Dissertations / Theses: 'Community theater in fiction'

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Banting, Sarah Lynn. "Common ground and the city : assumed community in Vancouver fiction and theatre." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/29155.

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This dissertation offers a new approach to an enduring question in literary studies: how do certain genres mediate an experience of “imagined community”? In studies of Canadian literature, texts are frequently analyzed for how they represent place—and how they evoke national, regional, local, or transnational communities by depicting characters’ lives in place. This project shares that interest in place, but rather than asking how place is represented, it asks what audiences are addressed when fiction and theatre performances refer to specific places. Shifting focus onto these works’ address to particular imagined audiences allows me to consider how they mediate their actual audiences’ relationships to specific places and to other local and non-local populations. Taking novels, short stories, and plays set in metropolitan Vancouver as a case study, I analyze narrative address using the tools of linguistic pragmatics, in particular theories of audience design, relevance, and common ground. I then adapt these ideas to the analysis of live performance in conventional theatres. I find a variety of different modes of address implicit in how these works style their references to the city and its landmarks. All of the plays and some of the narratives address audiences who share their knowledge of certain parts of the city. They offer insight into what parts of a city residents imagine sharing with their anonymous fellow city-dwellers, on what social basis they share these extended neighbourhoods, and what are the limits of this “common ground.” Other narrators address audiences for whom the city is unfamiliar territory. Their narratives illuminate the social contexts that connect people across spatial divides and the various interests that, in the narrators’ opinion, distant audiences might have in being introduced to Vancouver. While the written narratives address audiences who have a specific amount of knowledge of Vancouver but might themselves be anywhere, the plays potentially produce a “strong” form of common ground by bringing their audience together at a particular site. I argue that this experience constructs what Arjun Appadurai calls “locality,” thus offering insight into what locality might feel like in a modern Canadian city.

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Popovich, George Lee. "Structural analyses of selected modern science-fiction films /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487329662145685.

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Crawley, James J. "The history of the Wichita Community Theater." Thesis, Wichita State University, 2009. http://hdl.handle.net/10057/2516.

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When the members of the First Unitarian Church in Wichita Kansas met in the autumn evening of 1946 to set up a performance group, they had no idea that they were starting an organization that would change the landscape of performance arts in Wichita Kansas. The Unitarian Experimental Theater expanded out of its small confines of the basement of the church to the University of Wichita's 1,200 seat theater, helping to develop the University's theater program and bring even more attention to live theater in Wichita. With the establishment of the Century II civic center to celebrate the centennial of Wichita's founding, the Wichita Community Theater moved into the Little Theater, promoting its live shows with guest stars featuring the likes of Helen Hayes, Maurice Evans and many others from television and movies. These shows along with the purchase of a new property, the old Temple Emanu-El Synagogue in the College Hill area, increased the reach of the Wichita Community Theater to include classes, meetings and smaller more intimate productions. The history of the Wichita Community Theater is full of successes, including the year in review show, Commedia, donations to the Wichita Public library and scholarships for high school student. The theater has also had its controversies, including the ousting of Mary Jane Teall, the picketing of the College Hill property by religious groups and being on the brink of extinction with bankruptcy. With all of these events, the theater kept producing quality shows. While the actors, directors and designers all strived to create perfection on each individual show, these dedicated volunteers kept much more than the production alive. These men, women and children kept the core spirit of this organization alive keeping the theater running. Although highlighting the history of the Wichita Community Theater, this history focuses more on the volunteers and the sacrifices that were made to keep the organization alive and well. The Wichita Community Theater is still alive and well and producing shows in the city of Wichita to this day. The theater is full of stories, individual tales of comedy and tragedy and events that made each specific story unique. These stories are forever ingrained in the individuals involved and even though only a few of them are highlighted in this paper, while others are not documented. Their efforts reflected in these stories, and many future ones that will keep the spirit of the organization alive for years to come.
Thesis (M.A.) -- Wichita State University, College of Liberal Arts and Sciences, Dept. of History

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Sutton, Malcolm. "Ontologies of Community in Postmodernist American Fiction." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/20695.

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Using a number of structurally innovative novels from the 1970s, 1980s and 1990s as a basis for study, this dissertation examines the representation of communities in postmodernist American fiction. While novels have often been critically studied from the standpoint of the individual and society, here the often neglected category of community is put under scrutiny. Yet rather than considering it from a sociological point of view, which can potentially favour historical, economic or political grounds for community, this study focuses on the ontological binds formed between individual and community. On one level this study connects formal qualities of postmodernist novels to a representation of community – especially literary conventions from the past that are foregrounded in the present texts. On another level it interrogates the limits of the individual in relation to others – how we emerge from others, how we are discrete from others, how much we can actually share with others, at what cost we stay or break with the others who have most influenced us. The primary novels studied here, each of which is deeply invested in the community as a locus for ontological interrogation, are Robert Coover’s "Gerald’s Party" (1985) and "John’s Wife" (1996), Gilbert Sorrentino’s "Crystal Vision" (1981) and "Odd Number" (1985), Harry Mathews’s "Cigarettes" (1987), Joseph McElroy’s "Women and Men" (1987), and Toni Morrison’s "Paradise" (1997). Despite their varied representations of and attitudes toward the individual in community, these texts share a common spectre of American Romanticism that inflects how we read the possibility of community in the postmodernist period.

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Oliver, Sarah Miranda Londré Felicia Hardison. "Kansas City's Community Children's Theatre a history /." Diss., UMK access, 2008.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2008.
"A thesis in theatre." Typescript. Advisor: Felicia Hardison Londreʹ Vita. Title from "catalog record" of the print edition Description based on contents viewed Sept. 12, 2008. Includes bibliographical references (leaves 118-120). Online version of the print edition.

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Rodríguez, Ernesto F. "Theater and community : an architectural language for social integration." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/69738.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1996.
Includes bibliographical references (leaves 57-58).
The experimentation with an alternative form of theater, which questioned the tradition dramatic heritage , emerged in Puerto Rico during the second half of the 1960's. This new form of theater, known as Experimental Theater, searched for a new aesthetic language rooted in the use of the human body as an instrument of expression. At the same time, the companies and groups - composed mostly of college students - working with this kind of theater had a well-defined social, cultural and political agenda, which was clearly reflected in the nature of their performances. The tradition of the Puerto Rican Experimental Theater has survived until today. It has experienced a change in its social and political approaches, which now are focused in the reinforcement of the Puerto Rican culture and the searching for the definition of a contemporary national identity . This idea of contemporary national identity presumes the breaking with the traditional system of dramatic representation used in the classical theater as well as in the early models of theatrical experimentation. New groups work with new codes of national representation detached from convention al cannon, creating a vibrant and contested imagery. In this line of work, the Puerto Rican group Teatreros de Cayey, directed by the theater professor Rosa Luisa Marquez and the Puerto Rican artist Antonio Martorell present a paradigm in and of themselves. Marquez and Martorell propose a work based on a theatrical dialogue between dramatic text and pictorial image. At the same time their work has focused on its interaction with low income communities as well as with school and elderly hospitals and institutions. Their work is based in the assumption that people don't have to be actors to make theater and that theater can be used as a community tool in order to produce social transformations.
by Ernesto F. Rodríguez.
M.Arch.

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Hand, Richard James. "Self-adaptation : the stage dramatisation of fiction by novelists." Thesis, University of Glasgow, 1996. http://theses.gla.ac.uk/1912/.

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The stage dramatisation of fiction is a common and increasingly popular practice. Normally, a dramatist will take a novelist's work and adapt it, but there are cases dating back to at least the sixteenth century where novelists themselves have attempted to dramatise their own fiction. In the context of British theatre, it was not until the 1911 Copyright Act that novelists had copyright over the dramatisation of their original work. For this reason, novelists were obliged to adapt their own fiction to protect it against unauthorised dramatisation. Several authors, however, adapted their novels for more than reasons of copyright. The glamour of the West End and the potential for financial reward lured the novelists into adaptation. In the numerous adaptations of Henry James the language of the fictional narrator invades his scripts, in the form of stage directions or forced into the mouths of the characters. James is fascinated by the technical aspect of drama and he did make a substantial effort to rewrite Daisy Miller to make it suitable for the dramatic genre, but this includes a disappointing use of stage clichés as part of the mechanics of stagecraft (such as melodramatic techniques and the "happy ending"). Thomas Hardy was enthusiastic about the stage in his youth and had some innovative ideas for the stage but never fully realised his concepts. The adaptation of Tess of the D'Urbervilles has some evocative imagery but is more like a medley of dramatic highlights separated by major ellipses than the panoramic and inexorable vision of the novel. In the adaptation of The Secret Agent, Conrad sustains a loyalty to the novel which mars the play with too many characters and an excess of exposition. Conrad's decision to be chronological in the adaptation strips the story of its sophistication and creates an uncompromising, even shocking, play. This could be seen as a merit as are Conrad's expressionistic touches and his treatment of heroism and insanity. Indeed, the play is a compulsive experience and claims that it is ahead of its time are perhaps justified.

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Graham, Catherine (Catherine Elizabeth). "Dramaturgy and community-building in Canadian popular theatre : English Canadian, Québécois, and native approaches." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42044.

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The Canadian popular theatre movement's refusal to accept one of the key binary oppositions that organizes Euroamerican theatre practice, the split between community-based and professional theatre, makes it a particularly interesting subject of inquiry for theatre scholars. This dissertation develops a methodology for analyzing this movement by approaching theatre, not as a unified institution or a series of texts, but as a mode of cognition that can overcome another of the basic binary oppositions of modern Euroamerican thought, the opposition between mind and body. Following an introductory chapter that situates the Canadian popular theatre movement in the context of recent Canadian theatre history and of other popular theatre movements around the world, a theoretical chapter lays the foundation for this methodology by exploring such key terms as "community," "professional," and "theatrical." It suggests that theatre is a particularly appropriate cognitive tool for building participatory community in heterogeneous social milieus. Chapters 3, 4, and 5 analyze three stages in the popular theatre process in these terms. Chapter 3 looks at how methods of organizing community workshops put in place particular forms of community. Chapter 4 explores the ways in which the dramaturgic structures of plays created by Headlines Theatre, the Theatre Parminou, and Red Roots Community Theatre are formed both by their creation processes and by their analyses of the problems in the dominant public spheres of the larger society. Chapter 5 looks at the specific contribution professional theatre workers make in focusing audience attention on key elements in community participants' stories. The dissertation concludes by suggesting that popular theatre events can be most fairly evaluated by looking at their contribution to the creation of new categories of thought through which we might publicly discuss and enact truly participatory communities.

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Parker, Alyssa Beth. "Performing in the landscape : a community theater for Marblehead, Massachusetts." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/69340.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1995.
Includes bibliographical references (p. 101-105).
This thesis is an investigation of our perception of place and what constitutes our experience of place. It is a journey through a multitude of scales: region, site and individual. Architecture, in this sense, is the phenomonological perspective of placemaking and relationship between human and environment which is oft boundary, but many times a threshold. Stemming from a criticism of modern architecture that is placeless, this thesis is less about poor examples and more about question of process. How does one begin to understand the lands and begin to define a place within the landscape? How does the individual relate to the built environment within the natural The thesis, then, defines the individual as the source from which understanding is manifested specifically through sensory perception and place making. The project is a performance space for Marblehead, a town whose sense of place is deeply embedded within the history of New England. The project is located on the waterfront, where the natural characteristics of the tides and the seasons perform continuously, subtly altering the nature of the site. This thesis is organized in three parts. The first is a description of the region. the particular site, and the program within that site. The second is a construct of ideas which are related to experience and the forming of our understanding place. The third part is a journey through the site and project, proposing a method through which we may begin to understand the phenomonology of perception and the understanding of place through the design process.
by Alyssa Beth Parker.
M.Arch.

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Hedden, Jason. ""Hidden Voices: A Creation through Collaboration with Fellow MFA Actors and Community Partner Turning Point."." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392069669.

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White, Lillian W. "Storytelling, Community and Dialogue: The Making of And Yet We'll Speak at Grafton Reintegration Center." Oberlin College Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1562022462391606.

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Deal, Claire Elizabeth. "Collaborative theater of testimony performance as critical performance pedagogy implications for theater artists, community members, audiences, and performance studies scholars /." Fairfax, VA : George Mason University, 2008. http://hdl.handle.net/1920/3356.

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Thesis (Ph.D.)--George Mason University, 2008.
Vita: p. 244. Thesis director: Lorraine A. Brown. Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Studies. Title from PDF t.p. (viewed Jan. 11, 2009). Includes bibliographical references (p. 228-243). Also issued in print.

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Koerner, Ethan. "Voicing an other utilizing puppetry and pageantry for community-based spectacle in America /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1219701727.

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Stratton, Sarah Louise. "More than throw-away fiction : investigating lesbian pulp fiction through the lens of a lesbian textual community." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8245/.

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This thesis argues for, and conducts close reading on, lesbian pulp fiction published in the United States between 1950 and 1965. Though a thorough investigation of a lesbian textual community centred on the lesbian periodical, The Ladder (1956-1952), this thesis forms a lens through which to closely read lesbian pulp fiction novels. This thesis maintains that members of this textual community were invested in literary discussions, as evinced through the publication of book reviews. Moreover, the lesbian textual community of The Ladder actively participated in literary discussions through the ‘Readers Respond’ column. Spring Fire (1952) by Vin Packer and The Beebo Brinker Chronicles (1957 to 1962) by Ann Bannon are investigated for implicit and explicit criticisms of 1950s sexual politics and the politics surrounding lesbian representation in popular media. For the members of The Ladder’s lesbian textual community, pulp novels belonging to the ‘Golden Age of Paperbacks’ were more than cheaply produced reading materials.

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Brand, Amelda. "Gemeenskapsgebaseerde teater : 'n Suid-Afrikaans georienteerde ondersoek." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52858.

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Thesis (MDram)--University of Stellenbosch, 2002.
ENGLISH ABSTRACT: Creative expression is influenced by social structures and the political climate of the day. Therefore theatre as a social structure has been directly influenced by colonialism and apartheid. Restricting legislation had a limiting influence on cultural activities and freedom of creative expression. The following terms all refer to community based theatre activities: Community Theatre, Popular Theatre, Theatre for Development, People's Theatre and sometimes Workshop Theatre. Community theatre in post-colonial African countries take place in locations easily accessible to the communities it serves. These activities make use of creative techniques that the target communities can identify with. The subject-matter is generally relevant and is therefore accessible. The conscientisation- and mobilisation-potential of community theatre become evident in post-colonial African countries. The uses of this term in South Africa is closely connected with the above, but the applications in practice are more diverse because of a longer period of Western influence. Popular Theatre encapsulates theatre activities focussing on mass-appeal and popular entertainment as well as theatre activities by and for marginalised communities. "Popular Theatre" activities that take place within marginalised communities make use of collective creative approaches that are aimed at community conscientisation and mobilisation. Like Community Theate and Popular Theatre, Theatre for Development is theatre for, by and of the people (marginalised people, ordinary workers and the unemployed). Certain Theatre for Development projects approach the target communities with pre-planned agendas and creative subject-matter. Theatre for Development, like other community based theatre forms, are aimed at conscientisation, mobilisation and organisation to encourage political liberation and promote a higher standard ofliving. Workshop Theatre encourages people to express themselves by using a democratic and collective creative approach. These characteristics are also present in the previously mentioned theatre forms. Community Theatre, Popular Theatre and Theatre for Development can all be categorised as community based theatre and the terms are interchangable in pracitce.
AFRIKAANSE OPSOMMING: Politieke omstandighede en daaglikse gebeure beïnvloed die keuse van uitdrukkingsvorme. Kolonialisme en veral die apartheidsbeleid in Suid-Afrika het sosiale strukture, waaronder teater, beïnvloed. Wetgewing en beperkte infrastruktuur het kulturele aktiwiteite, kreatiewe uitdrukking en kulturele vloei beperk. Gemeenskapsgebaseerde teateraktiwiteite in Suid-Afrika word meestal benoem met die volgende terme: Gemeenskapsteater, Populêre Teater, Teater vir Ontwikkeling, "People's Theatre", asook Werkswinkelteater wat in Suid-Afrika soms sosio-polities van aard is. Gemeenskapsteater in post-koloniale Afrika-lande is ten opsigte van vorm en inhoud vir die teikengemeenskap toeganklik en vind plaas in maklik bereikbare ruimtes. Die bewusmakings- en mobiliseringspotensiaal van Gemeenskapsteater kom sterk na vore in post-koloniale Afrika-lande. Die gebruike van die term "Gemeenskapsteater" in Suid- Afrika sluit by bogenoemde aan, maar het ook meer diverse toepassings wat by ontwikkelde lande se beskouings aansluit. Populêre Teater ondervang teateraktiwiteite wat fokus op massa-aanhang, sowel as teateraktiwiteite wat gemik is op gemarginaliseerdes. In laasgenoemde konteks is dit gerig op bemagtiging en word 'n kollektiewe skeppingsproses gebruik. Teater vir Ontwikkeling is soos Gemeenskapsteater en Populêre Teater, teater vir, deur en van "die mense" (gemarginaliseerdes, massa gewone werkers en werkloses). Anders as Gemeenskapsteater kan daar 'n voorafopgestelde agenda of gekose onderwerp wees. Soos ander gemeenskapsgebaseerde teater strewe dit na bewusmaking, mobilisasie en organisasie ter wille van bevryding en verhoogde lewensstandaarde in gemarginaliseerde gemeenskappe. Werkswinkelteater het 'n demokratiese en kollektiewe skeppingsproses wat selfvertroue en die vermoë tot uitdrukking aanmoedig. Dit is 'n eienskap wat ook teenwoordig is in die voorafgenoemde teatervorme. Teateraktiwiteite wat met die terme Gemeenskapsteater, Populêre Teater en Teater vir Ontwikkeling benoem word, kan gekatagoriseer word as gemeenskapsgebaseerde teater en is dikwels in die praktyk omruilbaar.

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Bastani, Nava Corinne. "A project proposal for the formation of People's Theatre : a community drama project for the moral development and empowerment of the youth in Hout Bay /." Link to the online version, 2007. http://hdl.handle.net/10019/1670.

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Walter-Smith, Lindley Louise Earnshaw. "Slash : fan forums, fiction and narratives of community on the internet /." Title page, contents and introduction only, 1998. http://web4.library.adelaide.edu.au/theses/09AR/09arw234.pdf.

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Stirrup, David Francis. "Deritualization and community : representations of death in contemporary Native American fiction." Thesis, University of Leeds, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399626.

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GOMES, ERICA CRISTINA DA SILVA. "(RE) MAKING COMMUNITY RADIOS: THE TENSION TO TRANSFORM FICTION IN HISTORY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10592@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Nesta pesquisa nos voltamos para as narrativas jornalísticas de algumas rádios comunitárias do Rio de Janeiro. Identificamos de que forma tais emissoras lidam com este gênero, levando em consideração o modo como são produzidas as mensagens. No âmbito comunitário, demos visibilidade para histórias locais e reunimos características que consideramos como possibilidades de reconfiguração do radiojornalismo tradicional, tais como: presença da subjetividade, existência de textos sonoros híbridos e maior liberdade em explorar a linguagem do veículo. Recontamos a trajetória do rádio no Brasil com o intuito de inserir e legitimar as emissoras comunitárias neste processo. Processo que revela dificuldades das emissoras comunitárias em relação às seguintes questões: obtenção da licença, repressões, interrupção de atividades e nomenclatura atribuída ao segmento. Por outro lado, mostramos a organização dos militantes do movimento, assim como, o interesse da mídia convencional nas produções das rádios comunitárias. Estas abordagens só se concretizaram porque estaríamos diante de um contexto de mudanças paradigmáticas. O esfacelamento do discurso da modernidade como hegemônico possibilitou a emergência de narrativas plurais que vieram à tona. Entre estas vozes, até então recalcadas, estão as narrativas jornalísticas das rádios comunitárias.
In this search, we focused on the journalistic narratives of some community radios in Rio de Janeiro. We identified how these broadcasting stations deal with this type of media, paying attention to the way the messages are produced. In the community sphere, we gave visibility to local stories, and united characteristics that we consider as possibilities of reconfiguring the traditional radiojournalism, such as: the presence of subjectivity, the existence of hybrid sound texts and the greater freedom to explore the radio`s language. We tell the trajectory of radio in Brazil to insert and legitimate the community broadcasting stations involved in this process. And this process reveals the difficulties that these stations face in relation to some topics: acquiring the license, the problem of repression, the interruption of the activities and the nomenclature given to the segment. On the other hand, we showed the organization of people that fight for these radios, as well as the interest of the traditional media in the production of the community radios. This approach is real only because we are facing a context that is going through paradigmatic changes. The dissolution of the modern discourse as homogeneous gave space to the arising of plural narratives. Among these voices, until then quite, are the journalistic narratives of the community radios.

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Roche, Christopher M. ""Hidden voices: a creation through collaboration with fellow MFA actors and community partner Turing Point." Outreach & engagement: working portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392302865.

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Schutt, Megan Faye. ""Hidden voices: a creation through collaboration with fellow MFA actors and community partner Turning Point." Outreach & engagement: working portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392714012.

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Garcia, Antonio. "Hidden Voices: A creation through collaboration with fellow MFA actors and community partner Turning Point. Outreach & Engagement Working Portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391590550.

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Trujillo, Anthony. ""Hidden Voices: A Creation through collaboration with fellow MFA actors and community partner Turning Point." Outreach & Engagement Working Portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392804247.

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Brown, Adrian. ""Hidden Voices: A creation through collaboration with fellow MFA actors and community partner Turning Point." Outreach & Engagement Working Portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392897628.

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McBride, Tanya Chu. "Hidden Voices: A Creation through Collaboration with Fellow M.F.A. Actors and Community Partner Turning Point, Outreach and Engagement Working Portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392909296.

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Narasaki, Roxanne. "Drama." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/220.

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Balzer, Timothy R. "Theatre, /quit the potential community in World of warcraft /." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1244054978.

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Odhiambo, Christopher. "Theatre for development in Kenya : in search of an effective procedure and methodology." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/20919.

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Thesis (DPhil)--University of Stellenbosch, 2004.
ENGLISH ABSTRACT: This is a study of Theatre for Development (TfD) in Kenya. It is an attempt to map out and describe different manifestations of the practice which would, in a way, act as a critical model for practitioners and other stakeholders. However, this is in no way an attempt to provide a rigid all-purpose theoretical model, but nonetheless to offer ways, through a description of aspects of Theatre for Development, within which and through which social and behavioural transformations in this eclectic field may take place. To this end, case studies of a few indicative and contrasting examples of Theatre for Development will be used to provide a mirror which will enable its practitioners to reflect upon and critique their own practices as a way of achieving optimum effectiveness. The works of Paulo Freire and Augusto Boal provide the study with a theoretical model in which its basic assumptions and arguments are tested and developed. These two authors, whose works are related in many ways, privilege the use of participatory approaches in the process of creating critical consciousness and promoting change in the individual and in society; these are fundamental requirements in any meaningful practice of Theatre for Development. The findings of this study reveal the discursive and eclectic state of the practice of Theatre for Development in Kenya as originating from a multiplicity of factors such as the skills (or lack thereof) of the practitioners, government interference and the prescriptive agenda and demands of the project funding bodies, institutions and agencies as well as the proliferation of NGOs using Theatre for Development but lacking its foundational philosophy and methodology. This study therefore suggests that, for the enterprise to be more effective and efficient there is a serious need to reflect critically on its procedures and methodology in order to improve and guide its operation. These fundamental aspects include collaborative research, codification, interactive participation, and facilitation and intervention, and are not prescriptive matters but descriptive, arrived at through a critical analysis of a number of Theatre for Development activities in Kenya. Ultimately the research process has thus highlighted a number of weaknesses and strengths in the practice of Theatre for Development in Kenya. Because Theatre for Development is a performance event, the study utilised both quantitative and qualitative research methods. This was necessary, because the study depended on a bibliographical review, unstructured interviews and action research, where the researcher participated in Theatre for Development projects, happenings and related activities
AFRIKAANSE OPSOMMING: Hierdie is ‘n ondersoek na Teater vir Ontwikkelling in Kenya. Dit poog om die verskillende manifestasies van die praktyk te karteer en beskryf waardeur dit, tot ‘n mate, a kritiese model vir praktisyns en aandeelhouers kan dien. Die onderneming is egter op geen wyse ‘n soeke na ‘n rigiede, allesomvattende teoretiese model nie, maar bied tog ‘n beskrywing van aspekte van Teater vir Ontwikkelling waarbinne en waardeur transformasie van sosiale optrede en handeling in hierdie eklektiese veld kan plaasvind. Met dit in gedagte word na ‘n aantal toepaslike en kontrasterende gevallestudies van Teater vir Ontwikkelling gekyk om ‘n perspektief te ontwikkel wat praktisyns in staat sal stel om hulle eie praktyke krities en effektief te kan evalueer. Die werk en geskrifte van Paulo Freire en Augusto Boal verskaf die teoretiese model vir hierdie ondersoek, wat die basiese beginsels en uitgangspunte daarvan in die Afrika-konteks uittoets en ontwikkel. Hierdie skrywers, wie se werke nou verband hou met mekaar, gee voorkeur aan ‘n interaktiewe, deelnemende benaderings tot die ontwikkelling van ‘n kritiese bewussyn en die stimulering van verandering by die individu en in die gemeenskap. Dié benaderings is fundamenteel tot enige sinvolle aanwending van Teater vir Ontwikkelling. Daar is bevind dat die beoefening van Teater vir Ontwikkelling in Kenia uiters eklekties en uiteenlopend van aard is en dat hierdie stand van sake toegeskryf kan word aan ‘n verskeidenheid faktore, insluitend die vaardighede (of tekort aan vaardighede) van praktisyns, inmenging deur die regering, voorskriftelike agendas en vereistes gestel deur borge en befondsingsagentskappe, edm. ‘n Ander faktor is die geweldige toename in nie-regeringsorganisasies (NGO’s) wat van Teater vir Ontwikkelling gebruik maak terwyl hulle nie oor die basiese filosofiese en metodologiese kennis en opleiding beskik nie. Die bevinding is dus dat sodanige programme slegs meer effektief en doeltreffend bedryf kan word indien daar ernstig besin word oor fundamentele prosedures en metodologieë, om aan die verdere bedryf van die program(me) rigting te kan gee en uitkomste te verbeter. Fundamentele aspekte hierby betrek sou insluit spannavorsing, samewerking, kodifisering, interaktiewe deelname, fasilitering en intervensie, wat nie voorskriftelik is nie, maar beskrywend en rigtinggewend van aard, afgelei uit ‘n kritiese ontleding van ‘n aantal Teater vir Ontwikkelling aktiwiteite in Kenia. Die navorsing het dus uiteindelik ‘n aantal sterk- en swakpunte in die praktyk van Teater vir Ontwikkelling in Kenia belig. Omdat Teater vir Ontwikkelling ‘n aanbiedings-gebeurtenis (“performance event”) is, het die ondersoek beide kwantitatiewe en kwalitatiewe navorsingsmetodes gebruik. Dit was nodig omdat die ondersoek gebruik gemaak het van formele literatuurstudie, sowel as ongestruktureerde onderhoude en aksienavorsing, waartydens die navorser self deelgeneem het aan van die Teater vir Ontwikkelling projekte, gebeure en aktiwiteite.

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Brown, Holly Beth. "Social Justice and Community-Based Art Education." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/193320.

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Both in and out of the classroom, critically discussing and exploring the issues of gender, race, power, equality, and social justice can be a social and emotional minefield for educators and students alike. In politically charged times, escaping pre-formulated reactions and creating real change and empathy can seem a nearly impossible task. Some educators have turned to the visual and creative arts to provide students with emotional connectedness, visceral responses, and modes of self-expression. In this study, I examine two education programs to understand the effectiveness of social justice pedagogical methods using phenomenological research. My focus is on the educators' experiences, influences, and personal pedagogies. I plan to highlight three successful programs to better understand how complex and emotional issues can be better explored through art and visual culture and how other educators can adapt these methods to their own classrooms.

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Burden, Josephine E. "Living life to the full a qualitative study of community theatre, older people, and the construction of leisure /." Connect to this title online, 1997. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050914.125729/.

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KOMADA, NORIKO. "Planting "A Pear Garden in the West" : Recreation of Self, Community and Theater." 名古屋大学大学院国際言語文化研究科, 2002. http://hdl.handle.net/2237/7975.

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Coon, Sarah Marie. "Crossing the Aether-Net: Community and the Theatre of Team StarKid." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1429204552.

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Parsons, Rosemary Frances. "Group devised theatre a theoretical and practical examination of devising processes /." Master's thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/71211.

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Thesis (MPhil)--Macquarie University, Division of Society, Culture, Media and Philosophy, Department of Critical and Cultural Studies, 2007.
Bibliography: leaves 241-251.
Introduction -- Re-devising theatre: towards a genealogy of devising practice -- Pre-devising: group formation, development and games -- Devising theatre: This is not an exit -- Conclusion.
This non-traditional thesis explores the practical and theoretical processes of group-devised theatre. The research informing this thesis is derived from two interrelated components - a practical project in group devising, and a theoretical study of alternative theatre, devising methodologies, and performance theory. -- Chapter One defines "devising" before tracing its origins through the development of experimental practices from the historical avant-garde to the present day. These practices include radical disruptions to discursive language and structure, increased multimedia, reconsiderations of the performer's function and the use of improvisation. This genealogy is argued to be a "literature of practice" capable of informing contemporary devising projects, as well as helping to establish the position of devising within contemporary performance theory. -- Chapter Two examines how creative collaborators begin to form and function as a devising group, a period I theoretically term "pre-devising". By examining the experiences of my group, gaps in devising literature concerning group formation and composition are identified, complemented by an investigation into the role of theatre games in building ensemble. -- Chapter Three draws upon the genealogy of devising, devising literature and performance theory to interrogate the process of devising our production, This Is Not An Exit. The theoretical and practical problems of our methods are explored. These methods include organising the group as an artistic democracy, developing naturalistic characters, and establishing a "postmodern aesthetic". By analysing our experiences, this chapter attempts to illustrate the complex tangle of influences informing contemporary performance practitioners, and highlight areas ripe for future critical research.
Mode of access: World Wide Web.
251 leaves

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Howard, James Joseph. "The English novel's cradle the theatre and the women novelists of the long eighteenth century /." Diss., [Riverside, Calif.] : University of California, Riverside, 2010. http://proquest.umi.com/pqdweb?index=0&did=2019834031&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1274465922&clientId=48051.

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Thesis (Ph. D.)--University of California, Riverside, 2010.
Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 21, 2010). Includes bibliographical references. Also issued in print.

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Bitely, Amelia R. "“An Improbable Fiction”: How Fans Rewrite Shakespeare." Marietta College Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1210350662.

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Lawrence, K. Faith. "The Web of community trust : amateur fiction online : a case study in community focused design for the Semantic Web." Thesis, University of Southampton, 2007. https://eprints.soton.ac.uk/264704/.

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This thesis describes a case study online community: online amateur authors. Taking this case study community as a base, this thesis considers how the concept of community is applied within the Semantic Web domain. Considering the community structures that can be demonstrated through the case study, this thesis makes the case for the recognition of a specific type of social network structure, one that fulfils the traditional definitions of ‘community’. We argue that this sub-type occupies an important position within social networks and our understanding of them due to the structures required for them to be so defined and that there are assumptions and inferences which can be made about nodes within this type of community group but not others. Having detailed our case study community and the type of network it represents, this thesis goes on to consider how the community could be supported beyond the mailing lists and journalling sites upon which it currently relies. Through our investigation of the community’s issues and requirements, we focus on identity and explore this concept within the context of community membership. Further we analyse the community practice of metadata annotation, in comparison to other metadata systems such as tagging, and as it related to the development of the community. We propose a number of ontological models which we argue could assist the community and, finally, consider ways in which these models could be made available to the community in keeping with current practice and level of technical knowledge as evidenced by the community.

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Beckham, Kathryn Ann. "'The Gate City' artistry and identity in an American historical pageant (Nebraska) /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 14.18 Mb., 74 p, 2006. 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:1435838.

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Faigin, David Adam. "Community-Based Theater and Persons with Psychiatric Disabilities: An Investigation of Individual and Group Development, Social Activism, and Community Integration." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1272138390.

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Miller, Jeffrey S. "Enter Stage Right| A Study of Marginalization Related to Conservative Theatre Artists and the Journey to Finding Their Voice Within the Greater Theatre Community." Thesis, Regent University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10784538.

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The issue of marginalization has acquired a position of important scrutiny over the past fifty years among Communication scholars. Two theories in particular deal with this issue in a theoretical and practical way: Muted Group Theory and Standpoint Theory. Muted Group Theory, based on the work of Kramarae (Foss, Foss, & Griffin, 1999), Ardener, and Ardener (1973, 1975, 1980, 2005), purports that the linguistic nature of the world lends itself to power structures in which the language and word choice of one group is able to dominate the voice of another. Standpoint Theory, popularized by the work of Harding and Hill Collins, and brought to greater working prominence within the communication field through Wood and Houston, essentially deals with “how the circumstances of an individual’s life affect how that individual understands and constructs a social world” (Littlejohn & Foss, 2011, p. 110). While these two theories are typically applied to causes generally considered to be championed by liberal ideologists, they are not without their crossover value within the realm of conservative causes. The thrust of this study is to take one such cause—the voice of the conservative theatre practitioner within the greater theatre industry—and examine it through the lens of these two theories to the end that the issue of marginalization and its effects on these practitioners may be understood and that such marginalization may be mediated through the use of practical and theory-based strategies.

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Agullo, Yolande. "La signature dans l'art depuis 1960. Identités et singularités." Thesis, Pau, 2016. http://www.theses.fr/2016PAUU1004/document.

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La signature est un vecteur de choix pour définir l’épistémè dans laquelle s’inscrivent les artistes depuis les années 1960 car, signe de validation de l’œuvre mais aussi signe d’identité, elle est l’épicentre de plusieurs problématiques. Comprise communément comme inscription du nom de l’artiste sur l’œuvre, les nombreuses métamorphoses esthétiques dont elle fait l’objet, depuis que les frontières de l’art s’élargissent à tous les domaines de la vie, nous permettent d’interroger l’ontologie de l’art tout en soulignant les enjeux profonds dont elle relève. En effet, la signature dans l’art nous parle de notre monde contemporain. Pour en rendre compte nous avons problématisé notre recherche à partir des diagnostics désenchantés de la « postmodernité » et de trois formes de la signature, le signe autographique, l’autoportrait et le nom. À la croisée de diverses disciplines, sémiotique, esthétique, philosophie et littérature, économie, Droit juridique et politique, la signature dans l’art contemporain atteste une expérience commune et partageable
The signature is a chosen vector for defining the épistémè to which the artists evolve since the 1960’s because, as a sign of the work’s validation but also as a sign of identity, it is the epicentre of several problems. The signature is commonly understood to be the inscription of the name of the artist on the work. However, since the boundaries of art have extended into all fields in life, many aesthetic metamorphoses to the signature enable us to question the ontology of art while underlining the major challenges it incurs. Indeed, signature in art tells us of our contemporary world and to account for this we have problematized our research on the basis of the disillusioned diagnoses of “postmodernity” and of three forms of signature : autographic sign, self-portrait and name. At the crossroad of various disciplines such as semiotics, aesthetics, philosophy and literature, economy, legal Right and politics, the signature in contemporary art attests a common and shareable experience

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Layton, Gregory Scott. "Milford, Delaware, of all places: eight stories by Gregory S. Layton." Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1082653836.

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Floro, Beth Ann Schoomaker. "Enlarging the Place| Adapting the Community Theatre Rehearsal Process for Elderly Persons, Persons with Mobility Impairment, and Persons with Autism Spectrum Disorder." Thesis, State University of New York at Buffalo, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10823621.

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Every civilization on the planet has some form of theatre. Musical theatre is primarily an American art form. It can be enjoyed by everyone. Enjoyment of any art form is increased by knowledge of and participation in the field and amateur productions allow non-professionals to take part in this collaborative activity. All ages and abilities can participate at various levels, from the smallest child to the wheelchair bound adult. It is my firm belief that taking part in a community theatre production is a creative and worthwhile way to express oneself, foster friendships, develop talents, and perpetuate this uniquely American art form.

I researched methods of adapting the musical theatre rehearsal process for different groups of amateurs. Among these groups I focused on the needs of elderly persons, persons with mobility impairment, and persons with Autism Spectrum Disorder.

It is my wish to best adapt traditional rehearsal techniques to suit these and other groups. By seeking out the basic problems for working with specialized groups and by finding workable solutions for each, we will thereby better enable ourselves to work with all of them.

I outlined the general rehearsal process and made practical suggestions for working with and encouraging participation by these groups. In producing their best work, the participants foster a sense of community and strengthen their areas of weakness.

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Barbillon, Chrystelle. "Mode narratif, mode dramatique : l’adaptation théâtrale de fiction narrative au XVIIe siècle en France." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040006.

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Souvent décriée comme production d’une littérature de seconde main, constamment pratiquée par le théâtre contemporain, l’adaptation, mal définie, négligée par la critique, est rarement théorisée par ceux qui la pratiquent. À partir d’un corpus composé d’une trentaine d’œuvres narratives, allant de L’Astrée d’Honoré d’Urfé (1607-1625) au Dom Carlos de Saint-Réal (1672), et de près de quatre-vingts adaptations, cette étude analyse l’adaptation théâtrale de fiction narrative comme une pratique d’écriture unifiée, que reprend et amende chaque dramaturge. Définissant rigoureusement l’adaptation, ce travail construit, par l’étude des textes et une contextualisation théorique circonstanciée, des outils d’analyse qui identifient et évitent les apories des théories de l’adaptation. Cette grille de lecture rhétorique permet alors de suivre dans ses principaux procédés le geste d’écriture adaptatif, de la sélection de la matière romanesque à la composition puis l’écriture de la pièce de théâtre, jusqu’à son actualisation sur scène : se définit ainsi une poétique de l’adaptation transmodale, qui perturbe le fonctionnement des parties de la rhétorique et met en jeu les potentialités du medium dramatique. Cette pratique, qui confirme ou infirme les genres dramatiques, dans une dynamique tantôt topique, tantôt créatrice, comporte ainsi des enjeux esthétiques. Lieu de circulation et d’invention des formes littéraires, d’un jeu intertextuel complexe dont le miroitement est démultiplié par une réception à plusieurs niveaux, l’adaptation théâtrale exhibe sa littérarité, et mérite une place dans le paysage littéraire français du XVIIe siècle, dont elle restaure l’épaisseur et la richesse
Often dismissed as the production of second-hand literature, though constantly used by modern stage directors and playwrights, adaptation has frequently been neglected by critics; barely theorised by those who practice it, it has been approached with an approximate definition. Through the study of thirty novels and short stories − ranging from Honoré d'Urfé's L’Astrée (1607-1625) to Saint-Réal’s Dom Carlos (1672) − and the study of some eighty theatrical adaptations, this work analyses the theatrical adaptation of narrative fictions as a coherent writing practice, which each and every play embodies in a different way. Starting with a clear definition of what theatrical adaptation means, then proceeding with a careful reading of the works and a detailed review of contemporary theories, we build tools to analyse this corpus and avoid the aporias adaptation theories have usually been confronted with. This reading of adaptation, based on rhetorics, enables us to follow the process of adaptative writing step by step through its various techniques − from the selection of material within the novel to the designing and actual writing of the play to its final staging. Thus we define the poetics of a transmodal adaptation, which reinvents the working of rhetorical categories and questions the potentiality of drama as a semiotic medium. Adaptation therefore challenges literary genres − sometimes confirming their topoï, sometimes creating new forms − and thus tackles aesthetics-related issues. Theatrical adaptation appears as a field of literary experimentation and formal innovation, within which intertextual references reverberate and multiply in various levels of reading. Exhibiting its second-hand nature and therefore its literary quality, theatrical adaptation rightly deserves to be read as a major contribution to the French seventeenth-century dramatic literature, to which it gives back its density and richness

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Zurn, Elizabeth. "Celebration and Criticism: The State of Present Day Scholarship on Community-based Performance." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1241034400.

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Pak, Chiu-shuen Tom. "Stephen King's popular Gothic Gothic meta-fiction, ideology, scatology and (re)construction of community /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37844325.

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Pak, Chiu-shuen Tom, and 白昭璇. "Stephen King's popular Gothic: Gothic meta-fiction, ideology, scatology and (re)construction of community." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37844325.

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Savard, Shannon N. Savard. "Growing Tribes: Reality Theatre and Columbus' Gay and Lesbian Community." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524152632871631.

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Lorenz, Lissette. "Rustbelt Theater: Children's Environmental Justice Narratives from South Elyria, OH." Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1338855346.

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Richards, Keith Owen. "The Red Bull as community theatre in Clerkenwell." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37230.pdf.

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Marais, Susan Jacqueline. "(Re-)inventing our selves/ourselves : identity and community in contemporary South African short fiction cycles." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1016357.

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In this study I focus on a number of collections of short fiction by the South African writers Joël Matlou, Sindiwe Magona, Zoë Wicomb and Ivan Vladislavić, all of which evince certain of the characteristics of short story cycles or sequences. In other words, they display what Forrest L. Ingram describes as “a double tendency of asserting the individuality of [their] components on the one hand and of highlighting, on the other, the bonds of unity which make the many into a single whole”. The cycle form, thus defined, is characterised by a paradoxical yet productive and frequently unresolved tension between “the individuality of each of the stories and the necessities of the larger unit”, between “the one and the many”, and between cohesion and fragmentation. It is this “dynamic structure of connection and disconnection” which singularly equips the genre to represent the interrelationship of singular and collective identities, or the “coherent multiplicity of community”. Ingram, for example, asserts that “Numerous and varied connective strands draw the co-protagonists of any story cycle into a single community. … However this community may be achieved, it usually can be said to constitute the central character of a cycle”. Not unsurprisingly, then, in its dominant manifestations over much of the twentieth century the short story cycle demonstrated a marked inclination towards regionalism and the depiction of localised enclaves, and this tendency towards “place-based short story cycles” in which topographical unity is a conspicuous feature was as pronounced in South Africa as elsewhere. However, the specific collections which are my concern here increasingly employ innovative and self-reflexive narrative strategies that unsettle generic expectations and interrogate the notions of regionalism and community conventionally associated with the short story cycle. My investigation seeks to explain this shift in emphasis, and its particular significance within the South African context.

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Dissertations / Theses on the topic 'Community theater in fiction'

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