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Dissertations / Theses on the topic 'Christian drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Odhuno, Were Todd Roberts. "In pursuit of African Christian Drama." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60385.pdf.

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2

Wissmann, Cheryl. "Linking creative drama with Christian education." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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3

Rucker, Robert M. "Producing and directing drama for the church." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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4

Baker, Heidi G. "A Christian dance-drama curriculum for ministry training in Hong Kong." Theological Research Exchange Network (TREN), 1985. http://www.tren.com.

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5

Mastin, Rachel Londré Felicia Hardison. "Contemporary drama ministry theatre and the Evangelical-Christian church /." Diss., UMK access, 2007.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2007.
"A thesis in theatre." Typescript. Advisor: Felicia Hardison Londré Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 24, 2008. Includes bibliographical references (leaves 57-58). Online version of the print edition.

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6

Gascón, Christopher Doherty. "Desire and the woman saint in the Spanish Baroque drama /." Digital version, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983211.

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7

Graves, Darlene Richards. "Creative Drama as an Instructional Strategy in Adult Christian Education." PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/1350.

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This study reviews the tenents of adult learning. Christian education and creative drama and presents the observation that there are parallel objectives in each of these three major areas. Noting that creative drama is rarely used in adult Christian education, which is primarily cognitive-based and lecture-discussion oriented, the study proposes the application of creative drama strategies to provide an alternative experiential learning process and therefore create a drama strategies to provide an alternative experiential learning process and therefore create a balance of focus between cognitive, affective, reflective and active learning styles in adult Christian education. It also suggests that through the application of creative drama strategies teachers may more effectively realize the intentions of Christian education: to nurture sensitively aware individuals who are continually growing in faith and empathic love for others. Extant theoretical writings about the practice of creative drama and also literature dealing with the principles and intentions of adult Christian education are reviewed for this study. In the process of surveying current theory and practice in adult evangelical Christian education, the study elaborates on its two basic concerns: adult learning and Christian education. The study discloses a discernible gap between theory and practice through which creative strategies in adult evangelical Christian education have fallen. The study advances the conclusion that this gap may be addressed by application of the creative drama process. Creative drama is presented as one viable means of refreshing individual adult creativity and adult group creativity in Christian education and as an additional way through which to nurture empathic awareness and personal spiritual growth. The underlying assumption is that creative drama is a powerful, often neglected, tool by which adult evangelical Christian education groups may be stimulated to more effective learning and growth. Creative drama, adult learning, and Christian education converge in this study to present an advantageous educational angle. Creative drama is an improvisational, non-exhibitional, process-centered form of drama in which participants are guided by a leader to imagine, enact and reflect upon human experiences. Built on the human impulse and ability to act out perceptions of the world in order to understand it, creative drama requires both logical and intuitive thinking, personalizes knowledge, and yields aesthetic pleasure. The strategy clearly interfaces with current findings in adult learning which represent the effective teacher as a facilitator who seeks to guide the adult learner toward more enhanced self-direction and growth rather than primarily as a disseminator of information who seeks to lead the learner into gaining more knowledge. Adult development findings reveal that adults learn best when their needs and interests are considered, their backgrounds, skills and knowledge are recognized as key resources, and they engage in active problem-solving. Likewise, creative drama draws its framework and impetus from similar concerns of the participants, using their interests and resources as the basis for enactment. In another venue, the intention of evangelical Christian education is to nurture believers toward higher levels of faith development, enhanced integrity in moral behavior, and clear exhibition of genuine love and service toward others. In a similar vein, creative drama also seeks personal growth and moral development through empathic awareness in enactment. Hence, the potential for achieving the ideal outcomes in the fields of adult education, and specifically adult Christian education, is more realizable with the application of the creative drama process to adult Christian education. In the course of literature review and the establishment of a rationale for considering the integration of the creative drama process as an instructional strategy in adult evangelical Christian education, additional ancillary, yet significant, aspects of personal and group growth and awareness are considered as part of the affective learning process and therefore discussed in terms of their applications to the proposal. These aspects include: major learning styles, the experiential learning cycle, adult development, group ctynamics, moral education, creativity development, play and the dramatizing impulse, imagination, metaphor, and empathic awareness and sensitivity. Each is considered as an important link in the connection of the creative drama process to adult evangelical Christian education. The study then lays out potential guidelines for the application of the creative drama process as an instructional strategy in adult Christian education. The potential benefits of creative drama are considered in the processes of determining educational objectives and setting up instructional guidelines for the adult student in the Christian education context. The guidelines include: considerations for effective adult motivation, establishment of positive physical and emotional atmosphere for creative experiential learning, and the sequential process for creative role-playing from warm-up, through enactment, to final evaluation. Suggested specific applications of creative drama in Christian education are presented with extensive sample lesson plans, including the rationale and implementation of guidelines for each step. The study concludes with suggested future research and training to achieve the potential of inculcating creative drama techniques in an adult evangelical Christian education context on a more systematic basis and over a broader scope of application. Recommendations are made for future publications and presentations in order to raise awareness of the need find potential effectiveness of more creative and experiential strategies in adult Christian education as well as to train for better teaching and leadership in those areas.

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8

Bunda, Sascha. "Komische Elemente im dramatischen Werk Christian Dietrich Grabbes /." kostenfrei, 2007. http://othes.univie.ac.at/55/.

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9

Rowe, Julisa. "A guide to ethnodramatology developing culturally appropriate drama in cross-cultural Christian communication : a comparative study of the dramas of Kenya, India and the United States /." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.

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10

Starks, Gwendolyn. "The living light Hildegard von Bingen's visionary life : a one act play /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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11

Montgomery, John David. "Censorship and the Drama Curriculum: A study of the censoring of HSC Drama texts for study and performance in the experience of nine educators working in secondary Christian schools in New South Wales." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/14614.

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This research investigates the contributing factors that influence policy and practice relevant to the censoring of the senior secondary school drama curriculum. Specifically, it examines the practice of and the philosophical basis for censorship in the study and performance of HSC Drama in secondary non-government schools in New South Wales. This study employs an interpretative paradigm of educational research based on a constructivist methodology using narrative analysis. As such the research methodology is a qualitative study employing the tools of interview and questionnaire to three case studies. The three case studies investigated are the three main Christian school systems in New South Wales: Catholic, Protestant and non-denominational Christian schools. In each case study, there is an HSC Drama teacher, a drama faculty head and a director of curriculum. The aim of this study is to produce high-quality, in-depth understandings of why and how censorship operates in these case studies. This study will be of interest and practical use to teachers and principals. These findings demonstrate a chilling effect is widespread in these critical cases. This fear is influencing school management, teachers and students to censor and self-censor texts. This censorship is significantly diminishing the breadth and richness of the curriculum, narrowing student engagement with diverse ideas and significant theatre practitioners. The motivation for these decisions of censorship is often influenced by fear of potential reprisal for the teacher and the school’s reputation. Censorship responses are not often deeply considered and reasoned but rather frequently motivated by appeasement. Issues of the chilling effect, hegemony, determining values and standards, and decision-making processes emerge as themes of this study. The division, diversity and passion in the stories of the respondents, demonstrate a need to develop a conceptual framework and review process to support censorship discourse in schools that is balanced and free of fear. The conceptual framework and review process that this study posits will assist teachers, principals and school communities to make well informed and rationally considered decisions in developing an appropriately broad and balanced arts curriculum.

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12

Quash, Jonathan Ben. "A critique of Hans Urs von Balthasar's theological dramatic theory : with special reference to the thought of Hegel." Thesis, University of Cambridge, 1998. https://www.repository.cam.ac.uk/handle/1810/272693.

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13

Wilson, Kirsten Burgess. "Lord of the dance the church and the arts : a tension worth embracing /." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.

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14

Dyer, Paul D. "The use of oral communication methods (storytelling, song/music, and drama) in health education, evangelism, and Christian maturation." Theological Research Exchange Network (TREN), 1994. http://www.tren.com.

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15

Vladeraccus, Petrus Vladeraccus Petrus Verweij Michiel. "Petrus Vladeraccus Tobias (1598)." Leuven, Belgium : Leuven University Press, 2001. http://catalog.hathitrust.org/api/volumes/oclc/51196538.html.

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16

Bean, Joann Ruth MacLachlan. "From Thraso to Herod : Hrotsvitha meets the bragging soldier /." *McMaster only, 1999.

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17

Sommer, Daniela. "Der Mythos Don Juan in Oper und Theater des 17. bis 20. Jahrhunderts." Marburg Tectum-Verl, 2008. http://d-nb.info/990322793/04.

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18

Näf, Eleonore. "Die heilsame Dimension des Bibliodramas ein theologischer Deutungsversuch und ein Vergleich mit dem Psychodrama." Fribourg Acad. Press, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3147893&prov=M&dok_var=1&dok_ext=htm.

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19

Matthews, Robert. "Learning basic concepts of worship through a designed curriculum and musical for the children's choir of Trafalgar Village Baptist Church, Memphis, Tennessee." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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20

Lewis, Anna Christina Kohler. "WWJD /." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2433.pdf.

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21

Negrão, Liliane. "Nelson Rodrigues e o espetaculo trafico do castigo : a moralização cristã em Album de Familia, Anjo Negro, Doroteia e Senhora dos Afogados." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270176.

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Orientador: Suzi Frankl Sperber
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-14T23:03:19Z (GMT). No. of bitstreams: 1 Negrao_Liliane_M.pdf: 1156344 bytes, checksum: 68a307d57d206076b9af5d000049792f (MD5) Previous issue date: 2009
Resumo: Essa dissertação propõe uma leitura das peças Álbum de Família, Anjo Negro, Dorotéia e Senhora dos Afogados, de Nelson Rodrigues, com o propósito e analisar as obras enquanto textos, enquanto obras dramatúrgicas, e não enquanto espetáculos teatrais em que estas se concretizam. Restringe-se, pois, às obras nos termos dos diálogos, com seus silenciamentos, embates, exclamações; das indicações cênicas e rubricas, dos elementos constitutivos do gênero trágico, assim como da construção das personagens. Isso posto, essa dissertação propõe que, a despeito das obras dramatúrgicas em questão, seja possível demarcar um viés de leitura em que figuram conceitos e elementos oriundos da mitologia cristã. De todas as dezessete peças de Nelson Rodrigues,a leitura que propomos diz respeito a Álbum de Família, Anjo Negro, Dorotéia e Senhora dos Afogados por entendermos que elas se destacam das demais pela recorrência de referências e indícios de idéias de moralização oriundas do cristianismo. Além disso, entendemos que, nessas quatro peças, Nelson Rodrigues engendra um trabalho com os elementos do gênero trágico - que constitui parte importante da análise que fazemos - que não se acha tão marcadamente presente nas outras obras dramatúrgicas do autor. Através de gênero trágico peculiar, tipicamente rodriguiano, que se caracteriza, principalmente, pela ênfase no horror, entendemos que Nelson Rodrigues trabalha com elementos cristãos em um mecanismo de moralização, que pode ser percebido, nas quatro peças, por um engendramento de "não-ditos". Sendo assim, nossa leitura questiona a caracterização comumente aceita da obra rodriguiana como pornográfica, torpe, amoral e imoral. Essa dissertação aponta um caminho através do qual se pode identificar uma intenção moralizante de raízes cristãs na obra dramatúrgica rodriguiana em questão, em uma espécie de mecanismo de constatação à verificação, feita por George Bataille, de que "a literatura é, com efeito, o prolongamento das religiões".
Abstract: This dissertation proposes a reading of the plays Álbum de Família, Anjo Negro, Dorotéia and Senhora dos Afogados, by Nelson Rodrigues, with the puppose of analysing them as texts, dramaturgical works, not as the theatrical entertainment in which they come true. It is restricted, so, to the works in terms of dialogues, with silences, clashes, exclamations; in terms of stage indications and rubrics, of constitutive elements of tragic genre, as well as of the construction of the characters. Having all that in mind, this dissertation proposes that in spite of these dramaturgical works, it would be possible to mark out an approach of reading in which are present concepts and elements from christian mithology. Of all the seventeen Nelson Rodrigues' plays, the reading that we propose concerns Álbum de Família, Anjo Negro, Dorotéia and Senhora dos Afogados for the fact we conceive they stand out from the others due to the recurrence of references and evidences of ideas of moralization from christianism. Besides, we believe that in these four plays, Nelson Rodrigues comes up with a work with elements of tragic genre - what constitutes important part of the analysis carried out here - which is not so remarkably present in other dramaturgical works of the author. Through his peculiar tragic genre, typical of Nelson Rodrigues, which is mostly characterized by the emphasis in the horror, we see that Nelson Rodrigues works with christian elements in a mechanism of moralization, which can be realized, in the four plays, by an engendering of what is not said. Therefore, our reading questions the characterization normally accepted of Rodrigues' work as pornographic, vile, amoral and immoral. This dissertation points out a way through which it is possible to identify a moralizing intention with christian roots in the Nelson Rodrigues' work cited, in a sort of mechanism of observation to the checking, done by George Bataille, in what "literature is, with effect, the extension of religions".
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária

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22

Wyss, Rebecca. "Troubling Northern Irish Herstories: The Drama of Anne Devlin and Christina Reid." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429992523.

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23

Colombo, Daniela. "Das Drama der Geschichte bei Heiner Müller und Christa Wolf." Würzburg Königshausen & Neumann, 2009. http://d-nb.info/991845471/04.

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24

TORRES, CLEBER DINIZ. "SADNESS HAS NO END, HAPPINESS DOES(?): HUMAN DRAMAS IN ORFEU DA CONCEIÇÃO IN DIALOGUE WITH CHRISTIAN ESCHATOLOGY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=34297@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES
O presente trabalho procura desenvolver mais um diálogo entre teologia e literatura. Tomando como referenciais a escatologia cristã e Orfeu da Conceição de Vinícius de Moraes, a pesquisa discorrerá sobre temas como sofrimento, morte e luto, correspondentes entre si nestas suas fontes principais, visando encontrar contribuições para uma teologia mais relevante e acessível. Num primeiro momento, serão levantadas as informações a respeito do poeta e sua obra especificando informações relativas à peça teatral com vistas a demonstrar como nela é expresso, da parte do poeta, opiniões sobre os temas do sofrimento, da morte e do luto. Para isso serão examinadas: as questões relativas à violência presente nas brigas descritas pelo poeta; as duas mortes ocorridas na narrativa; e, os lutos vividos pelas personagens da peça. Num segundo momento, serão apresentados pareceres teóricos da teologia relativos aos temas do sofrimento, em suas causas e em sua presença incontestável na realidade humana; da morte, entendida como parte constitutiva da vida e como expressão limite da existência; e do luto, enquanto expressão de amor do enlutado por aqueles que se foram. Essas proposições têm por objetivo acrescer à pesquisa a chave de leitura da peça teatral, a fim de desenvolver sustentação teológica para o diálogo pretendido. Num terceiro momento, a pesquisa realizará a síntese entre os dos campos do saber, a literatura e a teologia, demonstrando suas correspondências entre os temas do sofrimento, da morte e do luto em ambas e contribuições por elas oferecidas para o campo teológico.
The present work seeks to develop another dialogue between theology and literature. Taking as reference the Christian eschatology and Orfeu da Conceição from Vinícius de Moraes, the research will speak about subjects such as suffering, death and mourning, related to each other in these main sources, with the intention to find contributions for a more relevant and accessible theology. At a first moment, information about the poet and his work will be taken into consideration, specifying information related to the piece theatrical with a view to demonstrate how it is expressed, and the poet s opinions about the subjects suffering, death and mourning. This will be examined: the issues related to violence present in the fights described by the poet; the two deaths occurred in the narrative; and, the mourning experienced by the characters in the play. At a second moment, theology theory related to the subjects suffering, in its causes and in its undeniable presence in human reality; death, understood as a constitutive part of life and as the limiting expression of existence; and mourning, as an expression of love of the mourner for those who are gone. These propositions are aimed at, for purposes of adding to the research the key of reading the play, seeking the development of theological support for the intended dialogue. At a third moment, the research will synthesize the fields of knowledge, literature and theology, demonstrating their correlations , between the themes of suffering, death and mourning in both, and contributions contributions they offer to the theological field.

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Ratliff, Zachary Alan. "The Catholic Priest as Icon of Christ." Ohio Dominican University Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1557244714019054.

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26

Einmahl, Christiane [Verfasser], Ursula [Gutachter] Schaefer, Holger [Gutachter] Kuße, and Andrew James [Gutachter] Johnston. "Orality in Medieval Drama : Speech-Like Features in the Middle English Comic Mystery Plays / Christiane Einmahl ; Gutachter: Ursula Schaefer, Holger Kuße, Andrew James Johnston." Dresden : Technische Universität Dresden, 2020. http://d-nb.info/122720177X/34.

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27

Hartvigsen, Kathryn. "Nineteenth-Century Theatrical Adaptations of Nineteenth-Century Literature." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2510.pdf.

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28

Nielen, Holger. "Prozessionsfeste und dramatische Spiele in interreligiösen Vergleich eine religionsphänomenologische Studie zu Fastnacht, Fronleichnam, ʻAšura und Purim." Berlin Logos-Verl, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2757744&prov=M&dok_var=1&dok_ext=htm.

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29

Gardet, Annette. "Une décentralisation théâtrale, 1962-2002. La Comédie de Reims, Centre dramatique national." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA018.

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Cette thèse traite du cheminement d’une décentralisation théâtrale en Champagne-Ardenne et de ses répercussions hors région, par l’enquête micro-historique d’un modèle, celui de Reims : de la genèse par l’arrivée d’une troupe permanente nationale (1962), de la création de son Centre dramatique national (1979) et de son évolution jusqu’en 2002. Ce travail historique et esthétique balise un terrain peu exploré. Deux axes sont simultanément abordés : la chronologie de l’essor du centre dramatique et l’analyse de pièces significatives éclairant les approches esthétiques des metteurs en scène ayant joué un rôle essentiel sur la scène champardennaise. La première partie privilégie la troupe permanente, celle de la compagnie André Mairal qui fonde le Théâtre de Champagne-Comédie de Reims (1962-1970). Dans la deuxième partie, la réflexion se poursuit par l’étude de continuités et de ruptures depuis 1971, avec la nomination de Robert Hossein qui crée le Théâtre Populaire de Reims dans une des pionnières Maison de la culture (en 1969), puis de celle de Jean-Pierre Miquel qui institue le Centre dramatique national de Reims-Théâtre de la Comédie en 1979, dans une ancienne salle du collège des Jésuites. En troisième partie, nous explorons le développement du CDN et la transmission théâtrale, par les directions successives du CDN, d’abord par Jean-Claude Drouot (1984-1986), puis par Denis Guénoun (1986-1990) qui le renomme Le Grand Nuage de Magellan, enfin par Christian Schiaretti (1991-2002) qui inaugure la Comédie de Reims (1991) affirmant ainsi son ancrage dans l’objectif de la décentralisation
This PhD deals with the process of theatrical decentralization in Champagne-Ardenne (now part of the Grand-Est region) and its national repercussions. Theatrical decentralization was a national program of the French ministère de la Culture aiming to provide various metropolitan cities – and their surroundings – with theatrical equipments, outstanding directors and actors of national, and international renown. The period covers the prefiguration of the Reims National Drama Centre (1960-1962) until 2002 and beyond. Hence, from the compagnie André Mairal leaving Paris for Reims and founding the Théâtre de Champagne-Comédie de Reims, and the subsequent evolutions under the leadership of the various following directors, Robert Hossein, renaming the institution Théâtre Populaire de Reims in 1971, located in one of the first maisons de la Culture (1969), then Jean-Pierre Miquel with the Théâtre de la Comédie (1979), and Jean-Claude Drouot (1984-1986), then Denis Guénoun (1986-1990), who named it Le Grand Nuage de Magellan and finally Christian Schiaretti (1991-2002) who gave its new and remaining name : La Comédie de Reims (1991). Although in many aspects specific, the Champagne-Ardenne experiment is still significative of the global endeavour of cultural decentralization which implied the implication of regional and local authorities in the process

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30

Blasdel, Stephen D. "Introducing participatory worship and evangelism through a postmodern Christmas musical at First Evangelical Free Church, Wichita, Kansas." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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31

King, Errol LeRoy. "Resurrecting Lope's Autos." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/815.

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By the turn of the seventeenth century, the auto sacramental quickly became the most elaborate dramatic genre in Spain. Shortly after the Council of Trent, professional playwrights replaced clerics who had previously written autos for the Corpus Christi celebrations held each year, but none were more influential than Lope de Vega in refining thematic, literary, and staging elements and techniques. At the middle of the nineteenth century, critics began to study the genre that a royal decree had banned almost a century earlier; however, few have dedicated much time to Lope's autos. As a result, most critics have misunderstood Lope's contributions to the genre. This study addresses some of the issues that scholars have particularly misunderstood or ignored, namely, Lope's treatment of the Eucharistic theme in his autos, the level of dramatic unity displayed in his Corpus Christi plays, and the contribution of spectacle to the overall performance. Using a textual analysis of three of Lope's autos, I conclude that Lope could and did write profound, unified liturgical plays designed to disseminate Catholic dogma in an effective and entertaining manner. Each of the three autos used in this study, Las aventuras del Hombre, El viaje del Alma, and Los dos ingenios y esclavos, presents a protagonist representing mankind, who must learn to disregard evil influences faced in mortality and turn to Christ and the Eucharist for salvation. These elaborate liturgical performances, whose budgets exceeded those of the popular comedias of the day, all took place in city plazas around the country. In order to understand the deserved popularity that Lope's autos clearly enjoyed in their original setting, scholars need to return to the texts themselves and not merely rely on criticism.

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32

Akinola, Ogungbemi Christopher. "Utilisation of theatre and drama in Christian worship : the role of drama in Nigerian churches." 2014. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001297.

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M. Tech. Drama
The issue of retention of membership in many Pentecostal Churches in Nigeria has been a matter of grave concern to both the Church hierarchy and the Christian community. The need to discover new ways of doing Church in order to retain members therefore cannot be over emphasised. Creativity in the way Church services are conducted is therefore essential. The use of theatrical and dramatic embellishments in the teaching of the stories of the Bible is expected to bring about sustainable growth in and, perhaps, enthusiasm for Christian worship. Therefore, it is imperative that enactments which make such messages and moments unforgettable at ecclesiastical gatherings should be explored. Many good intentioned and spiritually gifted pastors tend to lose members to more creative ones. With membership shrinking in some major denominations, many churches closing their doors, and others failing to attract younger members, a wake-up call is needed. The stories of the Bible are believed to have morals and spiritual messages that are easy to understand. Certainly the biblical message is as pertinent today as it was hundreds of years ago. This study seeks to support the assumption that theatre is one of the timely tools that can be used to proclaim the timeless truth of the scriptures. It is assumed that while participants may forget some things said in a verbalised sermon, the same sermon might be remembered if it is presented with the embellishments of scenery, music, dance, lighting, costume, dialogue and other forms bring.

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33

Tseng, Szu-Chiang, and 曾思強. "Christian Drama Covergence in Local Community─A Case Study on Jhongli Zion Church." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/hafr32.

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碩士
中原大學
宗教研究所
105
he purpose of the research is to explore the “Creative Religious Theatre Event” in applying to community culture. The researcher aims to collaborate the Christian Culture into community by spending 14 weeks in developing a drama play, the Star Village, performed by 26 church members. A questionnaire is released to the audience after the show to analyze the effect. The development process is also stated. The research is on the subject of the Christmas festival “The Star Village”. The scene construction and the creativity are based on the religious theatre art features such as: the Roman soldiers, the shepherds, the inn keepers and other related historical events to explore the spiritual realm. Multiple drama performance styles are used to interpret the characters’ dynamic and facial expressions. In techniques, the printing and dyeing skills of the fabrics are used to increase the wholeness of the costumes. Besides, Photoshop and Corel Draw are used to create the images. 3D printing skills are used to create authentic costumes and props. In the creating and constructing process, the researcher uses the mixture of realism and magic realism to produce a magical, mythical style. The researcher also uses environmental theatre elements to construct script of gospel theatre by applying multi-media, light painting, Christmas hymns by church choir, lest the audience should feel bored. The study also demonstrates how environmental theatre in classical performance interacts with modern audience. The moment when the audience makes their entrance to the church is the moment they participate in the performing and experiencing the medieval century. The meandering route, the ancient decorated walls, the warm greeting inn keepers, the hospitable villagers, energetic hawkers along the streets, the brave patrolling Roman soldiers, fresh grounded coffee, delicious cakes, sweet figs and dates, Israel traditional music…welcome the audience to the Star Village. The study also uses QR code for the readers to browse the costume, the multi-media and the choir. The researcher hopes that the gospel drama can make an effect on the community and promote the interaction between the community and the church so as to increase the sense of the culture mission of the local church to the community.

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34

Heintzelman, Matthew Zitzewitz. "The Acts of Pilate as an isolating force in the Frankfurt passion play of 1493 /." 2000. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9965089.

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35

Brown, Denise. "Wakers and sleepers : the dynamics of Christina Stead's 'drama of the person'." Thesis, 1990. https://eprints.utas.edu.au/18866/1/whole_BrownDenise1990_thesis.pdf.

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This thesis begins with an introductory survey of the various influences which shaped Christina Stead's vision of life and her interest in drama is identified as an important aspect influencing her work. Her kinship with Balzac, Henry James and others in the European tradition of the dramatic novel is evident. Her concerns as a dramatic novelist are then examined briefly and some of the criticisms of her ability to create character successfully are dealt with. From the outset, Stead uses both drama and dream as metaphors through which to express the illusory quality of life. The thesis demonstrates that in many ways these terms become interchangeable. It explores Stead's use of myth and legend and of the drama and fiction of the past to reinforce her conception of the theatricality of her characters and their lives. The emphasis of her 'drama of the person' is upon character rather than plot. Since she sees life as drama, a struggle, the forms of her novels reflect the flux or process of her characters' lives as they struggle to realise their dreams. Dialectic, manifested in character, imagery, style and theme, operates over the corpus as well as within each individual novel, contributing to the impression of flux or dynamic movement that is essential to drama. In keeping with Stead's use of the metaphor of life as dream or drama, her characters fall into the categories of 'wakers' and 'sleepers' according to the strength of their will to direct their lives. The ‘wakers' are those strong—willed characters whose aspirations are brought to fulfilment as they actively shape and direct their lives. Their dramas are marked by a narrative movement from entrapment towards their ultimate destiny. The 'sleepers' are those characters whose lives are marked by the aimlessness of inertia as they fail to break free from the forces of stasis and they succumb as victims of fate. A consistent pattern of imagery associated with these different categories augments the psychological dramas of the characters. Stead's method of characterisation is a process of unmasking as each aspect of the multi—faceted personae in her dramas is revealed in the different roles they enact. Speech, in dramatic monologues and dialogue, exhibits a strong theatrical bias. Her characters are represented as actors in their plays of life and their actions, speech and gesture accord with this. Stead's dramatic method combines detached naturalistic observation of and close engagement with her characters and their situations. Her presentation allows her characters to expose themselves directly in their ironic predicaments. In using this method, Stead has much in common with the dramatist. The principles of her 'drama of the person' operate throughout the novels making her work an ongoing drama. The major novels are examined, for the most part chronologically, as a demonstration of this ongoing drama.

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36

Drame, Christian [Verfasser]. "Ausbreitung von Deflagrationen in geschlossenen langen Rohrleitungen / vorgelegt von Christian Drame." 2010. http://d-nb.info/1007497971/34.

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37

Mokhwesana, Matseleng Miriam. "A critique of H.P. Maredi's dramas." Diss., 2004. http://hdl.handle.net/10500/1951.

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The aim of this study is to explore HP Maredi's three selected dramas in order to understand his literary practice.These are Mowang wa Matuba , Mo go fetileng kgomo and Lapa ke mosadi. Through his writings one can sense that Maredi wants black people to be aware of their historical origins. He also wants to pass down native customs and traditions to future generations. The whole study discusses the following : ■different perceptions Africans and Westerners hold with regard to depletion of wild animals and the smoking of dagga. ■institutions and activities in the Northern Sotho culture which Maredi considers socially essential. ■portrayal of characters through their relations to, and interactions with their physical and social environments. ■recurrence and reversal as the elements that produce rhythm in drama. ■conclusion and the recapitulation of this study.
African Languages
M.A. (African Languages)

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38

Pienaar, Marne. "Subjektifikasie en metaforiek : struktureringsmeganismes in (drama)diskoers, met verwysing na Christine deur Bartho Smit." Thesis, 2014. http://hdl.handle.net/10210/9488.

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39

Wang, Yi-ting, and 王羿婷. "Northern Irish Women and Sectarianism in Christina Reid''s and Marie Jones''s Dramas." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/30496575023992080199.

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碩士
國立臺灣大學
外國語文學研究所
102
This thesis focuses on the works of Northern Irish women playwrights – Christina Reid and Marie Jones. Two of their plays are selected respectively. Tea in a China Cup (1983) and The Belle of the Belfast City (1987) are Reid’s interrogation of women’s autonomy in terms of sexuality, marriage, career, religion and political stance. Marie Jones’s 1985 work Now You’re Talkin’ exhibits the multiplicity of Northern Irish women’s lives and how they either vociferously or modestly demonstrate their differences. Somewhere Over the Balcony (1987) is Jones’s farcical yet somehow cynical representation of Northern Irish Troubles from female perspectives. The first purpose of studying these plays is to examine how these women attempt to counteract male aspirations in a politically and religiously divided society. The selected plays for this thesis are set within the Troubles context of Northern Ireland in which the male-presided sectarianism renders Northern Irish women the silent subaltern. In Reid’s and Jones’s plays, a multitude of women are illustrated with regards to their various personalities, religions, political stances, and life experiences. The examination of their plays offers the audience alternative ways to understand Northern Irish women’s experiences other than those of being mothers, daughters, sisters, and wives in a highly patriarchal and militant society. The second purpose of this study is to demonstrate how Northern Irish society transforms through political upheavals by studying Reid’s and Jones’s plays in detail. Works by women playwrights reveal that, besides the political and religious divisions that have received almost the entire spotlight of the media since the 1960s (the time when the Troubles began), other social problems such as poverty, unemployment, inadequate housing, domestic abuse, sexuality, and incarceration are largely ignored. Therefore, this study aims to provide a critical analysis of Reid’s and Jones’s works, in which the diverse experiences of Northern Irish women are presented, in the hope of coming to “feminine solution(s)” to the social problems, religious sectarianism as well as other issues concerning women’s (and men’s) lives in Northern Ireland. This thesis examines how gender, particularly female, is presented in the plays by two Northern Irish female playwrights. One of the aims is, through the reading of Reid’s and Jones’s dramas, to study how women conspire yet often attempt to resist the patriarchal and sectarian culture of Northern Ireland. The second aim is to reveal, within the male-dominated, sectarian cultural context, how these two female playwrights theatrically construct the autonomy of women through their stories so as to subvert the convention in which most women are forced to locate themselves in the periphery of Northern Irish politics.

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