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Dissertations / Theses on the topic 'Contemporary British theatre'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Cantrell, Thomas Edward. "Acting processes in contemporary British verbatim theatre." Thesis, University of York, 2010. http://etheses.whiterose.ac.uk/1173/.

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This thesis is the first investigation to examine acting processes in contemporary British verbatim theatre. Proceeding by a case-study basis, I analyse three recent verbatim productions. In the introduction I note the curious absence of actors' testimony in current academic research, and suggest some of the reasons for this oversight. My work is thus a counter-narrative to the established scholarly convention which assumes that non-actors - directors, writers and academics - can represent actors. My thesis demonstrates how this ventriloquising for actors has led to confusion and ignorance abo

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2

Houston, Andrew. "Postmodern dramaturgy in contemporary British theatre : three companies." Thesis, University of Kent, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264631.

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3

Clements, Rachel Elizabeth Adelaide. "Hauntology and contemporary British political theatre 1995-2010." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529760.

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4

Parker, Ellie. "Design and designer in contemporary British theatre production." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/86ac157c-fbef-4c8d-bc99-eda9f967a791.

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The thesis is an interrogation of both process and reception of contemporary scenography. The definition 'contemporary' embraces professional public performance since 1980. Theatre design is now more accurately described as scenography, but as theatre designers in. Britain rarely describe themselves as scenographers, both terms are adopted. The thesis is divided into two sections followed by. an appendix. Diagrammatically, we may see the performance product as central. The first section of the thesis - chapters one to four - reflects the process of image reception as a journey, situating the s

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5

Abdulla, Aqeel. "Representations of Muslim women in contemporary British theatre." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24354.

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This PhD thesis sets out to study how Muslim women have been depicted in contemporary British plays. I am studying these depictions in eight plays: 1. Deadeye by Amber Lone, first performed in October 2006 at The Door, Birmingham Repertory Theatre. 2. Sweet Cider by Emteaz Hussain, London 2008. 3. Shades by Alia Bano, London 2009. 4. What Fatima Did by Atiha Sen Gupta, London 2009. 5. Sisters by Stephanie Street, Sheffield 2010. 6. Burq Off! by Nadia Manzoor, London 2014. 7. My Name Is ... by Sudha Bhuchar, London 2014 8. East Is East by Ayub Khan-Din, London 2014. I am arguing in my introduct

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6

Canton, Ursula. "The use of biographical material in contemporary British theatre." Thesis, University of Sheffield, 2007. http://etheses.whiterose.ac.uk/10292/.

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The thesis addresses the contrast between the popUlarity of plays with historical characters, i.e. characters that recognisably resemble historical figures, on the British stage and the lack of academic literature that deals with this issue. On the basis of such a practical observation, a working definition is established, in which the existence of such a characters, or the reflection about the process of life-writing are included, and the consequences of the use of biographical material are outlined. A crucial effect is the establishment of a very different relationship between the world of t

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7

Venn, Jonathan Edward. "Madness, resistance, and representation in contemporary British and Irish theatre." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/27675.

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This thesis questions how theatre can act as a site of resistance against the political structures of madness. It analyzes a variety of plays from the past 25 years of British and Irish theatre in order to discern what modes of resistance are possible, and the conceptual lines upon which they follow. It questions how these modes of resistance are imbibed in the representation of madness. It discerns what way these modes relate specifically to the theatrical, and what it is the theatrical specifically has to offer these conceptualizations. It achieves this through a close textual and performati

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8

Garson, Cyrielle. "Beyond Documentary Realism : aesthetic Transgressions in Contemporary British Verbatim Theatre." Thesis, Avignon, 2016. http://www.theses.fr/2016AVIG1157.

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Le théâtre verbatim, une pratique scénique dont le texte repose entièrement sur les mots exacts énoncés par des personnes réelles, est au coeur d’une renaissance remarquable et inattendue du genre en Grande-Bretagne depuis le milieu des années quatre-vingt-dix. Au même moment, les metteurs en scène britanniques contemporains ont déclaré avoir trouvé de nouvelles approches pour une pratique du théâtre politique par son entremise. En dépit de la dominante anti-réaliste qui semble encore à l’heure actuelle caractériser la culture postmoderne, on admet le plus souvent que le réalisme documentaire

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9

Delgado-Garcia, Cristina. "The aesthetics and politics of character and subjectivity in contemporary British theatre." Thesis, Aberystwyth University, 2013. http://hdl.handle.net/2160/c6578e94-d667-4a82-b953-2137f2cddd86.

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This doctoral project offers a politically-inflected renegotiation of the related notions of character and subjectivity as they are currently used in Anglophone theatre studies. It proposes to strategically rethink character as “any figuration of subjectivity in a theatre text or performance” so as to enable a less prescriptive inquiry into the theatrical forms and subjective figures that veer away from the liberal-humanist ideal. This understanding of character is deployed to re-route and politicise the reception of four contemporary British, script-led works that experiment with speech attri

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10

Moore, Bridie Lesley. "Effects, metaphors and masks : reading and doing age in contemporary British theatre." Thesis, University of Sheffield, 2018. http://etheses.whiterose.ac.uk/21470/.

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This thesis combines traditional and practice-based methods to research the representation of age and ageing in contemporary British theatre. My voice interjects intermittently in the thesis in acknowledgement of my culturally and historically situated position as a middle-aged female theatre-maker. In search of performances that might counter the normative narratives of decline and disappearance that pertain to age (Margaret Gullette, 2004: 13), I look, in Part I at professional performances, considering mainstream dramas and contemporary autobiographical performances. I conclude that the lat

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11

Chavda, Mrunal Prabhudas. "Bharata's Natyashastra-based theatre analysis model : an experiment on British South Asian and contemporary Indian theatre in English." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/17577.

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This thesis tests a newly developed model based on the Natyashastra, an Indian treatise on performing arts, and uses this for theatrical analysis in the contexts of British Asian theatre productions and contemporary Indian theatre in English. The study offers a tool that can provide an alternative model of analysis. By extending the existing analytical models, we can ask questions concerning the actors’ emotional manifestation and their mental state while acting. This thesis attempts to interpret the actors’ gestures and provides a structure to analyse them. In order to do that, this project u

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12

Fraser, Rebecca Amy. "History in the hands of the contemporary playwright, 2000-2015 : a feminist critique of normative historiography in British theatre." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/31040.

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Between 2000 and 2015 twelve of the UK’s leading producing theatres premiered twenty three plays by British playwrights where the action was set between 1882-1928. This historical period is significant; in 1882 the Married Women’s Property Act was passed and in 1928 equal enfranchisement for men and women was granted in the United Kingdom, hence, the historical period traces a shift in women’s rights from property ownership to the vote. This thesis investigates narratives within these plays and explores the development of a normative historiography that is drawn on, but predominantly left unqu

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13

Johnson, Paul. "Quantum performance : scientific discourse in the analysis of the work of contemporary British theatre practitioners." Thesis, Coventry University, 2006. http://eprints.worc.ac.uk/353/.

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The scientific developments made during the twentieth century have provoked a profound re-conceptualisation of the nature of reality. Quantum mechanics in particular has produced a spectacular paradigm shift, the philosophical implications of which are still being debated and explored. This thesis explores these implications in terms of developing a framework for the analysis of live performance through three conceptual categories: identity, observation and play. Though there has been some recent theatre work, notably Copenhagen and Hapgood, that engage explicitly with quantum mechanics in ter

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14

Ingham, Michael Anthony. "Theatre of storytelling : the prose fiction stage adaptation as social allegory in contemporary British drama /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20275961.

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15

Perry, Rachel. "Leadership, risk and innovation in contemporary subsidised British theatre : cases from large-scale participation initiatives." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/17499/.

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16

Goodman, Lizbeth. "Gender in performance : contemporary British and comparative studies in theatre and associated forms of cultural representation." Thesis, Open University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266834.

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17

Crouch, Kristin Ann. "Shared experience theatre: exploring the boundaries of performance." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054738772.

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18

Idrissi, Nizar. "Stephen Poliakoff: another icon of contemporary British drama." Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210559.

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This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama.<br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished

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19

Botham, Paola A. "Redefining political theatre in post Cold-War Britain (1990-2005) : an analysis of contemporary British political plays." Thesis, Coventry University, 2009. http://curve.coventry.ac.uk/open/items/f87298f3-39f6-86d2-9d5f-618aeb1e9eb8/1.

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After the end of the Cold War had signalled for many the demise of political theatre, a re-emergence of British political plays since the turn of the century has become an acknowledged phenomenon. Customary definitions of this cultural practice, however, have become historically and theoretically obsolete. An alternative philosophical framework is needed which breaks with both the unrealistic expectations of the traditional Left and the defeatist limitations of postmodernist positions. This thesis aims to provide a revised definition of political theatre based on the ideas of Jürgen Habermas.

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20

Ayache, Solange. "‘In-Yer-Head’ Theatre : Staging the Mind in Contemporary British Drama. Towards a Quantum Psychopoetics of the Stage." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040010.

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Cette étude s’intéresse à l’espace mental comme nouveau terrain d’exploration du drame britannique contemporain, et examine les manifestations d’un mouvement qui « met en pièces » les régions inexplorées des pensées inconscientes et les contrées impénétrables du traumatisme. Puisant dans les découvertes de la psychanalyse et des sciences cognitives, inspiré par le changement de paradigme de la mécanique quantique et ses interrogations sur le rôle et la nature de la conscience, ce théâtre non plus tant « in-yer-face » que « in-yer-head » s’éloigne de la sensibilité des années 1990. Les pièces d

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21

Peters, Jens. "Narration and dialogue in contemporary British and German-language drama (texts – Translations – mise-en-scène)." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14393.

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The aim of this thesis is to undertake a comparative study of contemporary British and German-language playwriting, with an eye specifically towards possible reasons and solutions for the problematic situation of German-language playtexts in Britain. I will first conduct a stylistic analysis of a selection of British and German-language playwrights, focusing on the differences in representation of interiority through dialogue and narration. I will then introduce a phenomenological lens that will expand this literary analysis by looking at specific stagings of these texts, and at the use of ges

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22

McEvoy, William Joseph. "Performance in sites : site-specificity and critical subjectivity in contemporary French and British theatre and performance with special reference to Brook, Mnouchkine and Warner." Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406356.

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23

Brinkman, Eric M. "Inclusive Shakespeare: An Intersectional Analysis of Contemporary Production." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595003420023716.

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24

Breedlove, Allegra B. "Hamlet #PRINCEOFDENMARK: Exploring Gender and Technology through a Contemporary Feminist Re-Interpretation Of Hamlet." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/667.

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25

Fritsch, Valter Henrique de Castro. ""Stretching their shadows far away" : weaving Chekhov and the Brontës on the stage through Blake Morrison's We are three sisters." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/140154.

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A presente tese analisa a peça We Are Three Sisters - escrita em 2011 pelo poeta e dramaturgo britânico Philip Blake Morrison - com o objetivo de discutir as ligações entre as instâncias do ficcional, do real, do imagético e do biográfico. Morrison utiliza como pano de fundo para a elaboração de We Are Three Sisters o texto As Três Irmãs (1902) do dramaturgo russo Anton Chekhov. Morrison preenche sua peça com dados sobre a vida das irmãs Brontë, como retratados pela historiadora e biógrafa Juliet Barker em The Brontës: Wild Genius on the Moors (2010). Barker, que foi curadora da biblioteca da

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26

Rousseau, Aloysia. "Réhabilitation d’un genre : la comédie de menace de David Campton à Martin Crimp (1957-2008)." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040162.

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La comédie de menace, expression utilisée pour la première fois par le critique de théâtre Irving Wardle en 1958, est devenue aujourd’hui une notion stéréotypée, appliquée de manière systématique au théâtre d’Harold Pinter. Cette thèse, en proposant de nouveaux critères de définition à la fois sémiotiques et esthétiques, vise à réhabiliter ce genre qui ne cesse de se développer depuis les années 1950, chez des auteurs tels que David Campton, Caryl Churchill et Martin Crimp. Ce théâtre repose tout d’abord sur un renversement entre intrus et autochtone qui n’a jamais été exploré depuis son évoca

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27

Sears, Linda Roseanne. "Resistant corporealities contemporary British dance-theater /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.

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Sears, Linda Roseanne. "Resistant corporalities : contemporary British dance-theater /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.

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29

Alliot, Julien. "La Fête paradoxale sur la scène britannique contemporaine." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040132.

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Depuis sa naissance au cœur des célébrations païennes ou religieuses du Moyen Âge anglais, le théâtre britannique a toujours entretenu des liens privilégiés avec la fête. Cette affinité élective entre le dramatique et le festif fait ici l’objet d’une réflexion esthétique reposant sur un corpus de pièces contemporaines où sont représentées toutes sortes de célébrations. En effet, qu’il s’agisse d’anniversaires, de Noëls, ou de retrouvailles entre amis, le topos festif perdure sur les scènes britanniques de la seconde moitié du XXe siècle (The Birthday Party fut joué à Londres en 1958) jusqu’au

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30

Ghaderi, Sohi Behzad. "Theatres of the mind : a comparative study of British romantic dramatists with five contemporary British dramatists." Thesis, University of Essex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337835.

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31

Kazzazi, Seyedeh Anahit. "Performing science : new physics and contemporary British and American science plays." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/67576/.

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32

Park, Kyung Ran. "Philomela and her sisters : explorations of sexual violence in plays by British contemporary women dramatists." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/55822/.

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The theme of this thesis is women and violence explored in eleven plays by British contemporary women playwrights in the 1980s and 1990s. In order to explore these plays, I have made investigations into a basic knowledge of violence against women in the Introduction. Violence against women is also called sexual violence or gender-related violence. The knowledge I have gained includes how sexual violence is defined; why sexual violence occurs; what kinds of sexual violence there are; how people perceive sexual violence. My definition is that any act which limits the autonomy of women constitute

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33

Kingston, Talya Anne. "The dramaturgy of dialect an examination of the sociolinguistic problems faced when producing contemporary British plays in the United States /." Connect to this title online, 2008. http://scholarworks.umass.edu/theses/105/.

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34

Midhin, Majeed Mohammed. "The artist as a dramatic character in contemporary British drama : a critical study of Stoppard, Barker and Wertenbaker." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20011/.

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The focus of this dissertation is the representation of the artist as a character in British theatre. In this study, which includes three chapters and one introductory chapter, I attempt to show that British playwrights, whether male or female, use their main fictional characters as artists either for self-reflexivity or to comment on the situation of being an artist. In accordance with the above premise, the responsibility of the artist and the function of art is investigated with due reference to radical thinkers, philosophers and writers such as, among others, Immanuel Kant, Oscar Wilde, Ge

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35

Davies, Ben. "Exceptional intercourse : sex, time and space in contemporary novels by male British and American writers." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2582.

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This thesis provides a theory of exceptional sex through close readings of contemporary novels by male British and American writers. I take as my overriding methodological approach Giorgio Agamben’s theory of the state of exception, which is a juridico-political state in which the law has been suspended and the difference between rule and transgression is indistinguishable. Within this state, the spatiotemporal markers inside and outside also become indeterminable, making it impossible to tell whether one is inside or outside time and space. Using this framework, I work through narratives of s

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36

Kingston, Talya A. "The Dramaturgy of Dialect: An Examination Of The Sociolinguistic Problems Faced When Producing Contemporary British Plays In The United States." 2008. https://scholarworks.umass.edu/theses/105.

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To fully realize plays in another culture, it is important for the actors and audience to understand the meaning of the words that are being spoken in the context of the culture of the play. This thesis examines the various dramaturgical problems that arise in producing British plays with dialect in the United States, and uses sociolinguistic analysis to explore the various solutions that have been applied to bridge the gap between script and audience. Alan Bennett’s The History Boys (2004) and Irvine Walsh’s Trainspotting, (adapted for the stage by Harry Gibson in 1995), are both deeply conne

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37

Pavelková, Hana. "Monologické hry v současném britském a irském divadle." Doctoral thesis, 2014. http://www.nusl.cz/ntk/nusl-342288.

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This dissertation examines a very popular and widespread trend in contemporary British and Irish theatre - monologue plays. One of the reasons of the recent boom of monologue-based theatre performances might be the fact that the condensed theatrical form presents a challenge for everyone involved - the playwrights, actors, and crucially also for the audience. The diversity and quantity of such plays present an obstacle that has deterred most theatre scholars from systematic analysis as it is difficult to decide on what ground such widespread phenomenon might be critically approached. Given the

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38

Hayes, Lisa. "Theatricalizing oral history how British and American theatre artists explore current events and contemporary politics in the journey from interview to performance /." 2008. http://proquest.umi.com/pqdweb?did=1542153011&sid=51&Fmt=2&clientId=39334&RQT=309&VName=PQD.

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Thesis (Ph.D.)--State University of New York at Buffalo, 2008.<br>Title from PDF title page (viewed on Feb. 13, 2009) Available through UMI ProQuest Digital Dissertations. Thesis adviser: Frisch, Michael Includes bibliographical references.

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39

Hennawi, Chada. "Rasismus a Nové Rozměry Zobrazování Multikulturní Zkušenosti v Současném Britském Dramatu." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-405703.

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The thesis Racism and New Dimensions of Projecting the Multicultural Experience in Contemporary British Drama analyzes multiculturalism in contemporary Britain and questions its discursive boundaries through the works of some black and Asian contemporary playwrights such as Roy Williams, debbie tucker green and Tanika Gupta. The works of these playwrights articulate a set of experiences that reflects an image of the contemporary issues of bigotry and violence in Britain. Williams, Gupta and green present new approaches on the multicultural Britain concerning the issues of racism, discriminatio

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