
Full textAbstract:
Thesis advisor: Scott T. CummingsThis Senior Honors Thesis evolved from a personal fascination with the intersection of art and science both in drama and on a grander theoretical scale. It is a three-part investigation with each part written in different voice with a different intention. The first is a short personal introduction offering insight to the genesis of the project. This is followed by a comparative dramaturgical analysis of two science plays, Bertolt Brecht's GALILEO and Michael Frayn's COPENHAGEN, examining the role of science in drama. The final component is a philosophical dialogue on the model of Brecht's MESSINGKAUF DIALOGUES which articulates larger philosophical questions in an examination of the similarities and differences between science and art
Thesis (BA) — Boston College, 2006
Submitted to: Boston College. College of Arts and Sciences
Discipline: Theater
Discipline: College Honors Program
22
Pepler, C. S. L. "Discovering the art of wireless : a critical history of radio drama at the BBC, 1922-1928." Thesis, University of Bristol, 1988. http://hdl.handle.net/1983/b57044c6-35b8-4348-89fb-29d993930469.
Full text
23
Rivest, Mélanie. "Nouveau théatre et nouveau roman : la quête d'un art perdu." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79975.
Full textAbstract:
The histories of the Theater and of the Novel have rarely been linked to one another. Nevertheless, studying the evolution of the two arts as of the seventeenth century, allows us to pinpoint and define the sources of contamination. It is more precisely in the nineteenth century that the history of both the Theater and the Novel became envenomed, going from fresh influences to disloyal relations during which time the Theater faded by admitting romanesque realism to take the stage. By denying its capacity to reveal the "real", the Theater failed its possibilities and let its art be disinterested from the theatricality showing all that should have been evoked. Men of theater participated at recapturing the theatrical art so to regain confidence on stage and near 1950, an avant-garde movement flourished to favor a renewal of vitality for the theater with a new language which utilizes all of what the scene could provoke. This "New Theater" is soon followed by a similar romanesque enterprise, the "New Novel", a group of novelists also wishing to acknowledge the right to explore a new style of writing.
24
Rogers, Mark Christopher. "Art and public festival in Renaissance Florence studies in relationships /." Full text available online (restricted access), 1996. http://images.lib.monash.edu.au/ts/theses/Rogers.pdf.
Full text
25
Wegescheide, Javier. "Murder Bird: Art and Love's Twisted Relationship." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1399974988.
Full text
26
Boneh, Galia. "Moving from entertainment towards art a new model for creating performance on HIV/AIDS /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1568127991&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
27
Sanchez-Camus, Roberto. "Applied live art : co-authorship in socially engaged and site-responsive performance practice." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6027.
Full textAbstract:
This thesis looks at the ways in which performance can integrate participants and local context into the development of new devised work. This practice-led research is based on a methodology that grew out of three performance case studies completed in diverse international settings with a varied range of participants. The case studies are: Napoli Scorticata completed in 2007 in Naples, Italy; Youth Visions, completed in 2008 in Northeastern Ghana, West Africa; Triangulated City, completed in 2009 in Beirut, Lebanon. Within these diverse contexts the research questions the role of authorship when working in socially engaged practice, focusing on how practitioners can shift the focus from the artist to the body politic. Merging social engagement with a site-responsive approach, the research proposes that the artistic medium is the social system and as such argues that the modes of employment require a focus of appreciation on the generative process, context and product combined. The research is presented in two parts. Part I is an interactive DVD with images of the development process and final presentations as well as a video of each performance work. Part II is a written thesis that explores the modes of engagement, outlines the methods of development and structures a general working methodology that can be referenced by other performance practitioners. The thesis proposes Applied Live Art as a term to describe practices that include a hybrid of time-based media options, which include a social component as their primary focus. The research outcomes conclude with an analysis of place making and its importance when working with both site and society.
28
Kavoulaki, Athena. "Pompai : processions in Athenian tragedy." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:94049c7e-b93b-4d8a-a7e4-5e7d82adc7d1.
Full textAbstract:
This thesis investigates the significance of ritual movements in theatre and society of fifth-century Athens. The focus falls on processional movement, the definitive characteristics of which are drawn from the ancient Greek concept of pompe, i.e. a movement towards a defined destination, involving the conveyance of a ritual symbol (or an object or a person) between specific points of departure and arrival. The social contexts of divine and heroic cult, funerals and weddings prove to be the main occasions for the performance of such processional movements. In the world outside the theatre, processions are shown to be crucial in defining transitions, shaping social relations, and manifesting the action and inviting the attention of the divine. The socio-religious significance of processions is fully appropriated and explored by tragedy. Processional action, recurrently evoked in the tragic plays, proves to be crucial for the articulation of the tragic δρώμενα. This is argued in the collection and analysis of a number of scenes from extant fifth-century tragedy in which processional resonances permeate the action. The interpretation of the scenes in the light of the ritual background which shapes them considerably enhances the understanding and appreciation of the plays as theatrical experience - experience which explores the potential of spatial configurations and visual symbolism, in a context of symbolic communication which is largely defined by participation in the rituals of the community. The thesis argues that the importance of processions in the theatre is inextricably connected with their power - as manifested in the ritual life of the polis - to gather the community and to initiate the process of θεάσασθαι, implicating both active participants and θεαταί in the performed action. Greek tragic theatre builds upon this basic function of processions and activates their power. Thus it also combines their potential to define transitions with the significance of tragic μετάβασις; and with the importance of demarcation of space and transformation of time in the theatre. Ritual experience is activated, reshaped and enlarged, enabling the re-creation and transformation of the experience of the audience. Processions can illuminate the nature of tragedy itself.
29
Håkanson, Hanna. "Teater/drama - en del av kulturskolan? : En diskursanalytisk studie." Thesis, Stockholms universitet, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182800.
Full textAbstract:
Studiens övergripande syfte är att undersöka förutsättningarna för ämnet teater/drama inom kulturskolan. Till grund för uppsatsen ligger tre fokusgruppsamtal med lärare i teater/drama i kulturskolan i en svensk stad samt ett stödjande dokument för kulturskolorna i samma stad och ett styrdokument för Norges kulturskola. Allt material har bearbetats och granskats utifrån en socialkonstruktivistisk ansats genom diskursanalytiska glasögon. Informanterna är eniga om att ämnet teater/drama i kulturskolan i Staden inte betraktas som en konstform, utan huvudsakligen som verktyg och metod. De beskriver en verksamhet som har knappa resurser att nå konstnärlig höjd och beskriver ett ämne som på grund av okunskap kring praktikens tidskrävande processer är marginaliserat i kulturskolans verksamhet. Det framgår att ämnet är i stort behov av att formuleras verbalt. Det tycks nödvändigt att skapa en gemensam terminologi för att möjliggöra en konstruktiv kommunikation mellan lärare i teater/drama och chefer i syfte att utveckla en hållbar verksamhet.
30
Bell, Charlotte Sophie Louise. "On site : art, performance and the urban social housing estate in contemporary governance and the cultural economy." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8946.
Full textAbstract:
This thesis questions how sub-disciplines in theatre and performance negotiate ‘sitespecificity’ as an aesthetic practice and tool of urban governance that ‘sees’ and ‘performs’ social housing estates. As a practice that, predominantly, takes place beyond conventional performance spaces, applied theatre might be a paradigmatic form of socially engaged sitespecific activity. However, scholarship on the ‘social turn’ more readily cites Bourriaud’s ‘relational aesthetics’, or Bishop and Jackson’s critiques of ‘social practice’, which emerged in gallery and visual arts contexts. The ‘social turn’ poses problems for scholarly relations between ‘social practice’, ‘applied theatre’, the cultural economy and urban governance. I draw on socio-legal scholar Valverde’s ‘seeing like a city’, theatre scholar McKinnie’s ‘performing like a city’ and cultural economy as a theoretical framework, developing McKinnie’s concerns with ‘cultural equity’, and Harvey’s use of ‘fixed capital’ and ‘consumption fund’ in my analysis of relations between cultural and social realms. Consequently, this project hopes to contribute to an emerging area of research between socio-legal urbanism and performance studies, complicating ‘site-specificity’ as a descriptive category. Over five chapters I analyse site-specific works about estates staged in Lambeth and Southwark (inner-city London boroughs) since 2008. First, I examine relations between site-specificity and estate regeneration: the representations of overhead walkways in Delahay’s The Westbridge (2011) and Cotterrell’s Slipstream (2011) and the estate as ‘ruin’ in two Artangel interventions, Seizure (2008) and Pyramid (n.d.). I then shift to issues raised by legal and social boundaries in governance; I examine SLG’s partnerships with a neighbouring estate and ‘issue-based’ plays in two examples of theatre for young people. The final chapter draws out the project’s wider thematic concerns: the aesthetic implications of pedagogy and funding bodies on imaginings of site. This project calls attention to the complex cultural, socio-legal and economic structures that shape our cities, and the degrees to which they might be repurposed or re-imagined.
31
Esterhuizen, Johan. "The H.B. Thom Theatre : an evaluation of its potential as a regional arts and cultural centre." Thesis, Link to the online version, 2005. http://hdl.handle.net/10019/1674.
Full text
32
Güzel, Muhammet Çağrı. "DEVELOPING ORAL PROFICIENCY AND MOTIVATION THROUGH SCRIPT-BASED AND IMPROVISATIONAL DRAMA." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/611.
Full textAbstract:
Utilizing drama has long been an innovative and dynamic concept as a part of a communicative approach in English classrooms around the world. Teaching languages through drama offers many beneficial opportunities for learners. Nevertheless, traditional methods are still the widely held teaching structures across the globe, which results in an increase in the number of demotivated learners who often hate and fear to practice one of the challenging skills when learning a foreign language- speaking- as it is a productive language skill. Not only do the traditional methods bring negative emotional and psychological outcomes, but it also causes a gradual slowdown in the language acquisition process. The aim of this study was to exclude these problems and to provide a learner–centered atmosphere. This study is intended to gain insights, analyze and better understand the use of script-based and improvisational drama to develop oral proficiency by taking student motivation and attitudes into consideration. The study addressed the following questions: 1) What are learners’ motivations and attitudes toward developing speaking skills before the intervention and after the intervention?; 2) What unique roles do the script-based versus improvisational drama play in fostering learners’ development of oral proficiency?; 3) What are the participants’ reactions to script-based and improvisational drama instructional techniques before and after the intervention?; and 4) How do they make sense of their oral proficiency gains as they reflect on the experience of participating in the creative dramatic activity? In order to investigate these questions, 2 sessions of script-based and 2 sessions of improvisational drama, total of 4 sessions of drama intervention were offered to learners, and the researcher conducted interviews, video recordings, and field observations and notes throughout the intervention. Findings indicated that script-based and improvisational drama helped learners improve their oral proficiency, decrease their negative motivations, reduce their stress, anxiety and shyness levels, and increase their positive motivations. This study contributes to our understanding of the role of script-based and improvisational drama in language learning process.
33
Weiss, Katherine. "“Samuel Beckett and History,” “Samuel Beckett and the Art of Failure,” and “Modern American Drama and the Greeks”." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5596.
Full text
34
He, Man. "The Peacock on Stage and in Print: A Study of the 1920s New Drama Adaptations of Southeast Flies the Peacock." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250531758.
Full text
35
MacKenzie, Benjamin Roe. "Designing the Part: Drama and Cultural Identity Development Among Ghanaian Teenagers." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300477046.
Full text
36
Shtutin, Leo. "Mallarmé Apollinaire Maeterlinck Jarry : space and subject in French poetry and drama, c.1890-1920." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:5599de57-2028-4292-80c7-72f79326925b.
Full textAbstract:
This study explores the interrelationship between spatiality and subjecthood in the work of Stéphane Mallarmé, Guillaume Apollinaire, Maurice Maeterlinck, and Alfred Jarry. Concerned with various modes of poetry and drama, it also examines the cross-pollination that can occur between these modes, focusing on a relatively narrow corpus of core texts: Mallarmé’s Igitur (c. 1867-70) and Un Coup de dés (1897); Apollinaire’s “Zone” (1912) and various of his calligrammes; Maeterlinck’s early one-act plays—L’Intruse (1890), Les Aveugles (1890), and Intérieur (1894); and Jarry’s Ubu roi (1896) and César-Antechrist (1895). The poetic and dramatic practices of these four authors are assessed against the broader cultural and philosophical contexts of the fin de siècle. The fin de siècle witnessed a profound epistemological shift: the Newtonian-Cartesian paradigm, increasingly challenged throughout the nineteenth century, was largely dismantled, with ramifications beyond physics, philosophy and psychology. Chapter 1 introduces three foundational notions—Newtonian absolute space, the unitary Cartesian subject, and subject-object dualism—that were challenged and ultimately overthrown in turn-of-the-century science and art. Developments in theatre architecture and typographic design are examined against this philosophical backdrop with a view to establishing a diachronic and interdisciplinary framework of the authors in question. Chapter 2 focuses on the spatial dimension of Mallarmé’s Un Coup de dés and Apollinaire’s calligrammes—works which defamiliarise page-space by undermining various (naturalised) conventions of paginal configuration. In Chapter 3, the notion of liminality (the experience or condition of the betwixt and between) is implemented in an analysis of character and diegetic space as constructed in Jarry’s Ubu roi and Maeterlinck’s one-acts. Chapters 4 and Chapter 5 undertake a more abstract investigation of parallel inverse processes—the subjectivisation of space and the spatialisation of the subject —manifest not only in the works of Mallarmé, Maeterlinck, Apollinaire and Jarry, but in the period’s poetry and drama more generally.
37
Dementavičiūtė, Deimantė. "Archetipiniai įvaizdžiai A. Strindbergo sąlygiškosiose dramose ir jų pastatymuose Lietuvos teatre." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110615_141948-34670.
Full textAbstract:
Augustas Strindbergas (1849-1912) – švedų dramaturgas, moderniojo teatro pradininkas, pirmasis literatūroje panaudojęs siurrealistinę stilistiką. Dramaturgo domėjimasis sapnais, pasąmone, mitologija, religija, ezoterika atsispindėjo vėlyvajame kūrybos laikotarpyje parašytose sąlygiškosiose pjesėse – „Kelias į Damaską” (1898-1904), „Sapnas” (1902) ir „Šmėklų sonata“ (1907). A. Strindbergas šioje trilogijoje atvėrė kolektyvinėje pasąmonėje slypinčius herojaus ir motinos archetipus. Herojaus archetipas išreiškia žmogaus dvasios įkalinimą materialiojoje realybėje – Žemės Motinos karalystėje.
Darbe siekiama pažvelgti į tai, kaip šie archetipiniai įvaizdžiai yra atskleidžiami rašytojo sąlygiškosiose pjesėse ir pagal jas pastatytuose lietuvių režisierių darbuose. Darbe analizuojami šie spektakliai: G. Padegimo „Kelyje į Damaską” (1986, KVDT), „Šmėklų sonata” (1998, KVDT), S. Varno „Sapnas” (1994, PDT), J. Vaitkaus „Sapnas” (1995, LVADT) ir O. Koršunovo „Kelias į Damaską” (2007, KDT).
Atlikus dramų analizę, nustatyta, jog A. Strindbergo pjesėse tamsiosios Žemės Motinos archetipas perteikiamas per gyvenimo-sapno metaforą, kuomet materialioji realybė vaizduojama kaip iliuzinis, netikras, sapniškas pasaulis, sudarytas iš prieštaringų gėrio ir blogio polių. Herojaus archetipinį įvaizdį dramose įkūnija pagrindiniai veikėjai, o antraeiliai personažai dramaturgo vaizduojami kaip tam tikri skirtingi pagrindinių veikėjų vidiniai aspektai.
Ištyrinėjus spektaklius, prieita prie išvados, jog G... [toliau žr. visą tekstą]August Strindberg (1849-1912) – Swedish playwright, the first who used surrealist stylistics in literature, the father of modern theatre. He was studying dreams, unconscious, mythology, religion, occultism, gnosticism – he used these knowledge in conventional dramas, written in his late period of his creation: To Damascus (1898-1904), A Dream Play (1902) and The Ghost Sonata (1907). In this trilogy A. Strindberg opened archetypes of collective unconscious – the mother and the hero. The archetype of hero means imprisonment of human soul in the material reality – the kingdom of Terrible Mother. This work is dedicated to look how these These archetypal images are represented by writer and in the performances of Lithuanian directors: To Damascus (1986, KVDT) and The Ghost Sonata (1998, KVDT) of G. Padegimas, A Dream Play (1994, PDT) of S. Varnas and To Damascus (2007, KDT) of O. Koršunovas. The results of analysis of plays showed that the archetype of Terrible Mother in A. Strindberg‘s plays is conveyed through life-dream metaphor, when the material reality portrayed as a illusory dream world, consists of the contradictory poles of good and evil. The main actors in dramas embody an archetypal image of the hero, and secondary characters are portrayed as a number of different aspects of the hero’s inner world. Explored performances led to the conclusion, that G. Padegimas and O. Koršunovas use the spiritual journey archetype, S. Varnas and J. Vaitkus – the Terrible Mother... [to full text]
38
Hattingh, Mareli. "Kontemporere woordkuns as teatergenre : 'n ondersoek na die aard van die vorm van die werke van enkele Stellenbosche woordkunstenaars." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/2226.
Full textAbstract:
Thesis (MDram (Drama))—University of Stellenbosch, 2005.Oral Art (Woordkuns) as a performing art form is a burgeoning independent theatre genre that has developed especially over the last decade with the rise of the national arts festivals. By investigating the literary term word art, the eclectic nature of oral art as a theatre genre, the oral art text and the role of the visual within an oral art performance, we are able to give a paraphrase or definition of oral art as a theatre genre. Oral art as a performing art form can firstly be defined with reference to the origins of the oral art text, namely an existing work(s) that originated as a non-dramatic literary work(s) and that is revisited within a new context; secondly a shift in the dramatic presentation from physical action to the spoken word. The eclectic nature of oral art is a further characteristic of this theatre genre. Oral art has the ability to change in form and function and not only can it be biographical or autobiographical, but it can also be socio-politically intended. The hybrid nature of oral art – oral art texts combine in many cases works from different genres – also shows many similarities with other theatre genres like cabaret and black political protest theatre. Three possible structures are identified within the oral art text, namely an episodic structure, a developing story line or argument and a compilation consisting of a number of short stories or narratives. The oral art text can be compiled from a number of literary genres and the choice of material is determined by the overarching theme and the format of the performance. Visual elements support the oration within an oral art performance. The different types of texts used in the compilation of an oral art program determine the presentation style and stage composition. Physical action is representational rather than realistic. The use of décor, props, costumes and lighting are minimal and multi-functional.
39
Gargiulo, Jennifer. "Vivere sul serio Eduardo De Filippo and the art of life /." University of Sydney, 2006. http://hdl.handle.net/2123/2169.
Full textAbstract:
Doctor of PhilosophyThis thesis offers the first English translation of Eduardo De Filippo’s last play, Gli esami non finiscono mai (1973). It analyzes the play in the context of the dramatist’s career and describes the philosophical shift that took place in Eduardo’s dialectic as he progressed from a post-war, neorealist drama like Napoli milionaria! toward the existential reflections present in his last play. Unlike previous studies, this work concentrates on Eduardo’s philosophical journey from neorealism to existential query and identifies the factors that influenced his thinking process. To this end, I have evaluated the plays most relevant to the development of his philosophy and the socio-political context in which they were written. The influence of the Neapolitan traditional dialect theater, along with that of Luigi Pirandello, his American contemporaries, Arthur Miller and Eugene O’Neill, and William Shakespeare, is also examined. Important social issues that directly affected the author, such as the struggle in Italy for the legalization of divorce and the plight of children born out of wedlock, are highlighted to illustrate how they contributed to the disillusionment and pessimism present in Eduardo’s last play. From the rather hopeful ending of Napoli milionaria! Eduardo was reduced at the end of his life to sheer desperation in Gli esami non finiscono mai. Italy had changed but it had not moved on. By focusing on the playwright’s final play, this thesis offers a new perspective on a twentieth century dramatist who is much more complex than is commonly acknowledged. De Filippo is revealed as a dramatist who transcended the Neapolitan comic theatrical traditions he sprang from and created a theater of political and social engagement that endures today.
40
Kuprevičiūtė, Airina. "ŠIAULIŲ DRAMOS TEATRO INTERJERO ĮRANGOS PROJEKTAS." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100902_231839-01703.
Full textAbstract:
Šiaulių dramos teatras, esantis miesto centre, įkurtas prieš 79 metus. Per šį laikotarpį mažai keitėsi. Laikas nuo laiko buvo vykdomi tik vidaus apdailos darbai, kurie nekeitė pradinės pastato stilistikos.
Teatro interjeras yra nuobodus, nusidėvėjęs, morališkai pasenęs. Žaibiškai tobulėjančios technologijos ir vis labiau išprususiam vartotojui norisi gražesnės, fantazijas keliančios aplinkos, kurioje jis galėtų gerai praleisti savo laisvą laiką. Dėl šios priežasties kilo mintis suprojektuoti įdomų, naujoviško požiūrio į teatrą, interjerą. Nuosekliai vystantis idėjai suprojektuojamas racionalaus interjero įrangos projektas. Preciziškas interjeras, organiškos formos jautriai įsikomponuoja pastato projekcijose. Fūturistiniame interjere pasirinktas klasikinis spalvų derinys: balta, raudona. Taip interjerui suteikiamas prabangos įspūdis. Konversijos metu pastato projektuojamos dalies funkcija nesikeičia, žmonės privalo jaustis patogiai, judėdami tiek vertikalia, tiek horizontalia kryptimi. Atsisakoma griežtų formų. Kuriama destrukcija, judėjimas. Tai bandoma įgyvendinti plastiškomis, aptakiomis formomis.
Projektuojamame interjere kuriamos dvi erdvės- reali ir atvirkštinė, kurios žmogaus pasamonę dalina į dvi dalis. Taip išskiriamas I-asis ir II-asis aukštai. I-ajame aukšte sienos formuojamos organiškai, susilieja su grindimis. Lubos - griežtos, aiškios formos. II-asis aukštas projektuojamas priešingai - sienos lygios, statiškos, lubos - organiškos, plastiškos, susilieja su... [toliau žr. visą tekstą]Siauliai Drama Theater, located in the city center, was founded 79 years ago. From time to time only interior finishing work were made, which did not alter the original style of the building. The theater interior is boring, worn-out, morally obsolete. Overnight evolving technologies and educated consumer want nicer, carrying a fantasy environment in which it might well spend their leisure. For this reason, the idea had designed an exciting, innovative approach to theater interior. Consistently develops the idea of a rational designed for interior design software. Precise interior, organic forms fit building projections. Futuristic interior choice of classic colors: white, red. It is awarded for interior luxury experience. The design of the building during the conversion of the function does not change, people must feel comfortable when they move both vertically and horizontally. Away from a rigid form. Development of a destruction of the movement. This is an attempt to implement soft sleek forms. The design of interior spaces designed for two-and a real reversal of the human subconscious mind is divided into two parts. It is excreted Ist and II nd floors. I st floor walls are formed organically, merges with the floor.Ceilings - strong, clear form. IInd floor is projected on the contrary - the wall smooth, static, ceiling - an organic, plastic, merges with the walls. Illumination of the floor given the same style as in the first floor ceiling. It is human consciousness... [to full text]
41
Greenwood, Mark. "The performing body in the event of writing : 'Lad Broke', Camp & Furnace, Liverpool, April 2012." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/27789/.
Full textAbstract:
This thesis centres on the 48 hour performance of Lad Broke in Liverpool on the 20th April 2012. This written component addresses a range of ideas that have emerged in relation to the event of durational performance including modes of inscription, the performing body and its position within a network of performance art and writing practice. By examining Lad Broke within the fields of art and wider cultural practices I am able to draw on ideas of duration that include narrative time, boredom and the effects of duration on the performing body and its spectators. I discuss duration within the context of music by examining rhythm, tempo and time signatures alongside the punk movement, where boredom and a need to act/react immediately remain significant factors in my performance and writing practice. I explore inscription as a physical act of writing, mark making and labour in order to position performance and writing as a combined practical and critical enquiry that intersects in the event of Lad Broke. I also examine notions of the inscribed body in relation to the writings of Michel De Certeau, where he describes the body as written by authority and the law. I refer to experimental writing in order to demonstrate how writing can reveal the materiality of duration and time passing, while also discussing the temporal structure of Lad Broke as a continuous present, displacing traditional narrative structures and emphasising the act of 'doing' rather than the production of a complete and finished object. The performing body is considered in a number of contexts that emerge in the performance of Lad Broke. Ideas around the labouring body are especially useful, where I draw on a lineage of labour practices that have informed my performance works. I look at ideas of labour in relation to wider cultural practice, raising questions around displaced masculinity and the role of the artist as cultural worker. I return to punk where alternative labouring practices position the body as a site of resistance and dissidence. This leads to a discussion of networks and the systems of dissemination that allow post sub-cultural groups to express themselves while evading a capitalist economy. I look at the zine as an art form that successfully provides a model of dissemination and autonomy which relates back to the formation of performance art networks, where the sharing of work displaces monetary exchange and subsumption into a capitalist economy. The event of Lad Broke is examined through a series of viewpoints including the performer, the writer and responsive representatives of the performance art network. The event is then offered to I a wider readership in the form of a zine, where the materials and leftovers of Lad Broke are reconfigured as a material response. The content and structure of this thesis discusses and argues for the performing body to be considered as a site of inscription resistant to the commodification of cultural practice. Yet, throughout this work, it is the immediacy of the live event which remains vital, an event which refuses to be recuperated through these written responses.
42
Kupšytė, Agnė. "Johanno Wolfgango von Goethe's „Faustas“ ir Charles‘io Gounod „Faustas“." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130805_095409-52293.
Full text
43
Baron, Annie. ""Pour perpétuer le souvenir de la chose" : installation de mises en scène de la vie quotidienne /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.
Full text
44
Le, Grange Rene. "Effective planning and organisation of a student theatre festival." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-08112004-100939.
Full text
45
Campos, Elisa Padinha. "Arte e matemática: nas interfaces do teatro e da educação." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-06102016-155152/.
Full textAbstract:
O presente trabalho é resultado de uma pesquisa qualitativa que se insere nos campos da Arte/educação, do Teatro e da Educação Matemática que tem como objetivo investigar de que forma os princípios da educação pela arte e da Arte/educação podem contribuir para um melhor desenvolvimento da educação da criança/jovem e, em especial, no que diz respeito à educação matemática pela escola. Dentro de uma perspectiva da pesquisa qualitativa, recorremos a entrevistas com educadores e artistas, com o intuito de buscar evidências de análise. Além das entrevistas, estudamos diferentes iniciativas também de ordem educacional que correlacionam educação, educação matemática e teatro. Para a realização da análise dos fatos e dados recolhidos, fomos em busca de reconhecer semelhanças (e diferenças) nas manifestações dos entrevistados, de modo a agrupá-las como categorias de análise. Como primeiros resultados, podemos reconhecer que, apesar da pouca evidência de trabalhos na interface educação matemática e educação teatral, ainda assim podemos perceber que tal aproximação pode colaborar, de algum modo, para a formação dos educandos, em termos do desenvolvimento no âmbito pessoal e profissional.This work is the result of a qualitative research which falls within the field of Art / Education, Drama and Mathematics Education which aims to investigate how the principles of \"education through art\" and art / education can contribute to a better development of the education of the child / teenager, and in particular when concerning the mathematics education within the school. Working with a perspective of qualitative research, we used interviews with educators and artists in order to find evidence. Besides the interviews, we studied different educational initiatives that correlate education, mathematics education and drama. To analyze the facts and data collected, we tried to recognize similarities (and differences) on the interviewers answers in order to group them as categories of analysis. As first results, we can recognize that, despite little evidence of work with mathematics education and theatrical education, we can see that such approach can contribute in some way, for the education of students in terms of development in the personal and professional.
46
Tang, Cheong Wai Acty. "Gazing at horror: body performance in the wake of mass social trauma." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002381.
Full textAbstract:
This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides a way in for investigating the dynamics of theatrical performance and its corporeal presence, by focusing on desire and its implication in the notions of loss and anxiety. The theories of the unconscious and the gaze have epistemological implications, shifting definitions of “presence” and “truth” in theatre performance and writing about theatre. This chapter tries to outline the rationale for, as well as to enact, an alternative methodology for writing, as an ethical response to loss that does not insist on consensus and truth. Chapter 2: (Refusing to) Look at Trauma This chapter examines the politics that strives to make suffering visible. Discursive binaries of public/private, dead/living, and invisible/visible underlie the politics of AIDS and sexuality. These discourses impact on the reception of Bill T. Jones's choreography, despite his use of modernist artistic processes in search of a bodily presence that aims to collapse the binary of representation (text) and its subject (being). The theory of the gaze shows this politics to be a phallocentric discourse; and narrative analysis traces the metanarrative that results in the commodification of oppositional identities, so that spectators participate in the politics as consumers. An ethical artistic response thus needs to shift its focus to the subjectivity of the spectator. Chapter 3: The Screen and the Viewer’s Blindness By appealing to a transcendent reality, and by constituting spectators as a participative community, ritual theatre claims to enact change. The “truth” of ritual rests not on rational knowledge, but on the performer’s competence to produce a shamanic presence, which director Brett Bailey embraces in his early work. Ritual presence operates by identification and belonging to a father/god as the source of meaning; but it represses the loss of this originary wholeness. Spectators of ritual theatre are drawn into an enactment of communion/community, the centre of which is, however, loss/emptiness. The claim of enacting change becomes problematic for its absence of truth. Bailey attempts to perform a hybrid, postcolonial aesthetics; but the problem rests in the larger context of performing the notion of “South Africa”, a communal identity hardened around the metanarrative of suffering, abjecting those that do not belong to the land of the father/god – foreigners that unsettle the meaning of South African identity. Conclusion: Bodies of Discontent The South African stage is circumscribed by political and economic discourses; the problematization of national identity is also a problematization of image-identification in the theatre. In search for a way to unsettle these interrogative discourses, two moments of performing foreignness are examined, one fictional, one theatrical. These moments enact a parallel to the feminine hysteric, who disturbs the phallocentric truth of the psychoanalyst through body performance. These moments of disturbing spectatorship are reflected in the works of performance artist Marina Abramovic. Her explorations into passive-aggression, shamanism and finally theatricality and the morality of spectatorship allow for an overview of the issues raised in this thesis regarding body, viewing, and subjecthood. Sensitivity to the body and its discontent on the part of the viewer becomes crucial to ethical performance.
47
Andersson, Josefina. "Drama groups: Stigma challenging and well-being of individuals living with HIV/AIDS in Uganda." Thesis, Högskolan i Skövde, Institutionen för hälsa och lärande, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-10707.
Full textAbstract:
The purpose of this narrative study was to describe the role and potentials of drama groups for enhancing and maintaining well-being for female drama group members living with HIV in Uganda. Six semi-structured interviews were carried out and analyzed through a thematic analysis. The analysis was made within a theoretical framework based upon Sen's notion of the capability approach and social psychological theories of the self. The results showed that the activities carried out by the drama group empowered the women through increasing their access to important capabilities such as inclusion and self-respect. It further indicated that the women needed other forms of support before being able to benefit from these activities. However, some capabilities were still inaccessible to the women due to obstacles as poverty and harmful gender norms.Syftet med den här narrativa studien var att beskriva dramagruppers roll och potentialför att förbättra och upprätthålla välmåendet för kvinnliga dramagruppmedlemmar somlever med HIV i Uganda. Sex semi-strukturerade intervjuer genomfördes ochanalyserades genom en tematisk analys. Analysen gjordes inom ett teoretisk ramverkbaserat på Sen's idé av the capability approach som kombinerades medsocialpsykologiska teorier om självet. Resultatet visade att aktiviteterna som utfördes idramagruppen stärkte kvinnorna genom att öka deras tillgänglighet till viktigakapabiliteter såsom social inkludering och självrespekt. Vidare tydde resultaten på attkvinnorna var i behov av annat slags stöd innan de kunde gagnas av dessa aktiviteter.Dock var vissa kapabiliteter fortfarande oåtkomliga för kvinnorna, vilket orsakades avbegränsningar som fattigdom och skadliga könsnormer.
48
Braga, Ive. "Miroslav Tichý: um lírico no auge da regressão dos sentidos: um estudo sobre o drama do indivíduo moderno." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20306.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-08-24T12:53:03Z
No. of bitstreams: 1
Ive Braga.pdf: 3329210 bytes, checksum: bf1d0a67c6ee674cb2a3c6191b12c638 (MD5)Made available in DSpace on 2017-08-24T12:53:03Z (GMT). No. of bitstreams: 1 Ive Braga.pdf: 3329210 bytes, checksum: bf1d0a67c6ee674cb2a3c6191b12c638 (MD5) Previous issue date: 2017-08-15
Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
This research takes art as an empirical source to analyze the individual's experience in modernity. The sedimentation of historical and social content objectified in the form of artistic objects is, therefore, the material adopted to explore philosophically the specters of the individual's perception, which manifest themselves in reason, emotion, senses, memory and consciousness. In order to examine these propositions, this research focuses on the prospect of Miroslav Tichý (1926 - 2011), plastic artist and photographer from the Czech Republic. Miroslav Tichý wandered around the streets of the small town where he lived, collecting some discarded objects to manufacture his rudimentary cameras that allowed him to capture a peculiar perspective of a modernity facet. The research elements were presented in four dimensions: material, immaterial, aesthetic and dramatic. This formal organization, which contemplates the theoretical concepts, the method and the analysis of the object of study, had the objective of reproducing the logic of the antagonistic spheres of society, which interact at the same time as they collide. The theoretical reference adopted for this study is the Critical theory of society, considering mainly the concepts of experience and its impoverishment, the individual and pseudo-individuation, developed by Walter Benjamin, Theodor W. Adorno, Max Horkheimer and Herbert Marcuse. The information extracted from the photographs of Miroslav Tichý were organized in four categories of analysis: city, people, bodies and objects. In association with the theoretical perspective presented, the data obtained allowed to explore the experience of the individual in the urban environment, the exaltation and depreciation of the woman, the decrepitude of corporeal matter and the new and more effective forms of repression, indicative elements of the hazy character of the individual in modernity. The themes developed focused on the movement of antagonistic social forces that, while promoting art for emancipation, reinforce the ideological prisms of domination proper of capitalism in the process of transforming culture into merchandise. The reflections raised allowed to criticize the way the social structure expresses itself in the objects of culture and determines the relationship between subject and object
Esta pesquisa toma a arte como fonte empírica para analisar a experiência do indivíduo na modernidade. A sedimentação do conteúdo histórico e social objetivado na forma dos objetos artísticos é, portanto, o material adotado para explorar filosoficamente os espectros da percepção do indivíduo, que se manifestam na razão, emoção, sentidos, memória e consciência. A fim de examinar essas proposições, analisou-se a perspectiva apresentada na obra de Miroslav Tichý. Miroslav Tichý (1926 – 2011) foi artista plástico e fotógrafo oriundo da República Tcheca. Miroslav Tichý vagava pelas ruas da pequena cidade onde morava, recolhendo alguns objetos descartados para fabricar artesanalmente máquinas fotográficas rudimentares que lhe permitiram captar sob uma ótica peculiar uma faceta da modernidade. Os elementos que compõem o conjunto da pesquisa foram apresentados em quatro dimensões: material, imaterial, estética e dramática. Esta organização formal, que contempla os conceitos teóricos tratados, o método e a análise do objeto de estudo, teve como objetivo reproduzir a lógica das esferas antagônicas da sociedade, que interagem ao mesmo tempo que se chocam. O referencial teórico adotado é a Teoria crítica da sociedade, utilizando-se, principalmente, os conceitos de experiência e seu empobrecimento, indivíduo e pseudoindividuação, desenvolvidos por Walter Benjamin, Theodor W. Adorno, Max Horkheimer e Herbert Marcuse. As informações extraídas das fotografias de Miroslav Tichý foram dispostas em quatro categorias de análise confeccionadas à posteriori: cidade, pessoas, corpos e objetos. Em articulação com a perspectiva teórica, os dados obtidos permitiram explorar a experiência do indivíduo no meio urbano, o enaltecimento e depreciação da mulher, a decrepitude da matéria corpórea e as novas e mais eficazes formas de repressão, elementos indicativos do caráter obnubilado do indivíduo na modernidade. Os temas desenvolvidos focalizaram o movimento de forças sociais antagônicas que, ao mesmo tempo que promovem a arte com vistas à emancipação, reforçam os prismas ideológicos da dominação próprias ao capitalismo no processo de transformação da cultura em mercadoria. As reflexões suscitadas permitiram tecer a crítica ao modo como a estrutura social se expressa nos objetos da cultura e determina a relação entre sujeito e objeto
49
Santos, Tania Cristina Alves dos 1973. "Narrativa e dramatização nos entrelugares da educação infantil." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/250996.
Full textAbstract:
Orientador: Marcia Maria Strazzacappa HernandezDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-22T14:32:00Z (GMT). No. of bitstreams: 1 Santos_TaniaCristinaAlvesdos_M.pdf: 2273443 bytes, checksum: 1da5090034ca26f0fab3b09cea730406 (MD5) Previous issue date: 2012
Resumo: Nesta pesquisa, busco discutir quais as contribuições que a arte, por meio das narrativas e dramatizações, pode trazer para as crianças de 03 a 06 anos. Tomando como base algumas práticas registradas e documentadas no cotidiano de um Centro Municipal de Educação Infantil (CEMEI) da rede municipal de Campinas, desenvolvidas por mim e por outra professora, as quais envolvem histórias contadas pelas crianças, busco demonstrar sua capacidade de representação e criação a partir de vivências que transitam entre os movimentos corporais e a contação de histórias. Esta pesquisa é pautada na concepção histórico-cultural abordada por Vygotsky (1991) que apresenta a criança como sendo um ser social, inserida em uma cultura que se constitui nas relações de alteridade. Um outro aporte teórico é o referencial da Pedagogia da Infância que, conforme Prado (1998) e Gobbi (1997), apresenta as crianças como protagonistas, donas da cena e portadoras de vozes e ouvidos, vistas como aquelas que produzem história e constroem cultura, sendo necessário assegurar seus direitos de serem crianças. Para sustentar as definições de narrativa, dramatização, dialogo com Santos (2002), Slade (1978), Koudela (1992) e Machado (2004). As análises feitas a partir de algumas vivências apontam para a necessidade de um investimento maior no trabalho com a arte nas instituições de Educação Infantil. Também apontam para a importância das práticas que envolvem a arte no desenvolvimento da capacidade imaginária e criativa das crianças e sua expressão.
Abstract: In this research, I discuss what contributions that art, through narratives and dramas, can bring to 03 to 06 year old children. Based on some practices recorded and documented of the daily life in an Early Childhood Education Center City (CEMEI) of Campinas district, I demonstrate the children's ability to act and create from experiences that transiting between body movements and storytelling. These practices were developed by myself and another teacher and involve stories told by children. This research is based on a cultural-historical concept addressed by Vygotsky (1991) who presents the child as a social being, inserted in a culture that is constituted in relations of alterity. Another theoretical contribution is the benchmark of Child Pedagogy that, according to Prado (1998) and Gobbi (1997), presents children as protagonists, owners of the scene and carrying voices and ears and they are seen as those who produce history and build culture, therefore is necessary to ensure their right to be children. To sustain the definitions of narrative and drama, I dialogue with Santos (2002), Slade (1978), Koudela (2001) and Machado (2004). Analyses made from some experiences point to the need of a greater investment in working with art in Early Childhood Education institutions. They also point to the importance of practices that involve art in the development of creative and imaginary ability of children and their expression.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestra em Educação
50
Usula, Nicola <1983>. ""Il carceriere di sé medesimo" di Lodovico Adimari e Alessandro Melani, Firenze 1681. Dalla «comedia» di Pedro Calderón de la Barca al «drama per musica» italiano di fine Seicento." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6592/.
Full textAbstract:
Questo lavoro è imperniato sullo studio di uno dei melodrammi più interessanti della fine del XVII secolo: “Il carceriere di sé medesimo” di Lodovico Adimari (1644-1708) e Alessandro Melani (1639-1703), allestito per la prima volta a Firenze nel 1681, e ripreso nel giro di una ventina d’anni a Reggio (1684), a Bologna (1697) e a Vienna (1702). L’opera vanta un’origine drammatica di spicco: risale infatti alla commedia “Guardarse a sí mismo” di Pedro Calderón de la Barca (1600-1681) mediata dal “Geôlier de soi-mesme” di Thomas Corneille (1625-1709), e presenta qualità poetiche e musicali evidenti, assicurate dai nomi del poeta Lodovico Adimari e del compositore Alessandro Melani. A ciò si aggiungano una tradizione articolata in quattro allestimenti, nonché un elevato numero di testimoni superstiti: cinque edizioni del libretto (testimoniate da numerosi esemplari) e il numero fortunatissimo di tre partiture manoscritte, conservate a Parigi, Bologna e Modena.
La tesi contiene l’edizione critica del “Carceriere di sé medesimo” di Adimari con tutte le varianti accumulatesi nella riedizione del libretto e nella copiatura della partitura, l’analisi del dramma, a partire dal confronto tra i testi di Calderón, Corneille e Adimari, e lo studio delle sue componenti drammatiche, formali e contenutistiche. Si aggiunge uno studio sul contesto storico-musicale degli allestimenti di Firenze, Reggio, Bologna e Vienna, nonché l’edizione dei restanti tre drammi di Adimari: la commedia “Le gare dell’amore e dell’amicizia” (1679), e il dramma per musica “L’amante di sua figlia” (1684).This study concerns one of the most interesting Italian operas of the late seventeenth century: “Il carceriere di sé medesimo” by Lodovico Adimari (1644-1708) and Alessandro Melani (1639-1703), staged for the first time in Florence in 1681, and renewed some years later in Reggio (1684), Bologna (1697) and Vienna (1702). This opera has noble dramatic roots since it descends from the «comedia» “El guardarse a sí mismo” by Pedro Calderón de la Barca (1600-1681), translated in French as “Le geôlier de soi-mesme” by Thomas Corneille (1625-1709), and it presents high poetic and musical qualities, as the names of Adimari and Melani can guarantee. A number of sources of this opera survives: 4 editions of the libretto and three manuscript scores (held in Paris, Bologna and Modena). In addition to the study of the historical context in which the opera has been performed in 1681, 1684, 1697 and 1702, this dissertation contains a critical edition of the libretto of “Il carceriere di sé medesimo” and two other plays written by Adimari: “Le gare dell’amore e dell’amicizia” (1679), and “L’amante di sua figlia” (1684).