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1

Friedlander, Lauren. ""Spending the day in front of the mirror"." Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1305644057.

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2

Przytulski, Gerhard. ""Die wahre Wiege unseres modernen Theaters" religiöse Elemente im Theater Max Reinhardts /." Trier : WVT, Wissenschaftlicher Verlag Trier, 2004. http://catalogue.bnf.fr/ark:/12148/cb39946364h.

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3

Malina, Barbara. "Das Nouveau Theatre Boris Vians." Bonn : Romanistischer Verlag, 2005. http://www.loc.gov/catdir/toc/fy0605/2005421402.html.

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4

Lindenberg, Vita. "Das Repertoire des Rigaer Operntheaters in den 60er Jahren des 19. Jahrhunderts." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-220937.

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Als Richard Wagner in Riga an seiner ersten großen Oper Rienzi arbeitete, war er der Ansicht, daß hier keine Möglichkeit bestehe, ein Bühnenwerk von solchen Anforderungen aufzuführen. Das Stadttheater, in dem von 1782 Opern- und Theatervorstellungen stattfanden, war seiner Meinung nach nicht geeignet, die "große tragische Oper", die zweifelsohne entscheidende Anklänge an die Große Oper Spontinis und Meyerbeers aufwies, aufzuführen. Lag es an der Räumlichkeit des Gebäudes oder spielten da andere Tatsachen ihre Rolle?
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5

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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6

Bauer-Hsieh, Li-yun. "Das Theater auf dem Dach : figuraler Dachschmuck in der südchinesischen Tempelbaukunst /." Köln : [s.n.], 2003. http://catalogue.bnf.fr/ark:/12148/cb39911916g.

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7

Andraschke, Peter. "Das Theaterleben in Bielitz in der Zeit der Habsburger Monarchie." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222065.

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8

Jaeger, Dagmar. "Theater im Medienzeitalter : das postdramatische Theater von Elfriede Jelinek und Heiner Müller." Bielefeld Aisthesis-Verl, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015646186&linen̲umber=0002&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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9

Kuret, Primož. "Das Ständische Theater in Ljubljana / Laibach." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222196.

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In meinem Beitrag werde ich mich hauptsächlich auf die italienische Oper in Ljubljana konzentrieren, obwohl auch deutsche Theatergruppen, die ich am Rande erwähnen werde, ebenfalls interessante Opernvorstellungen in dieser Zeit nach Ljubljana gebracht haben.
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10

Radcliffe, Caroline. "Dan Leno : cultural hegemony in the Victorian popular theatre." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423154.

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11

Lindenberg, Vita. "Das Repertoire des Rigaer Operntheaters in den 60er Jahren des 19. Jahrhunderts." Musikgeschichte in Mittel- und Osteuropa ; 3 (1998), S. 14-20, 1998. https://ul.qucosa.de/id/qucosa%3A15429.

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Als Richard Wagner in Riga an seiner ersten großen Oper Rienzi arbeitete, war er der Ansicht, daß hier keine Möglichkeit bestehe, ein Bühnenwerk von solchen Anforderungen aufzuführen. Das Stadttheater, in dem von 1782 Opern- und Theatervorstellungen stattfanden, war seiner Meinung nach nicht geeignet, die "große tragische Oper", die zweifelsohne entscheidende Anklänge an die Große Oper Spontinis und Meyerbeers aufwies, aufzuführen. Lag es an der Räumlichkeit des Gebäudes oder spielten da andere Tatsachen ihre Rolle?
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12

Jaeger, Dagmar [Verfasser]. "Theater im Medienzeitalter. : Das postdramatische Theater von Elfriede Jelinek und Heiner Müller / Dagmar Jaeger." Bielefeld : Aisthesis Verlag, 2019. http://d-nb.info/1194434282/34.

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13

Klinkenberg, Michael F. "Das idealistische Theater Villiers de l'Isle-Adams /." Münster ; Hamburg ; London : Lit, 2002. http://catalogue.bnf.fr/ark:/12148/cb38996046n.

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14

Andraschke, Peter. "Das Theaterleben in Bielitz in der Zeit der Habsburger Monarchie." Musikgeschichte in Mittel- und Osteuropa ; 4 (1999), S. 3-14, 1999. https://ul.qucosa.de/id/qucosa%3A15503.

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15

Lesle, Ulf-Thomas. "Das Niederdeutsche Theater : von "völkischer Not" zum Literaturtrost /." Hamburg : H. Christians, 1986. http://catalogue.bnf.fr/ark:/12148/cb34983968z.

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16

Fricke, Thorsten. "Arno Holz und das Theater : Biografie - Werkgeschichte - Interpretation /." Bielefeld : Aisthesis, 2010. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018969302&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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17

Fricke, Thorsten. "Arno Holz und das Theater Biografie - Werkgeschichte - Interpretation." Bielefeld Aisthesis-Verl, 2000. http://d-nb.info/998994316/04.

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18

Wannemacher, Klaus. "Erwin Piscators Theater gegen das Schweigen : politisches Theater zwischen den Fronten des Kalten Kriegs (1951-1966) /." Tübingen : M. Niemeyer, 2004. http://catalogue.bnf.fr/ark:/12148/cb39138953d.

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Diss.--Neuphilologische Fakultät--Heidelberg--Ruprecht-Karls-Universität, 2002. Titre de soutenance : Piscator und die unbewältige Vergangenheit. Politisches Theater zwischen Assimilation und Opposition (1951 bis 1966).
Bibliogr. p. 268-276. Index.
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19

Kallemeyn, Rebecca. "ESCAPIST CATHARSIS: REPRESENTATION, OBJECTIFICATION, AND PARODY ON THE PANTOMIME STAGE." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211920375.

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20

Freund, Alexandra. "Fake ist total real : das Theater des Igor Bauersima /." Marburg : Tectum-Verl, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2966968&prov=M&dok_var=1&dok_ext=htm.

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21

Haas, Birgit. "Das Theater des George Tabori : vom Verfremdungseffekt zur Postmoderne /." Frankfurt am Main : P. Lang, 2000. http://catalogue.bnf.fr/ark:/12148/cb39016948r.

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22

Rocha, José Geraldo. "A ciranda das crianças: improvisação e jogo teatral como estética e linguagem nas encenações do pasárgada." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-13032017-115129/.

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Este trabalho é um recorte investigativo sobre a improvisação e o jogo teatral como estética e linguagem nas encenações do Grupo Pasárgada, ao longo de quatro décadas e meia de atuação, propondo novos olhares e caminhos sobre o teatro para crianças e jovens e sua contribuição para a cena teatral contemporânea. Na presente Dissertação de Mestrado, destaco em três textos escritos e encenados por mim, exemplos de minha atuação prática e teórica, embasada no jogo teatral e no conceito de modelo de ação de Bertolt Brecht, como método de aprendizagem em seu caráter coletivo e pedagógico. Destaco também a importância do vasto universo da cultura popular brasileira, com seus jogos tradicionais, contos populares, cantigas de roda, brincadeiras infantis e seu significado presente em praticamente toda a minha obra. Apresento ainda, como registro, a continuidade dessa investigação através de uma dramaturgia em processo, tematizando A Cruzada das Crianças, de Marcel Schwob e o poema homônimo de Bertolt Brecht, sobre crianças em tempos de guerra - os ecos do passado - buscando revelar a invisibilidade que a criança vem ocupando através dos séculos, sendo vítima da mais completa indiferença e da mais cruel das exposições.
This work is an investigative cut on improvisation and theatrical play as aesthetic and language in stagings of Pasargadae Group, over four and a half decades of work, proposing new looks and ways of theater for children and young people and their contribution to contemporary theater scene. In this Master\'s Dissertation highlight in three texts written and staged for me examples of my practical and theoretical performance, based on the theatrical play and action model concept of Bertolt Brecht as a learning method in their collective and pedagogical. I also highlight the importance of the vast universe of Brazilian popular culture, with its traditional games, folk tales, nursery rhymes, children\'s play and its present meaning in almost all my work. I present also as a record, the continuation of this research through a playwriting process, thematising the Children\'s Crusade, written by Marcel Schwob and the eponymous poem by Bertolt Brecht, on children in times of war - the echoes of the past - seeking reveal the invisibility that the child has occupied over the centuries, victim of the most complete indifference and the cruelest of exhibitions.
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23

Fricke, Thorsten [Verfasser]. "Arno Holz und das Theater. : Biografie - Werkgeschichte - Interpretation / Thorsten Fricke." Bielefeld : Aisthesis Verlag, 2019. http://d-nb.info/1194435548/34.

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24

Klaus, Peter. "Das Theater im frankophonen Kanada (Québec, Acadie, Ontario) seit 1980." Universität Leipzig, 2002. https://ul.qucosa.de/id/qucosa%3A33530.

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25

Floeck, Wilfried. "Das Theater auf der Iberischen Halbinsel zwischen Postmoderne und Engagement." Universität Leipzig, 2002. https://ul.qucosa.de/id/qucosa%3A33532.

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26

Hassan, Karim. "Bernhard Anselm Weber (1764-1821) : ein Musiker für das Theater /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1997. http://catalogue.bnf.fr/ark:/12148/cb36966622d.

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27

Brendel-Perpina, Ina. "Heinrich Heine und das Pariser Theater zur Zeit der Julimonarchie /." Bielefeld : Aisthesis, 2000. http://catalogue.bnf.fr/ark:/12148/cb41372870f.

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28

Schmidt, Wolf Gerhard. "Zwischen Antimoderne und Postmoderne : das deutsche Drama und Theater der Nachkriegszeit im internationalen Kontext /." Stuttgart : J.B. Metzler, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783476023094.

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29

Devlin, Daniel F. "Looking For Ways To Ruin A Perfectly Good Day: Masculinity in bash: the latter-day plays by Neil LaBute." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/716.

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Neil LaBute is one of the most prolific and challenging playwrights in America today. My thesis will explore his work bash: the latter-day plays through the frame of the performance and use of masculinity by his characters, and will create a vocabulary through which the remainder of LaBute's works can be studied, both in terms of academic scholarship and the practical application of that scholarship to the process of theatrical creation.
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30

Richtarik, Marilynn J. "Acting between the lines : the first five years of the Field Day Theatre Company." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284286.

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31

Barzantny, Tamara. "Harry Graf Kessler und das Theater : Autor, Mäzen, Initiator, 1900-1933 /." Köln : Böhlau, 2002. http://catalogue.bnf.fr/ark:/12148/cb38846004h.

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32

Völlmar, Thomas. "Bild - Bühne - Architektur : Fritz Schumachers Entwürfe für das Theater 1899-1920 /." Berlin [u.a.] : Culturcon Medien, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018651662&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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33

Schuster, Tim [Verfasser]. "Räume, Denken. Das Theater René Polleschs und Laurent Chétouanes / Tim Schuster." Berlin : Neofelis Verlag, 2014. http://d-nb.info/1046376578/34.

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34

Kohler, Christoph. "Wozu das Theater? zur Entstehungsgeschichte der Theatersubventionen in Zürich (1890 - 1928)." Köln Weimar Wien Böhlau, 2006. http://d-nb.info/987107232/04.

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35

Bendel, Oliver. "Das revolutionäre Arbeitertheater der Weimarer Zeit : Theater als Instrument kommunistischer Propaganda /." [S.l. : s.n.], 1996. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB5187473.

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36

Bendel, Oliver. "Das revolutionäre Arbeitertheater der Weimarer Zeit Theater als Instrument kommunistischer Propaganda /." [S.l. : s.n.], 2004. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11482065.

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37

Völlmar, Thomas. "Bild - Bühne - Architektur Fritz Schumachers Entwürfe für das Theater ; 1899 - 1920." Berlin Wildeshausen Culturcon-Medien, 2008. http://d-nb.info/99618452X/04.

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38

Wiegand, Armin. "Das Theater von Solunt : ein besonderer Skenentyp des Späthellenismus auf Sizilien /." Mainz am Rhein : P. von Zabern, 1997. http://catalogue.bnf.fr/ark:/12148/cb37685648w.

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39

Kohler, Christoph. "Wozu das Theater? : zur Entstehungsgeschichte der Theatersubvention in Zürich (1890-1928) /." Köln : Böhlau, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783412201531.

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40

Seals, Jacqueline Marie. "A scenic and costume design process for a production of A Bright Room Called Day, by Tony Kushner." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392717155.

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41

Herman, Terah. "THE DISABLED FAMILY DYNAMIC IN DRAMA: THE GLASS MENAGERIE, A DAY IN THE DEATH OF JOE EGG AND TIME FOR BEN." UKnowledge, 2008. http://uknowledge.uky.edu/gradschool_theses/528.

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Early disability research in the social sciences focused on the individual, or the person with the disability. Only recently has disability research accepted that every family member is affected. The disabled does not suffer the disability alone; the entire family— as well as friends and relatives—suffer ramifications. Parental roles are altered, and grief, anger and guilt often blur the parameters of acceptable parental care. By using disabled family dynamic research in dialog with The Glass Menagerie, A Day in the Death of Joe Egg, and Time for Ben, I argue that the disabled family dynamic is present, accurately portrayed, and significant to these three plays. Not only is the disabled family dynamic accurately portrayed in the plays, each of these plays precedes disability research in the issues that it presents. By examining the characters and issues presented in the plays through a disability research lens, I argue that these playwrights realistically portray the ramifications of the disabled family dynamic.
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42

Gombert, Ina [Verfasser]. "Kindertheater - Kinderkram : Das Bild von Kindertheater in der Öffentlichkeit / Ina Gombert." Aachen : Shaker, 2007. http://d-nb.info/116650946X/34.

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43

Naumann, Matthias. "Dramaturgie der Drohung das Theater des israelischen Dramatikers und Regisseurs Hanoch Levin." Marburg Tectum-Verl, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2772300&prov=M&dok_var=1&dok_ext=htm.

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44

Naumann, Matthias. "Dramaturgie der Drohung : das Theater des israelischen Dramatikers und Regisseurs Hanoch Levin /." Marburg : Tectum-Verl, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2772300&prov=M&dok_var=1&dok_ext=htm.

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45

Helm-Rommel, Ingrid [Verfasser], and W. [Akademischer Betreuer] Schirmer. "Das Theater am Burgberg von Pergamon / Ingrid Helm-Rommel. Betreuer: W. Schirmer." Karlsruhe : KIT-Bibliothek, 1999. http://d-nb.info/1014326702/34.

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46

Reinwand, Vanessa-Isabelle. ""Ohne Kunst wäre das Leben ärmer" zur biografischen Bedeutung aktiver Theater-Erfahrung." München kopaed, 2007. http://d-nb.info/989829979/04.

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47

Reinwand, Vanessa-Isabelle. ""Ohne Kunst wäre das Leben ärmer" : zur biografischen Bedeutung aktiver Theater-Erfahrung /." München : kopaed, 2008. http://www.kopaed.de/kopaedshop/index.php?PRODUCT%5FID=590.

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48

Newesely, Bri. "Das Bühnenportal im Theater der Gegenwart : Fokussierung des Spielens-Distanzierung des Zuschauens /." [S.l. : s.n.], 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017082858&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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49

Wolfsjäger, Kari. "Henry James' Bemühen um das Theater : Entwicklung und Rezeption seines dramatischen Schaffens /." Köln : [K. Wolfsjäger], 1986. http://catalogue.bnf.fr/ark:/12148/cb36148608j.

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50

Odenwald, Florian. "Der nazistische Kampf gegen das "Undeutsche" in Theater und Film 1920-1945." München : Utz, 2006. http://books.google.com/books?id=cOtkAAAAMAAJ.

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