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Dissertations / Theses on the topic 'Dramatists – Drama'
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James, Jeannine M. "A study of the life and work of Christopher Durang : laughing wild amidst severest woe /." Full text available online, 2008. http://www.lib.rowan.edu/find/theses.
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Godiwala, Dimple. "Breaking the bounds : British feminist dramatists writing in the mainstream since c. 1980." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367775.
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Croskell, Stuart. "Metastage : the study of the offstage as context in modern drama." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324070.
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Elaskary, Mohamed. "The image of Moors in the writings of four Elizabethan dramatists : Peele, Dekker, Heywood and Shakespeare." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/48033.
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The word ‘Moor’ is a loose term that was used in Medieval and Renaissance England to refer to the ‘Moors’, ‘blackmoors’, ‘Negroes’, ‘Indians’, ‘Mahometans’ or ‘Muslims’. All these terms were more often than not used interchangeably. This study is concerned with the Moor from North Africa. This study is divided chronologically into two phases. The first part deals with the plays that were written during the reign of Queen Elizabeth I while the second part examines the plays that were written during (and after) the rule of King James I. Queen Elizabeth I and King James I had opposite points of view when it came to the relationship between England and the Muslim world. Thus, while Queen Elizabeth was in closer alliance with the Moors and the Turks than the Spaniards and the French, King James I chose, only after a few months of being enthroned as the King of the English monarchy, to befriend the Spaniards rather than the Moors and the Turks. The plays discussed in this thesis will be viewed against the opposite policies adopted by Elizabeth I and James I concerning the relationship between England and the Muslim world. The idea of poetic verisimilitude will be given due importance throughout this study. In other words, I propose to answer the question: did the authors discussed in this thesis manage to represent their Moorish characters in an efficient and objective way or not? Warner G. Rice, Mohammed Fuad Sha’ban, Thoraya Obaid, Anthony Gerald Barthelemy and Gerry Brotton had written PhD dissertations on the image of Moors, Turks, or Persians, in English drama. This study, however, will focus on the image of North African Moors in Elizabethan drama. What I intend to do in this thesis is to relate each of the plays discussed to a context (political, historical, or religious) of its time. My argument here is that the tone and the motive behind writing all these plays was always political. For example, George Peele’s The Battle of Alcazar will be related to the historical and political givens of the 1580s, i.e., the familial strife for the throne of Marrakesh in Morocco, the Portuguese intervention in this Moorish-Moorish conflict and the friendly Moroccan-English relations. Thomas Dekker’s Lust’s Dominion will be viewed in the light of the Reconquista wars and the expulsion of the Moors from the Iberian Peninsula. Thomas Heywood’s The Fair Maid of the West will be seen in relation to the theme of conversion and Moorish piracy that were so vigorous in the 16th and 17th century. William Shakespeare’s Othello is unique and it represents what may be ranked as the earliest insights regarding the idea of tolerating the Moors and foreigners into Europe. The contribution this study aims to offer to the western reader is that it involves scrutinizing Arabic texts and contexts whenever available. Thus, Arabic sources concerning the historical accounts of the battle al-Kasr el-Kebir (the battle of Alcazar); the expulsion of Moors from Spain or Moorish and Turkish piracy are to be invoked. In the same vein, the reception of these plays in the Arab world is to be reviewed at the end of each chapter.
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Frost, C. M. "The problem of evil in Jacobean drama : Studies in the theological assumptions of select Jacobean dramatists." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372651.
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Dubé, Valérie. "Analyses microtextuelles de trois pièces d'Eugène Ionesco /." Chicoutimi : Trois-Rivières : Université du Québec à Chicoutimi ; Université du Québec à Trois-Rivières, 2005. http://dx.doi.org/doi:10.1522/24133279.
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Thèse (M.E.L.) - Université du Québec à Chicoutimi, 2005."Mémoire présenté à l'Université du Québec à Chicoutimi comme exigence partielle de la maîtrise en études littéraires offerte à l'Université du Québec à Chicoutimi en vertu d'un protocole d'entente avec l'Université du Québec à Trois-Rivières." Comprend des réf. bibliogr. : f. 109-115. Document électronique également accessible en format PDF.
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Thresher, Tanya. "Seductive strategies for female subjects : how contemporary Scandinavian women dramatists represent women on stage /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6587.
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McBain, James. "Early Tudor drama and legal culture, c. 1485-1558." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670056.
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Weitzenkamp, Mark Philip. "The influence of Barret H. Clark on American theatre /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/10224.
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Vieira, de Andrade Ana Lúcia. "Margen y centro : dramaturgia femenina Brasileña contemporánea." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38429.
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The aim of this thesis is to give an account of the position taken by certain women dramatists in the context of both box-office success and theatre criticism in Brazil in the latter half of the twentieth century in order to provide a panoramic view of the way the Brazilian theater canon reacts to the work of women authors, by either incorporating it or not, according to political and social circumstances. It is hoped then that a more comprehensive vision of these dramatists will result than that of the traditional academic criticism which either elevates by acceptance or dismisses by ignoring or playing down their work. The production of three dramatists will be analysed here, namely, those plays by Leilah Assuncao, Maria Adelaide Amaral and Isis Baiao which fall into the period 1969--1999, and which exemplify two key tendencies in the Brazilian theatre of the last thirty years. These tendencies are: first, the attempt to widen the traditional horizon of politicized theatre by adding to its socio-political concerns a focus on the individual and his/her particular agenda, and, secondly, the break with any specifically aesthetic or conceptual format on stage in a blurring of the legacies of tradition and the vanguard, in which a "hybridism" of form and language is particularly noticeable in the privileging of a kind of writing that is not bound by formal limits. Such an analysis has made it possible to highlight how determined types of reaction may be altered along the time when different interpretive parameters are used by the critical community and by the public. While a certain sympathy is shown here for the feminist reading of the ideological bases of the literary canon, this is done not only to corroborate the masculine bent of such a canon to the exclusion of the Other, but also to prove that the criteria regulating excellence are products of a specific ideology which changes according to its sociohistorical context. The ultimate goal here is, thus, to make
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LEMP, RICHARD WARREN. "MOLIERE AND MEDICINE: DISSECTING THE KALEIDOSCOPE (FRANCE)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183776.
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The subject of medicine in the works of Moliere has been traditionally treated as a matter of satire. While it is important to consider this view and while biographical approaches relating Moliere's personal illness to the content of his medical comedy are illuminating, this study proposes that a plurality of views offers a more complete picture. Such analysis discovers that Moliere's medical comedy is much more than satire, that it contains elements of black humor and even approaches the theater of cruelty in its treatment of sickness and death. The metaphor in this approach is in the perception of a composite image of this part of Moliere's theater, much like the pattern that a kaleidoscope discloses. As we may sort out the various elements that compose the kaleidoscopic impression--light and shadow, color, form, change of image through manipulation of the instrument--there is a similarity in the division of elements in Moliere's medical theater. Light and shadow correspond to the opposition of fact and fantasy in seventeenth-century French medicine and constitute the historical view of his work; color corresponds to the notion of Galenic humor theory and suggests that the comedy of character may be analyzed according to humoral temperaments; form corresponds to the language Moliere used in his medical plays; the change of image occurs in Moliere with the passage of time--his medical comedy being farcical at the beginning of his career and much darker towards the end of his life. The purpose of this approach is to identify these separate elements in order to better understand their function as an organic whole. For this reason, the notion of organic unity is also treated. In an effort to relate Moliere's theater to the present day, this study compares Moliere's work with Artaud's notion of the nature and function of theater, with the two meanings of semiology--sign theory and symptomatology, and using an archetypal approach, concludes with the suggestion that sexuality, death, and medicine form a hidden mythology in these plays.
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Riordan, Michael, and n/a. "Terrible Beauty: Ideology and Political Discourse in the Early Plays of Sean O'Casey." Griffith University. School of Humanities, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040615.132200.
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This thesis argues that prominent in the purposes of the dramaturgy of Irish playwright Sean O'Casey was the promotion of his political causes - most notably socialism. In his avidity for the cause of establishing a workers' paradise, following the Soviet model, in Ireland, his ire was drawn to the movements and institutions he perceived as distracting the masses from pursuit of this ideal: republicanism and the Church. These political ideals are prominent themes in his collected works - both fiction and non-fiction. The work is essentially divided into two sections. The first examines the development of O'Casey's ideologies - his socialism, anti-nationalism and anti-clericalism - and the backdrop against which they developed. The purpose is to establish just how passionately O'Casey felt about these ideals and how, in his letters, histories and autobiographies, he dedicated much of his effort to promoting them. Having dedicated so much time and energy to championing socialism and attacking the Church in these texts, it is little wonder they should appear so prominently in his plays. The thesis argues that O'Casey distorted the content of his Autobiographies to reinforce his role as self appointed champion of Dublin's "bottom fifth" and his beloved working class. It contends that O'Casey embellished the suffering of his childhood and the hardship endured by his family to fortify his credentials as a "socialist hero" - to be "for them" he sought to be "of them," and to provide a model for how learning and conversion to the socialist ideal would liberate them from the economic oppression that kept them low. A number of facts, even elementary ones like the number of children in the Casey brood and particular dates and addresses where he had lived, were changed to cultivate the working class hero image, the disadvantaged boy who rose up against all that an unjust and unsympathetic world could throw at him, that he so coveted. The more abject the origins, the greater the final triumph. The thesis then looks briefly at the origins and purposes of the Abbey Theatre, and its part in the Irish Renaissance that gave O'Casey his start. It focuses particularly on the role of Yeats, and his desire to build a dramatic movement which created work free from opinion. His famous determination to "reduce the world to wallpaper" brought him into conflict with O'Casey, who saw his plays as a legitimate vehicle for the expression of his own world view. It is important, in terms of the objective of this study, to establish that O'Casey's works were deliberately constructed pieces of didacticism, to demonstrate just how inimical to the original intent of the movement his purposes were. With this in mind, it is instructive to compare him with the other great Irish dramatist of the period, John Millington Synge, whose works, with their more rustic focus, promoted the kind of impressionistic 'slice of life' theatre the Abbey founders were championing. For O'Casey, the cause was paramount. He wrote morality plays. The study examines how O'Casey's dominant ideological position evolved by examining his own changing perspective about the world around him. It shows how O'Casey began to see all struggles in terms of the economic one between classes, and how he came to be converted to the tenets of socialism. His opposition to nationalism and his anti-clericalism essentially reflected his belief that they were hostile to the interests of the workers, and therefore must be engaged. The dominant sources in this section are O'Casey's letters, his Autobiographies, and his book, The Story of the Irish Citizen Army. The second section of the thesis focuses on the first seven extant plays: The Harvest Festival, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, The Silver Tassie, Within the Gates, and The Star Turns Red, and examines how each promotes O'Casey's causes. The purpose of the thesis is not to promote a reworking of the biographical detail of O'Casey's life, but to trace the shift in the playwright's ideology - from Protestant Orange to Republican Green and finally, and most steadfastly, Socialist Red - and examine how these beliefs found voice in the characters and construction of his earlier plays.
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Oxley, Natasha Emma Fortescue. "Talking taboos: the personal over the political? : contemporary Polish playwriting : theme and dramatic technique in selected modern Polish plays." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:036a5a0e-aa99-40f9-b610-4a267bc1e533.
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The focus of this thesis is contemporary Polish playwriting after Poland's accession to the European Union in 2004. From a broad reading of plays by many new writers, four playwrights were selected for study on the basis of prominence and artistic merit: Pawel Demirski, Dorota Maslowska, Malgorzata Sikorska-Miszczuk and Przemys law Wojcieszek. Their plays were studied as texts and in performance, and twelve main plays became the focus of closer analysis. The thesis identifies and examines three major concurrent themes in the works of these playwrights. Remembering versus forgetting the past is discussed through the lens of selected aspects of memory studies, including Nora's lieux de mémoire, Hirsch's postmemory and Assman's mnemohistory. The playwrights are shown to share an endorsement of the de-politicisation of collective memory and to advocate a cessation of the passing down of trauma to post-war generations. The human body is highlighted as another concurrent thematic concern and is illuminated by certain tenets of Catholic doctrine as well as Merleau-Ponty's phenomenology. The playwrights' rejection of the tabooisation of the body is demonstrated and the shared notion of the body as both sentient and unifying is exemplified. Social marginalisation is examined as the final concern, with an emphasis on the notion of the 'other', particularly in relation to socio-economic status, sexuality, and religious beliefs. The plays are shown to support and promote a rejection of the myth of homogeneity in favour of openness to diversity. Major dramatic techniques are then closely examined. It is demonstrated that the plays share traits with Lehmann's theory of postdramatic theatre, including a rejection of Aristotelian unities. Key commonalities are evidenced, particularly comedy, bad language, intertextualities with the outside world, and an engagement with Polish social realities. The playwrights' approach to the spectator as a socio-political being is shown to be of paramount importance.
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Boo, Tomás Sara. "Ecos lorquianos en seis dramaturgas españolas contemporáneas: una mirada intertextual." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/392703.
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El presente estudio muestra de qué manera la tragedia simbolista de Federico García Lorca -nos referimos a Bodas de sangre, Yerma, La casa de Bernarda Alba y Doña Rosita la soltera- sigue presente en la dramaturgia femenina española contemporánea. Con el propósito de crear un diálogo intertextual que nos permita ver en qué medida estas obras influyen en seis textos teatrales pertenecientes a la escena española más reciente: El color de agosto, 1987, de Paloma Pedrero (1957); Atra bilis (cuando estemos más tranquilas…), 2000, de Laila Ripoll (1964); El matrimonio de Palavrakis, 2000, de Angélica Liddell (1966), Como si fuera esta noche, 2002, de Gracia Morales (1973), Las voces de Penélope, 1996, de Itziar Pascual (1967); y Selección natural, 2007, de Pilar Campos Gallegos (1973).
Todos ellos representados o editados entre las primeras décadas de la democracia, esto es, entre el «renacer» de la dramaturgia femenina (años 80) y el 2011, año en el que iniciamos nuestra investigación. El diálogo intertextual resultante presenta dos lecturas; una que presta atención a la temática de las obras y nos deja ver el conflicto dramático, el trazado psicológico y social de los personajes, la organización de la acción, del espacio y del tiempo. Y una segunda lectura que atiende al simbolismo del texto, a las imágenes que están dotadas de doble significación. Esta segunda lectura nunca es contradictoria de la primera, sino complementaria y muestra la hondura poética y la universalidad que contiene la obra, rasgos imposibles de trabajar en la primera lectura.
Silenciadas durante siglos, es de esperar que su escritura se dedique/decante, en primer lugar, por cuestiones de género. Haciendo de su obra una acción combativa y política, de la que no hemos encontrado modelos femeninos anteriores, pero sí el teatro de Federico García Lorca. Con el que no sólo comparten la misma misión artística, esto es, el exterminio de la sociedad androcéntrica, sino, además, la extraordinaria capacidad de presentar un teatro impregnado de poesía, en el que combinan tradición y vanguardia y consiguen un teatro muy personal.
El enfrentamiento entre el amor y el desamor, la vida y la muerte, la sociedad y el individuo, la vejez y la juventud, la fertilidad y la infertilidad,... entre muchos otros eternos opuestos, pueblan sus letras y por encima de todos, dos fuerzas que resumen sus obras:
«principio de autoridad» y «principio de libertad». Puesto que, tanto Federico como las dramaturgas defienden por encima de todo la libertad personal, al derecho de escoger individualmente frente a las convenciones sociales aunque esto suponga una tragedia. Preocupación universal que afectaba a la época anterior a la II República y sigue afectando en la actualidad. Sin embargo, y aquí radica la diferencia, lo que verdaderamente separa los personajes de la dramaturgia lorquiana de los de las autoras contemporáneas es la impronta de una época que resolverá de manera bien distinta los conflictos de sus personajes.
Lo interesante de este primer enfrentamiento que proponen sus escritos es reconocer entre líneas un segundo enfrentamiento que nada tiene que ver con su condición genérica, histórica y social, sino metafísica. Nos referimos al sentimiento trágico de la vida. De esta manera, pasan a ser las continuadoras de un pensamiento que entronca con la filosofía alemana del XIX y del existencialismo del XX. Reconociendo ese tiempo que se les escapa, esa desilusión que tiene el vivir, o lo que es lo mismo, ese sentimiento de desgarro que sufren al aceptar su esencia finita. Situándose, de este modo, en el territorio de lo trágico existencial, que es el mismo en el que se sitúan Federico García Lorca y los grandes escritores.This study shows how the symbolist tragedy of Federico Garcia Lorca - specifically Bodas de Sangre, Yerma, La casa de Bernarda Alba and Doña Rosita la Soltera - is present in contemporary Spanish female drama. We have created an intertextual dialog which allows us to see to what extent these plays influence six theatrical texts belonging to the present-day Spanish scene: El color de agosto, 1987, by Paloma Pedrero (1957); Atra bilis (cuando estemos más tranquilas…), 2000, by Laila Ripoll (1964); El matrimonio de Palavrakis, 2000, by Angélica Liddell (1966), Como si fuera esta noche, 2002, by Gracia Morales (1973), Las voces de Penélope, 1996, by Itziar Pascual (1967); and Selección natural, 2007, by Pilar Campos Gallegos (1973). All of these plays have been produced or edited during the first decades of democracy, that is, between the renaissance of femenine dramaturgy (1980s) and 2011, which is when we began this investigation. The resulting intertextual dialog presents us with two possible readings; firstly, one which focusses on the plays' themes and looks at dramatic conflict, the characters' psychological and social outline, and the organization of action, space and time. Secondly we propose a reading which focusses on the text's symbolism, on the images which are full of double meanings This second reading is not contradictory to the first, rather it complements it, showing the poetic depth and universality contained in the play, features which are impossible to derive from the first reading. Silenced for centuries, it is no surprise that these women's writing focusses primarily on the question of gender, making their work a militant and political action the like of which we have not seen in previous female authors. This aspect is, however, clearly present in the work of Federico García Lorca, with whom the authors not only share an artistic mission - the downfall of male-centred society - but also the extraordinary capacity to present a theatre steeped in poetry where tradition and modernity combine to create a very personal creation. The interesting thing about this first reading offered by their works is to recognize between the lines a second reading, which has nothing to do with the writers' gender or socio-historical condition, but rather is related to their metaphysical condition, namely the tragedy of life. In this way, these writers are representatives of an idea which connects both with 19th-century German philosophy and the Existentialism of the twentieth century, recognizing that time escapes them, that life is disappointment, and the ripping sensation which they suffer upon accepting their mortality, placing themselves thus alongside great writers such as Federico García Lorca in the territory of existential tragedy.
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Silveira, Isabela Fernanda Azevedo. "O lugar do espectador na dramaturgia de Armand Gatti: engajamento político, cooperação textual e performatividade." Escola de Teatro, 2011. http://repositorio.ufba.br/ri/handle/ri/27116.
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O objeto da dissertação é a poética do jornalista, poeta, escritor, diretor teatral, dramaturgo e cineasta Armand Gatti, tendo como critério norteador do presente trabalho sua atuação como dramaturgo. No universo de suas peças escritas e publicadas, me concentro naquelas que compõem o Pequeno manual de guerrilha urbana (1968), uma compilação de quatro peças curtas de temática política, escritas pelo autor durante e logo após os eventos de maio de 1968 na Europa. A partir das quatro peças que compõem o Pequeno Manual, comparo a produção gattiniana com a de dois outros autores, o alemão Bertolt Brecht e o brasileiro Augusto Boal, apresento uma amostra da produção dramatúrgica gattiniana - por meio da tradução integral do texto A máquina escavadora ou para entrar no plano de cerceamento da Colônia de Invasão Che Guevara - e demonstro os esforços do autor para prever a participação do espectador teatral desde o momento de escrita de seus textos. Através de suas teorias, Anne Ubersfeld, Jean-Jacques Roubine, Luiz Fernando Ramos, J. Austin e Umberto Eco são os principais autores que oferecem suporte para meu trabalho, em especial na análise das marcas paratextuais inscritas na escrita gattiniana e na relação de sua escrita dramatúrgica com a participação dos espectadores das encenações que dela resultam.
L'objet de ce travail est la poétique du journaliste, poète, écrivain, metteur en scène, dramaturge et cinéaste Armand Gatti. Les critères de orientation adoptés a cette étude sont son travail notamment aux textes théâtrales de cet artiste monégasque basée en France depuis 1924. Dans l'univers de ses écrits et pièces publiées je me concentre sur ceux qui composent Le Petit Manuel de Guérilla Urbaine (1968), une compilation de quatre pièces courtes de thème politique, écrites par l'auteur pendant et peu après les événements de mai 1968 en Europe. En utilisant les parties qui composent le Petit Manuel pour extraire un échantillon de la production de l’auteur, je compare ses oeuvres avec des deux autres hommes: l'allemand Bertolt Brecht et le brésilien Augusto Boal. Par ici je présent une traduction intégrale du texte La Machine Excavatrice – Pour entrer dans le plan de défrichement de la colone d'invasion Che Guevara afin de démontrer les efforts de l'auteur pour assurer la participation du spectateur à partir de la création de leurs textes. Par leurs théories, Anne Ubersfeld, Jean-Jacques Roubine, Luiz Fernando Ramos, J. Austin et Umberto Eco sont les principaux auteurs qui soutiennent mon travail, en particulier dans l'analyse des marques paratextuels de Gatti entrés par écrit et par rapport à leur dramaturgie.
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Gonzaga, Deusimar. "O drama como método de investigação de linguagem: uma interpretação do dramatismo de Kenneth Burke." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5090.
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This study aims at presenting and discussing some of the aspects of dramatism, method of analysis of human relations and mainly of the acts of the language and of the thinking, as it is presented by the North American philosopher and literary critic Kenneth Burke (1897-1993), from the years 1930 to 1960. Practically unknown in our language, Kenneth Burke‟s name and of his dramatism are compulsory presences in the recent compendiums which deal with the studies of performance and of cultural performances, for the comparison and the relation they establish between everyday life and the drama and thus require be better known. Among many theorists, Burke‟s works have influenced the literary critics Harold Bloom (1930) and Susan Sontag (1933-2004), his student at the University of Chicago, and mainly the theoretical founding of the sociologist Erving Goffman (1922-1982), being that in his studies of everyday life as well as in his “dramaturgical approach”. As it is implied from dramatism, we are not only language users, we are also used by it and language determines our actions. Dramatism is established as an instrument of analysis of language as symbolic action from five key terms (dramatistic pentad): the act in itself, what has been done; the agent of the act, the actor, who performed the act; the scene (the place, the where); the agency, the means/instruments or how the action is performed, or even the autonomous capability of people to make their own choices; and the purpose. The act is the central term around which the five categories of analyses are organized (pentad) and the investigation of the motives of the action is the fundamental strategy of the dramatistic analyses. Burke proposes that the field of observation of the human action and of its innumerable combinations, the transpositions and the transformations among the terms of the cited pentad, makes it possible for an analysis of the human action that has drama as its central term. Dramatism attempts to answer the questions of how human actions can be explained, and mainly how these actions are determined by the symbolic capability. Dramatism becomes a central element in the analysis of human theatricality, of the human being in performance.
Este estudo tem o objetivo de apresentar e discutir alguns aspectos do dramatismo, método de análise das relações humanas e principalmente dos atos da linguagem e de pensamento, tal como apresentado pelo filósofo e crítico literário norte-americano Kenneth Burke (1897- 1993), entre os anos de 1930 a 1960. Praticamente desconhecido em nossa língua, o nome de Kenneth Burke e seu dramatismo são presenças obrigatórias nos recentes compêndios que abordam os estudos da performance e das performances culturais, pela comparação e relação que estabelecem entre a vida cotidiana e o drama e necessitam ser melhor conhecidos. Entre tantos teóricos, seus trabalhos influenciaram os críticos literários Harold Bloom (1930) e Susan Sontag (1933-2004), sua aluna na Universidade de Chicago, e principalmente a fundamentação do sociólogo Erving Goffman (1922-1982), seja em seus estudos da vida cotidiana como em sua “abordagem dramatúrgica” (dramaturgical approach). Como se infere, a partir do dramatismo, não somos apenas utilizadores da linguagem, somos também utilizados por ela, ela determina nossas ações. O dramatismo se estabelece como um instrumento de análise da linguagem como ação simbólica a partir de cinco termos chave (pentad dramatístico): o ato em si, o que foi feito; o agente do ato, o ator, quem realizou o ato; a cena (o lugar, o onde); a agência, os meios/instrumentos ou como se realiza a ação, ou ainda a capacidade autônoma das pessoas fazerem suas próprias escolhas; e o propósito. O ato é o termo central em torno do qual se organizam as cinco categorias de análise (pentad) e a investigação dos motivos da ação é a estratégia fundamental da análise dramatística. Burke propõe que o campo de observação da ação humana e de suas incontáveis combinações, as transposições e as transformações entre os termos do citado pentad, possibilitem uma análise da ação humana que tem o drama como termo central. O dramatismo procura responder as questões de como podem ser explicadas as ações humanas e, principalmente, como estas ações são determinadas pela capacidade simbólica. O dramatismo torna-se elemento central na análise da teatralidade humana, do ser humano em performance.
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Macdonald, Fiona. "Drama critic and dramatist : new approaches to Henry James's plays." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439799.
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Fleming, Kristina A. "Promoting learning across the curriculum with creative dramatics." Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Fleming_K%20MITthesis%202007.pdf.
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Whitfield, Sarah. "Kurt Weill : the 'composer as dramatist' in American musical theatre production." Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/657.
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The aim of this thesis is to critically examine Weill‘s negotiation of American cultural industries and his collaborative practice in making musicals there. It addresses the influence of the earlier, now discredited, concept of ‗Two Weills‘, which has engendered an emphasis on identity within the current literature. It proposes that Weill scholarship has been further constrained by problematic perceptions of Weill‘s position as both a European modernist composer and an exile in America. Each of these contexts suggests romanticised notions of appropriate behaviour, for a composer, and of autonomy and separation from popular culture. This thesis examines how Weill troubles those notions by engaging with the musical, a so-called ‗middlebrow‘ form, with a disputed cultural value. It traces the reconsideration of the musical as a location for sociocultural analysis, highlighting David Savran‘s requirement that approaches to the musical recognise the form‘s material conditions of production. The thesis establishes its methodology built on Ric Knowles‘s cultural materialist approach to contemporary performance. This enables Weill‘s activities to be seen in their proper context: Weill‘s negotiation of entry into American art worlds, and the subsequent exchange of economic assets and Weill‘s active management of his cultural capital through the media are followed for the first time, clearly revealing the composer‘s working practices. The thesis suggests that Weill is a practitioner who consciously engages with American cultural industries. It addresses questions of authorship, demonstrating how Weill‘s contribution can be understood within complex sets of agencies. It establishes how Weill can be seen through his own model of the ‗composer as dramatist‘ and through Adorno‘s depiction of the composer as a Musikregisseur.
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Dahlby, Jack. "Läroplanens dramatiska kurva : En dramapedagogisk läsning av Lgr 11." Thesis, Södertörns högskola, Lärarutbildningen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33497.
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This study investigates what value educational drama is given in the current national curricula for the compulsory school in Sweden, Lgr 11 and how that relates to a similar study of the four previous curricula. The background to the study presents Mia Marie F. Sternudds disseratiton Dramapedagogik som demokratisk fostran? and uses the four perspectives on educational drama and the analysis of four earlier national curricula, Lgr 62, Lgr 69, Lgr 80 and Lpo 94. The four perspectives are presented along with other definitions of educational drama in Sweden to form the base of analysis in this study; the drama-imperative. The background also presents different epistemological views as a way to show how educational drama relates to a more progressive view on knowledge than traditional education in school. Ivan Illich’s Deschooling Society serves as a counter-weight to traditional education in the background. The results show that all four perspectives of educational drama can be found in Lgr 11, but in varying strength, the discussion suggests that it means that Lgr 11 is open for educational drama but does not explicitly suggest so. This also relates to Sternudds findings which show a movement towards a more progressive epistemological view in the curricula but without necessarily relating this to educational drama.Studien undersöker vilket värde dramapedagogik ges i den nuvarande läroplanen för grundskolan, Lgr 11 och hur det relaterar till en liknande studie av de fyra tidigare läroplanerina. Bakgrunden presenterar Mia Marie F. Sternudds avhandling Dramapedagogik som demokratisk fostran? och använder de fyra dramapedagogiska perspektiven på dramapedagogik samt analysen av de tidigare läroplanerna; Lgr 62, Lgr 69, Lgr 80 och Lpo 94. De fyra perspektiven tillsammans med andra svenska dramapedagogik-definitioner formar tillsammans analysmetoden för studien: Drama-imperativ. Bakgrunden presenterar också olika epistemologiska skolor för att placera in dramapedagogik i en mer progressiv kunskapstradition i relation till en mer traditionell kunskapssyn. Ivan Illichs Deschooling Society Deschooling Society bildar i studien motviktspunkt till den traditionell utbildning. Resultaten visar att alla fyra dramapedagogiska perspektiv går att finna i Lgr 11 men i varierande styrka. Diskussionen argumenterar för att Lgr 11 är öppet för dramapedagogik men utan att explicit skriva fram just dramapedagogiken. Resultatet relaterar till Sternudds resultat och visar på en utveckling mot en mer progressiv kunskapssyn i läroplanen som dock inte nödvändigtvis är relaterad till dramapedagogik.
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Hornbrook, David. "Acting in a dramatised culture : drama and education in the bourgeois state." Thesis, University of Bristol, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327920.
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Sherlock, Andrew. "Re-presenting the city : a dramatist's contextualisatioon of his works on Liverpool, post-1990." Thesis, Liverpool John Moores University, 2015. http://researchonline.ljmu.ac.uk/4402/.
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The main body of this submission is a contextualised discussion of five, full-length, professionally performed theatre scripts. Each project examines and theatrically presents key influences of the major social and cultural forces that have both impacted on and shaped Liverpool. Each play is also placed with generic reference and development of a British, popular, policised, theatre tradition.
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Hornzee-Jones, Linda Joan. "Performing suburbia : a qualitative examination of late twentieth century amateur drama in south-east England." Thesis, University of Brighton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366433.
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Björkert, Eliasson Lisa, and Victoria Löberg. "Dramatisk entré genom naturkunskapens port : - En systematisk litteraturstudie om drama i NO-undervisningen." Thesis, Linköpings universitet, Institutionen för samhälls- och välfärdsstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-153457.
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Syftet med detta examensarbete var att studera hur drama kan användas i NO-undervisningen och se vilken inverkan metoden har gällande elevers kunskap och förståelse samt motivation och attityd för ämnet. Genom en systematisk litteraturstudie har vi analyserat artiklar i förhållande till syfte och frågeställningar. Resultatet av analysen visar på att drama som metod kan ha en positv inverkan på kunskap, motivation och attityd i jämförelse med traditionell undervisning. För att detta ska gälla krävs dock noga planering av dramaundervisningen, bland annat för att hitta passande drama-analogier för det ämnesinnehåll som ska läras ut.
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Oliveira, Isaque Sicsú de. "A trindade como dramatis personae no Theo-Drama de Hans Urs von Balthasar." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/20923.
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Aliança de Misericordia - ADVENIAT
The present dissertation contemplates an investigation on the trinitarian dogma, as exposed and outlined by the Swiss theologian Hans Urs von Balthasar (1905-1988). The emphasis lies on the dramatic Balthasarian method. That is, the investigation seeks to clarify how Balthasar presents his vision of the Trinity in the second episode of his trilogy, Theo- Drama. In addition, it seeks to show how this method can be useful in presenting the Christian faith to an increasingly skeptical audience. Balthasar is one of the leading theologians of the 20th century. Its theological production is extremely long. Throughout his life, there were hundreds of works produced. The present dissertation concentrates mainly on the exposition of the trinitarian dogma in the five volumes of theodramik: (1) Prolegomena; (2) Dramatis Personae: Man in God; (3) Dramatis Personae: Persons in Christ; (4) The Action; (5) The Last Act. The hypothesis of the present dissertation is based on the way in which Balthasar presents the three Persons of the Trinity, as personages within a redemptive drama, in which the Father appears as the playwright and architect of the history of the redemption; the Son appears as the main character in the redemptive history, performing his role to the last consequences; and the Holy Spirit as the great drama director and guiding agent who guides the main character; For this, the first part of the dissertation concentrates on a brief summary of the life and work and distinctive features of the thought of Balthasar, trying to show how his geographical and historical locus was determinant in the construction of his theological convictions. Next, the doctrine of the Trinity is investigated in its classic dogmatic formulation, passing through Scripture, history of theology, main characters in the process of theological refinement of the Trinity, eventual doctrinal dissonances, culminating in an exposition of the balthasarian argumentation of the Trinity. Finally, it focuses on the way Balthasar was influenced by the theology of Karl Barth and how this robust theological dialogue can be a prototype of a respectful dialogue between Catholic and Protestant traditions within their convergences and divergences
conforme exposto e delineado pelo teológico suíço Hans Urs von Balthasar (1905-1988). A ênfase recai no método balthasariano dramático. Isto é, a investigação busca esclarecer como Balthasar apresenta sua visão da Trindade no segundo episódio de sua trilogia, o Theo- Drama. Além disso, busca-se mostrar como este método pode ser útil na apresentação da fé cristã para uma audiência cada vez mais cética. Balthasar é um dos principais teólogos do séc. XX. Sua produção teológica é extremamente longa. Ao longo de sua vida, foram centenas de obras produzidas. A presente dissertação concentra-se majoritariamente na exposição do dogma trinitário nos cinco volumes da theodramik: (1) Prolegomena; (2) Dramatis Personae: Man in God; (3) Dramatis Personae: Persons in Christ; (4) The Action; (5) The Last Act. A hipótese da presente dissertação apoia-se na maneira como Balthasar apresenta as três Pessoas da Trindade, como personagens dentro de um drama redentivo, no qual o Pai se apresenta como o dramaturgo e arquiteto da história da redenção; o Filho se apresenta como a personagem principal na história redentiva, performando seu papel até as últimas consequências; e o Espírito Santo como o grande diretor do drama e agente que guia o orienta a personagem principal; Para isto, a primeira parte da dissertação concentra-se em um breve resumo da vida e obra e traços distintivos do pensamento de Balthasar, buscando mostrar como o seu locus geográfico e histórico foi determinante na construção de suas convicções teológicas. Logo em seguida, investiga-se a doutrina da Trindade em sua formulação dogmática clássica, passando pela Escritura, história da teologia, personagens principais no processo de refinamento teológico da Trindade, eventuais dissonâncias doutrinarias, culminando em uma exposição da argumentação balthasariana da Trindade. Finalmente, concentra-se na maneira como Balthasar foi influenciado pela teologia de Karl Barth e como esse robusto diálogo teológico pode se um protótipo de um diálogo respeitoso entre as tradições católica e protestante, dentro de suas convergências e divergências
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TerraNova-Webb, Ria G. "Folktales in Forty Minutes: A Creative Dramatics Approach to Integrated Learning and Character Education." University of Akron / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=akron1132583365.
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Pesheva, Ekaterina D. "Disease as drama dramatistic constructs and models of redemption in covering illness in Glamour magazine /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4254.
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Thesis (M.A.)--University of Missouri-Columbia, 2005.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (December 18, 2006) Vita. Includes bibliographical references.
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Young, Dale J. "BRIDGING THE GAP: DREW HAYDEN TAYLOR, NATIVE CANADIAN PLAYWRIGHT IN HIS TIMES." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1131125416.
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Lewis, Emma, and Åkerblom Josefine Hulthén. "Dramatiska sångfåglar - en studie om hur profilen Teater och Musik genomsyrar verksamheten på en utvald förskola." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-28272.
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Vi har valt att ge vårt examensarbete namnet ”Dramatiska sångfåglar”. En studie om profilen Teater och Musik genomsyrar verksamheten på en utvald förskola. ”Dramatic songbirds”. Astudy on the permeation of a preschools Theatre and Music profile in a selected preschool. Vi som skrivit arbetet heter Emma Lewis och Josefine Hulthén Åkerblom.Syftet med vårt examensarbete är att undersöka och beskriva hur profilen Teater och Musik genomsyrar verksamheten på en utvald förskola. De fem frågor vi försökt besvara är:• Vilka grundtankar ligger bakom förskolans profil Teater och Musik?• Vilken syn har förskolans anställda pedagoger på profilen?• Hur låter pedagogerna verksamheten genomsyras av profilen?• Hur är intresset för profilen bland barnen på förskolan?• Hur ser föräldrarna på förskolans verksamhet och arbetet med dess profil? För att nå vårt syfte samt få svar på våra frågeställningar har vi gjort en kvalitativ studie i form av intervjuer med föreståndare och anställda pedagoger på den utvalda förskolan, observerat barngruppen samt gjort en enkätundersökning bland barnens föräldrar.I vår analys av det empiriska material vi fått in har vi kommit fram till att profilen Teater och Musik genomsyrar den utvalda förskolans verksamhet men vi ifrågasätter förskolans pedagogiska sätt att utföra arbetet.
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Weidner, Deborah Fowler. "The Effect of Creative Dramatics Activities on the Story Retellings of Kindergartners." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500489/.
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The study was designed to determine the effect a dramatic play activity had on the content of a story retelling of kindergarten students. Approximately 35 students were randomly sampled to form experimental and control groups. Both groups engaged in a read aloud activity, followed by brief discussion, and an independent illustration of the story. The experimental group participated in a creative reenactment of the story prior to the illustration activity. Students in both groups then retold the story to the researcher. Retellings were transcribed and scored for: Story Retelling Analysis score (Morrow, 1988); percentage of characters recalled; percentage of plot episodes recalled; and the presence of story language, inferential statements, and a distinct beginning, middle, and end. Anecdotal data are described narratively.
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Holmström, Oskar. "Dramatiska förbränningar : En variationteoretisk studie av kemiundervisning i årskurs 4–6." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-80692.
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Denna studie syftade till att få kunskap om hur elever i mellanstadiet kan utveckla sin förståelse för begreppet ”förbränning” samt hur dramaövningar kan skapa möjligheter för att synliggöra begreppet förbränning. För att undersöka detta iscensattes en lektionsserie med ett variationsteoretiskt perspektiv i en årskurs 6. Datainsamlingen bestod av elevtexter, intervjuer och videofilmning av lektionerna. Resultatet av studien visar att genom en dramaövning och medvetet iscensatta variationsmönster om begreppet förbränning är det möjligt för lärare att skapa lärandesituationer, där eleverna fördjupar sin förståelse för begreppet förbränning.
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Al-Soudi, Siaf Y. "Antithesis and oxymoron in early Cornelian tragedies : Médée, Le Cid, Horace, Cinna /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9953842.
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Sanchez, Marquez Jazmin Joselin. "La representación del realismo y dramatismo mediante el discurso médico en el doblaje al español de las series de televisión Grey’s Anatomy, The Good Doctor y New Amsterdam." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/656981.
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Las series de drama médico estadounidenses se han convertido en un fenómeno social y cultural, logrando acumular un gran número de audiencias tanto locales como extranjeras. Aunque algunos estudios señalan que el rol de la televisión es puramente entretener; otros trabajos advierten que lo que se representa en estas series ha tenido un impacto en el imaginario de las personas sobre cómo son los médicos y su entorno. El presente trabajo aborda este fenómeno desde un enfoque lingüístico, ya que busca analizar la construcción del realismo y dramatismo a través del discurso médico en el doblaje de tres series contemporáneas Grey’s Anatomy, The Good Doctor y New Amsterdam. Para ello, se propone aplicar dos técnicas: el análisis de contenido y el análisis textual-contrastivo. El primero, permitirá describir la función de los diálogos dentro de las narrativas de las series, la construcción de los personajes y el escenario dramático. El segundo, servirá para describir las técnicas de traducción que se utilizaron en el doblaje, así como las normas de naturalización y las restricciones de sincronía.American medical dramas have become a social and cultural phenomenon, attracting a large number of audiences both locally and abroad. Although some studies point out that the role of television is exclusively to entertain, other studies suggest that what is represented in these programs has had an impact on people's perception of what doctors and their environment are. This paper addresses this phenomenon from a linguistic approach, as it seeks to analyze the construction of realism and drama through medical discourse in the dubbed version of three contemporary series Grey's Anatomy, The Good Doctor and New Amsterdam. For this purpose, two techniques will be applied: content analysis and contrastive-textual analysis. The first technique will describe the function of the dialogues within the narratives of the series, the construction of the characters and the dramatic scenario. The second technique will serve to describe the translation techniques used in the dubbing, as well as the naturalization rules and the synchronization.
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Röing, Hellberg Anna. "Metoder för inlärningsprocesser av dramatiska texter för teaterelever med läs- och skrivsvårigheter, Methods for Drama Pupils with Writing and Reading Disability to Study and Learn Dramatic Art Texts." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-28229.
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Syftet med undersökningen var att undersöka hur man kan förenkla inlärningsprocesser av dramatiska texter för teaterelever med läs- och skrivsvårigheter. Att lära sig en text utantill kräver både förmåga att tekniskt kunna avkoda texten och förståelse av vad det skrivna ordet betyder. Som gymnasielärare i Teater skall man kunna tillmötesgå de enskilda elevernas behov och ge dem rätt verktyg för att klara av det grundläggande textarbetet som krävs inom teatern. Förhoppningen är att resultatet även skall kunna appliceras och vara användbart för flertalet elever.Data har insamlats genom intervjuer med fem professionella skådespelare om vilka metoder de använder sig av för att memorera sina repliker. Även en teaterlärare intervjuades för att erhålla en bild av vilka metoder man använder sig av i undervisningen på gymnasiet. Utifrån insamlade data identifierades tretton olika metoder som sedan placerades under fem kategorier som har betydelse för själva inlärningen. Dessa kategorier var följande: metakognitiva metoder, muskelminnet, kompensatoriska resurser, fysisk aktivitet och analytiska metoder.
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Chapman, Patricia Ann. "Two Laureates and a Whore Debate Decorum and Delight: Dryden, Shadwell, and Behn in a Decade of Comedy A-la-Mode." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-11202006-050335/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Malinda Snow, committee chair; Tanya Caldwell, Paul Schmidt, committee members. Electronic text (81 p.) : digital, PDF file. Description based on contents viewed May 8, 2007. Includes bibliographical references (p. 79-81).
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Loftis, Sonya Freeman. "Shakespearean surrogations modern dramatists rewrite Renaissance drama /." 2009. http://purl.galileo.usg.edu/uga%5Fetd/loftis%5Fsonya%5Ff%5F200908%5Fphd.
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Cheng, Andrew. "Developmental dramaturgy in the emerging Asian-Canadian playwriting community in Toronto /." 2008. 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:MR51516.
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Thesis (M.F.A.)--York University, 2008. Graduate Programme in Higher Education.Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: 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:MR51516
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McHugh, Meadhbh. "Black Lyric: Trauma and Poetic Voice in Contemporary Irish Drama." Thesis, 2021. https://doi.org/10.7916/d8-x20m-ys55.
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I argue that lyricism, prevalent on the Irish stage from the inception of the national dramatic theatre tradition, is invoked, subverted, and exhausted by contemporary Irish playwrights. Lyric art had an evident nation-building function on the Irish stage, but the capacities of lyric language also included the expression and containment of painful material that otherwise could not easily be represented or voiced, but which, by the second half of the twentieth century, could not be comfortably repressed. In the period 1960-2010 (from Tom Murphy to Mark O’Rowe), playwrights of national significance—Murphy, Marina Carr, Martin McDonagh, Enda Walsh, and O’Rowe—increasingly associate the Hiberno-English lyric register with social fracture, emotional and psychic disturbance, and loss, until the lyric mode itself is exposed as inherently traumatized. I call this later mode, at the close of the twentieth century, “black lyric.” Black lyric operates as a travesty of lyric expression.
Black lyrical writing is lyrical text containing, but also produced by, pain, and at its fullest power, it operates as a grotesque parody of poetic expressiveness. It confronts the audience with trauma and psychic suffering attached to national expression rather than offering sonorous comfort. This project uses a combination of close reading, historical research, and theoretical analysis to argue that the playwrights who deploy heightened Hibernicized English at the end of the twentieth century are commenting upon and challenging the canon of Irish drama, which depended on a lyric register not only to console but to conceal. Commentators of twentieth-century Irish drama routinely remark on the dramatic tradition’s visceral poetry, yet it is rarely the subject of any sustained analysis outside of considerations of “language” or “style” generally. This dissertation seeks to partly address that omission.
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"愛情・倫理・革命: 白薇戲劇再探 = Love, ethics and revolution : a re-examination of Bai Wei's drama." 2014. http://library.cuhk.edu.hk/record=b6116495.
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白薇（1894-1987）被譽為最優秀的中國現代女劇作家，她的劇作除對五四風潮內的核心議題有深刻反思，亦有不少超前於同代作家的創作嘗試。但可惜的是，她的劇作因其晦澀而狂放的風格而未有在當世的社會急務中獲得理解，藝術上又與旗幟鮮明的現實主義相頡頏，而少數關注她的研究者亦對其劇作的獨異之處存有不少誤解，故她真正的創作貢獻暫時仍隱沒於文學史背後。「愛情」和「革命」是白薇文學創作的兩大面向，也是歷來研究其生平與文學轉向關係的焦點，但「倫理」亦同是她所著力書寫的議題，在回應自身家庭與社會問題之餘，同時叩問愛情與革命的應然性。本論文以此三項為座標，選取《琳麗》、〈打出幽靈塔〉和〈革命神的受難〉為主要研究對象，輔以其他相同題材的作品，揭示當中罕見的愛情哲學、倫理羈絆和革命諷諭。通過再探白薇之戲劇創作的熱情與理性、現實與想像，重新審視劇作蘊涵的細密思辯、藝術創新與人文關懷，為已有定評的白薇戲劇藝術提出新的分析和見解。二十年代少數作家對現代戲劇宣傳功能的突破，以及個人浪漫追求在社會現實主義洪流中的掙扎和消隱的問題，在白薇戲劇再探中可開展新的方向。
Bai Wei (1894-1987) is known as the most outstanding Chinese modern female playwright. Her plays have embedded profound reflections upon core values of the May Fourth Era, and have displayed a variety of creative attempts which are way beyond the reach of other playwrights from the same generation. Regrettably, the obscure and wild style of her plays have precluded them to be understood by peers of the same epoch, as these plays were presumptuous and prematurely considered irrelevant to the social imperatives. And while compared to the clear-cut stance of realism, Bai Wei’s plays had antagonistically overshadowed. Moreover, misconceptions upon characteristics of Bai Wai’s drama have also been made by the few researchers who had paid attention to her. As a result, the distinguished achievements of Bai Wei are still temporarily buried in the literary history.
‘Revolution’ and ‘Love’ are the two major aspects of Bai Wei’s literary writing, and they have long been focus of research on her life and on the shifting of direction in her literary career. However, ‘Ethics’ has also been a major concern of Bai Wei, for apart from responding to ethical issues regarding family and society, she had also provoked meditations on the suitability of love and revolution. Based on the three themes mentioned, this present study will conduct in-depth analysis on her three prominent plays, including Linli, Dachu Youlingta (Breaking out of the Ghost Tower) and Gemingshen de Shounan (The Suffering of the The Revolutionary God), complemented by investigations on works of the same motifs, with aims to reveal the philosophy of love, ethical restraints and revolutionary allegory rarely found in other plays.
By clarifying the correlation of passion and rationality, as well as the cluster of reality and imagination encompassed in Bai Wei’s drama, this study strives to re-examine the fine speculations, artistic innovations and humanistic care captured in her dramatic vision. This study sought to provide new insights on interpretations of Bai Wei’s plays, and to reiterate the significance of her endeavors, on top of the fixed impressions created by previous critics. Through the re-examination of Bai Wei’s drama, this study will also contribute to the enrichment and extension of the researches on the breakthroughs of theatrical conventions for drama to be served as tools of enlightenment and political manifestation which were facilitated by a minority group of playwrights in the 1920s, as well as on the struggles and termination of personal romantic pursuits under the overidding trend of realism across the Chinese society during the early Republican period.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
姜曉敏.
Parallel title from English abstract.
Thesis (M.Phil.) Chinese University of Hong Kong, 2014.
Includes bibliographical references (leaves 211-226).
Abstracts in Chinese and English.
Jiang Xiaomin.
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Malimba, Noxolo Anele. "Writing black sisters : interrogating the construction by selected black female playwrights of performed black female identities in contemporary post-apartheid South African theatre." Thesis, 2012. http://hdl.handle.net/10413/7779.
Full textAbstract:
Theatre is a political space which often reflects the social, political and personal conditions and consciousness of our society. It is also a place that allows for the speaking of private stories; a space that proffers the construction, re-construction, articulation and re-articulation of identities. Coloured, Indian and Bantu (1) identities were all defined ‘black’ within the simplistic categorisation of the complex, problematic apartheid (2) system that perceived individuals as either ‘black' (3) or ‘white’. As much as the apartheid system is one wherein the notion of ‘black’ shifted, it remained a system in which ‘black’ was often constructed as a homogeneous category of identity. In its zenith during the late 1940s, apartheid’s ‘blacks’ referred to the Bantu populace. Coloured and Indian identities were therein recognised as not ‘white’, and so were inadvertently considered ‘black’; perhaps just not ‘black enough’. Coloured and Indian identities were therefore located as vague and marginalised identities in a system that while on the one hand did not impose the same fierce oppression as inflicted on the Bantu, was also one which on the other hand excluded these groups from enjoying the benefits of being privileged whites. Then came the 1980s which saw a shift in the make-up of black/ness where apartheid ideology was concerned. With the birth of the invidious tricameral system which came to govern South African society until the emergence of a democratic nation in 1994, ‘black’ was now broken down and defined into its constituent parts: Bantu, Coloured and Indian. Although this system seemingly regarded each of these race groups, in that each was now named and thus acknowledged as opposed to simply being defined as the homogeneous category of ‘black’, it was nonetheless a system that separated and consequently gave rise to unequal power relations not only between ‘black’ and ‘white’, but now also within these three distinct black/nesses existing within ‘black’. Navigating the most historically marginalised of identities – the black female – this dissertation examines the construction of black South African female identities in the respective post-1994-produced play texts by six black South African female playwrights: Motshabi Tyelele’s Shwele Bawo (In Homann, 2009), Bongi Ndaba’s unpublished play text Shaken (see appendix A), Lueen Conning-Ndlovu’s A Coloured Place (In Perkins, 1999), Rehane Abrahams’ What the water gave me (In Fourie, 2006), Krijay Govender’s Women in Brown (In Chetty, 2002) and Muthal Naidoo’s Flight from the Mahabarath (In Perkins, 1999). This dissertation will in part engage character analyses of Bantu, Coloured and Indian female identities as articulated across the six play texts. Each category of black/ness will be explored in its own chapter, where the characters relevant to that particular black/ness shall be examined. This separation of chapters into these categories is by way of highlighting that endless differences in black/ness exist within the label ‘black’. While this particular separation of chapters is a perpetuation of apartheid discourse, as was the reality within South Africa’s history, and particularly from the emergence of the tricameral system onwards, the final chapter of this dissertation will be an attempt to dissolve these racial categories of black/ness as implemented by and within the legislation of the apartheid legacy. In a post-apartheid South Africa, it is not only Bantu women who are ‘black’, as Coloured and Indian women now claim ‘black’. This dissertation highlights the need to look at difference within similarity and multiplicity in the myriad black South African female identities that comprise the landscape of our contemporary, current and critical post-1994 theatre context, rather than to speak of a ‘typical’ black South African female identity. (1) This term will be italicised throughout this dissertation, by way of acknowledging its dual meaning. Within South Africa‟s historical context, „Bantu‟ was used as a derogatory term. The land set apart for black Africans during apartheid, known as Bantustans, affirms the disparaging nature of this term. Similarly, the belittling connotations of the term are noted in the system of Bantu education; a system specifically designed to fit the black African populace for their marginal role within apartheid society. For the purposes of this dissertation, the term „Bantu‟ will be used firstly, as a way to distinguish between the three categories of black/ness under exploration, where the term will be used to refer to black African South African identity, and secondly and most importantly, the term will be used as a reclaiming of black African South African identity from its historical derisive connotations. It is also important to note here, that within the isiZulu language, the term simply means „people‟. (2) During apartheid, there was a simplification of the term „black‟. This dissertation recognises that the apartheid stratifications of Bantu, Coloured and Indian, under the „logic‟ of grouping „like‟ together (that is, apartheid‟s „black‟ group), was in itself a false logic, because it did not acknowledge that there exists within each specific racial stratification, different cultural groupings and languages. For example, this dissertation could have expanded the discussion on Bantu identity by examining Zulu, Xhosa, Sotho etc identities, the discussion on Coloured identities could have included analyses of Javanese, Malay, Cape etc identities and the discussion on Indian identity could have explored different cultural groupings within Hindu, Muslim, Tamil etc. It is understood that in a post-apartheid context, there exists endless differences and multiplicities within the black identities of Bantu, Coloured and Indian. This dissertation therefore offers a terrain in which these myriad black/nesses are explored as fluid and contested. (3) Throughout this dissertation, the racial categorisations of „black‟ and „white‟ are in lower case „B‟ and „W‟ respectively, for the political demotion of these terms in a post-apartheid context. This is by way of politically challenging the essentialist thinking that underpinned the racial segregation and inequality primarily embodied by these terms during apartheid. The terms „Bantu‟, „Coloured‟ and „Indian‟ shall be in capital „B‟, „C‟ and „I‟ respectively. This is for the purpose of drawing attention to the categories of black/ness in a post-1994 context, whereby each is acknowledged and visible individually, as opposed to being articulated as part of the false logic of a homogeneous black/ness.Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2012.
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Johnson, Amy R. "Stranger in the Room: Illuminating Female Identity Through Irish Drama." Thesis, 2007. http://hdl.handle.net/1805/918.
Full textAbstract:
Thesis (M.A.)--Indiana University, 2007.Title from screen (viewed on May 23, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 82-83)
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Oluwasuji, Olutoba Gboyega. "A comparison of video interpretations of Athol Fugard and the printed texts." Diss., 2012. http://hdl.handle.net/10500/9089.
Full textAbstract:
Without consciousness we become victim instead of actors- even if it is only a question of acting victims. And in the make belief of our lives, the audience is self (Fugard in Frank 2004: 53). The primary concern of this study is the comparison of video interpretations of Athol Fugard with their adaptations as visual texts. It has been argued that 'the playwright's creative labour ends with the completion of the script' (Kidnie 2009: 15).Therefore, amongst other issues this dissertation will explore the politics of production at play during adaptation from printed version to screenplays. My assumption is that a comparison between the printed texts and video versions will add to the understanding of the effectiveness of Fugard's dramatic techniques and comprehension of literary texts; images are easy to decipher by inexperienced interpreters if guided. For the purpose of my presentation I adapt the reader response theoretical position of Stanley Fish based on a comparison that will be explored in terms of my own response to both the written text and visual texts, and in line with other responsed to the play.English Studies
M.A.
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Kelman, David Robin. "Stories of significance: an investigation into the construction of social meaning in young people’s dramatised stories." 2009. http://repository.unimelb.edu.au/10187/4852.
Full textAbstract:
This thesis examines the relationship between narrative and meaning in young people’s dramatised stories and how social meaning is generated in community performance. It is an investigation into drama performance projects with culturally diverse teenagers in an inner city secondary school in Melbourne between 2004 and 2006. The methodological approach is reflective practitioner and case study research involving field based data collection. The study investigates the relationship between narrative content and socio-cultural meaning, the dynamics between performers and audience and the power relations between the teacher-artists and young people.I conceptualise the drama workshop as an intracultural ‘third space’ (Bhabha, 1994) in which young people explored their emergent, hybrid cultural identities. This space was generated through a dialogic pedagogy based on Freire’s theory (1998) and an analysis of power structures underlying the work.
The centre of this thesis is an analysis of young people’s use of narrative to construct and negotiate the meanings of their dramatised stories. I have used narrative theory to inform and develop a drama process, drawing on the work of Bruner (1996) and Winston (1998). This approach enabled young people to develop complex, local meanings in their plays.
The young people used character to experiment with their personal narratives of identity and to develop dramatised stories containing moral messages that both reflected and commented on their local context, critiquing both their school subculture and the wider society. The plays were eclectic in form and reflected young people’s aesthetics and sense of ‘reality’.
In performance, audiences saw the performers simultaneously as fictional characters and as themselves. This complex dual awareness led audiences to infer a relationship between the dramatised story and the performers, generating ‘performative reflexivity’ (Turner, 1986) a state in which both audience and performers entered into deep reflection on social values.
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Lunga, Majahana John Chonsi. "A critical analysis of Wole Soyinka as a dramatist, with special reference to his engagement in contemporary issues." Diss., 1994. http://hdl.handle.net/10500/17262.
Full textAbstract:
This dissertation is mainly on Wole Soyinka as a dramatist. It aims to show that
Soyinka, far from being an irrelevant artist as some of his fiercest critics have
alleged, is a deeply committed writer whose works are characterised by a strong
sense of concern with basic human values of right and wrong, good and evil.
Furthermore, the dissertation shows that although Soyinka is not an admirer of
Marxist aesthetics, he is certainly not in the art-for-art's-sake camp either,
I
because he is fully aware of the utilitarian value of literature. Soyinka's works are
much influenced by his social and historical background, and the dissertation shows
that Soyinka's socio-political awareness pervades all these works, although it will
be seen that in the later plays there is a sharpened political awareness. Although
largely concerned with his own country's issues, Soyinka also emerges as a keen
observer of humanity universallyEnglish Studies
M.A. (English)
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Maphumulo, A. M. "A study of D B Z Ntuli's radio trilogy : Isivumelwano, Isivumelwano Esisha and Ngenxa Yesivumelwano." Thesis, 2001. http://hdl.handle.net/10500/18120.
Full textAbstract:
This is a study ofD.RZ. Ntuli's radio trilogy: Isivumelwano, IsivumelwanoEsisha
and Ngenxa Yesivumelwano. Since the term trilogy is not a familiar concept in Zulu
literary studies, this is an attempt to fill that void. This thesis provides some new
insight into this concept, while also devising a practical method for the analysis of
the radio trilogy.
Chapter one outlines the aim of the study, scope of the study and the definition of
some terms. This is followed by explaining the method of research and theories on
radio serial dramas. There is also a discussion of the historical background in the
development of Zulu radio serial drama and Ntuli's position and contribution to it.
Finally, there is a review of previous research studies in Aincan Languages on radio
drama.
In chapter two plot structure of a radio trilogy is discussed. Theories of drama
trilogy by trilogists like Hitchcock, Bakhtin, Asimov and Norris are discussed in
detail. This is followed by an in-depth analysis of the plot structures of
Isivumelwano, Jsivumelwano Esisha and Ngenxa Yesivumelwano.
Chapter three deals with the characterization of radio trilogy. It distinguishes
between the actors and characters. Different methods of character portrayal are
investigated.
Chapter four deals with perspectives on the theme of the radio trilogy. Types of
themes are dealt with.
Chapter five discusses the dialogue in radio trilogy. It deals with the differences
between a dialogue, duologue and monologue, and explains the functions fulfilled
by dramatic utterances and dialogue. Lastly a nature of dialogue as a characteristic
of the dramatic action is discussed.
Chapter six concentrates on the style of radio trilogy. Elements and different types
of styles are discussed. Kinds of images, figurative language, proverbs, idioms,
biblical allusions and various influences are discussed in detail.
Chapter seven concludes by summarizing the main finding ofthis study, and giving
observations about the quality ofNtuli's contribution to radio drama trilogy. lt also
explores some possibilities regarding future studies on Ntuli's radio trilogy.African Languages
D. Lit. et Phil. (African Languages)
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Novotný, Michael. "Využití literárního textu v dramatickém projektu." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-329226.
Full textAbstract:
Title Use of a literary text in a dramatic project Summary The work deals in its theoretical part with definition of dramaturgy; means, approaches and methodology of creative dramaturgy. What is more, it deals with possibility of using the literature (fairytale) in work with prep school children. The practical part deals with a project, which applies the fairytale text in dramaturgy in educational announcement of a prep school. It applies different dramatics, feelings and sense, pantomimic and other plays during February. The project is finally assessed with focus on affectivity of applied means, approaches and methodology of creative dramaturgy with respect to personality of the prep school children. Keywords Creative dramatist, literary text, pre-school age, drama, dramatization, pre- school education, nursery school.