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Dissertations / Theses on the topic 'History of theatre'

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Published: 4 June 2021

Last updated: 25 April 2022

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1

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

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

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2

Merrifield-Beecher, Jane A. 1952. "The history of the Gaslight Theatre." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/292022.

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Tony Terry founded The Gaslight Theatre in Tucson, Arizona, in 1977. The thesis examines The Gaslight Theatre in order to validate the company's artistic relevancy as a contemporary producer of melodramas and to further understand the reason behind the theatre's current success. The structure of the work begins with a history of melodrama, a look at the producer, Tony Terry, and his background and influence on The Gaslight Theatre, followed by a history of The Gaslight's three phases: The Victorian melodramas, the musical comedy melodramas, and the comedy spoof melodramas. A history of The Gaslight olio reveals the nature of the art form. The thesis further provides a study of those involved in the theatre's success, as well as the company's inevitable link to the current theatre practices. Most importantly, the thesis examines The Gaslight Theatre's significance to the local and American theatre community.

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3

Mekeel, Lance. "From Irreverent to Revered: How Alfred Jarrys Ubu Roi and the "U-Effect" Changed Theatre History." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371827527.

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4

Booth, Philip 1937. "The Montreal Repertory Theatre, 1930-1961 : a history and handlist of productions." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61143.

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The Montreal Repertory Theatre mounted a regular series of play productions every year from 1930 to 1961. They deliberately set out to follow the Little Theatre tradition of Antoine while profiting from later developments in England, Ireland and the United States. At a time when no alternatives existed in Montreal they provided theatre education at a high level and helped in the formation of many distinguished careers.
This study examines the work of MRT in a historical context, and as revealed in the company's surviving documents and in contemporary reports. The written record is supplemented by interviews with persons who worked with MRT. A number of these have made contributions on a national scale to Canadian theatre.

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5

Jenkins, Jeffrey Eric. "Making Theatre 'History' (Re)Writing the Record." Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527628.

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6

Lasik, Franklin James. "Documentary theatre: dramatizing history and historicizing dram." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407236436.

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7

Sollish, David S. "Musical Theatre in the Mountains: An Examination of West Virginia Public Theatre's History, Mission, Practices, and Community Impact." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276802020.

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8

De, Somogyi Nicholas Jan. "Shakespeare's theatre of war." Thesis, University of Cambridge, 1993. https://www.repository.cam.ac.uk/handle/1810/272391.

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9

Chamberlain-Snider, Sandra. "Arts Umbrella's Theatre Troupes : a history of theatre training for children and youth." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44203.

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Arts Umbrella is a not-for-profit arts education centre for children and youth ages two to nineteen. Its Theatre program has been providing artistic theatre training to young people in the Metro Vancouver area for almost thirty years. This study's objective is to present the history of the Theatre Troupes within a historiographical methodology that takes into account all the contributing factors towards the program's successful development. The material archive resources of Program Guides, Reports to the Board, Newsletters, Show Programs and the original Business Plan are documented in a chronological exposition of the Theatre Troupes' history along with interviews with Arts Umbrella co-founder Carol Henriquez, the influential Troupe directors Sarah Rodgers, Paul Moniz de Sa and Susanne Moniz de Sa, other artist-instructors and a summary of survey questionnaire responses from parents and alumni. The young theatre students at Arts Umbrella have experienced a rich and diverse history of theatre artists in Vancouver, in a safe and nurturing environment that has been consistently funded and stable administratively since inception of the Theatre Arts program in 1984.

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10

Chon, ChuYoung Joy. "Transforming Indigenous Performance in Contemporary South Korean Theatre: the Case of Sohn JinCh'aek's Madangnori." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1388624592.

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11

Taub, Myer. "Playing with/in history." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7984.

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Bibliography: leaves 52-58.
The area of research for this written explication is defining a relationship between fragment and the assemblage of fragment in order to conceive new strategies for developing historical dramatic narrative. There were two significant methods with which the research occurred. One was a critical investigation into the work and writings of visual artists, historians, critics, writers and playwrights who all recognize the area of fragmentation in their specific field. The other was through writing and directing a play with UCT drama students called Lekker Faith (2003). This particular play opened at The Arena Theatre, Orange St, Cape Town on the 1 November 2003. The play joins two earlier plays The Hottentot Venus and the wonder of things unknown (Little Theatre, Cape Town, 2002) and Fourplay (Rehearsal Room, Monument Theatre, Grahamstown, 2003) to form part of an anthology of plays, called The Paris/Cape Town/Joburg Plays.

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12

Holledge, J. M. "Women's theatre - women's rights." Thesis, University of Bristol, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.370703.

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13

Vrtis, Brian Robert. "Teaching Theatre History: Re-Directing an Existing Course." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1409.

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14

Obermueller, Joseph A. "Applied Theatre: History, Practice, and Place in American Higher Education." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3151.

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The goal of this paper is to examine the practice of Applied Theatre in order to better define the genre and make a case for its legitimization and inclusion in higher theatre education. By looking at the theatre practitioners of the 20th century who paved the way for its existence as well as modern practitioners, a definition will be distilled down to five core characteristics of the practice with several case studies illustrating those characteristics. Once a clear distinction has been made between Applied Theatre and other similar genres, the case will be made for why the field should be considered mainstream. Additionally, it will be revealed how underserved the genre is in higher education and why its inclusion is important in college theatre programs.

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15

Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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Doctor of Philosophy
'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."

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16

Farrell, Ryan. "Mentoring Canadian theatre, Paul Thompson's influence on the state of Canadian theatre through his work in collective creation during the 1970s and early 1980s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ60056.pdf.

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17

Morrison, Matthew. "A critical history of the Soho Theatre, 1968-1975." Thesis, University of Westminster, 2014. https://westminsterresearch.westminster.ac.uk/item/964y6/a-critical-history-of-the-soho-theatre-1968-1975.

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This thesis represents the first detailed account of the Soho Theatre’s early history, from 1968 to 1975. During this period, ‘Soho’ was a pioneer of lunchtime theatre, offering a challenge to conventional theatre-going practice and placing new demands on writers, director and designers. Soho quickly established a dominant position on the burgeoning fringe and alternative theatre scene. It did so, however, in spite of critical misgivings about the value of the lunchtime ‘movement’. Commentators often failed to appreciate the innovative qualities of lunchtime work, finding fault with what they saw as a random approach to programming and an apparent lack of clear artistic policy. Many later theatre histories have reproduced this critique. As well as documenting the Soho Theatre’s history, therefore, this study offers a reassessment of the contribution it, and other lunchtime companies, made to the theatrical activity of the time. In my first chapter, I trace the development of the lunchtime theatre phenomenon, situating it within a number of theatrical, political and cultural contexts. I consider its complex relationship with the Arts Council and engage with some of the more dismissive accounts of its practices, revealing the ideological positions on which such assessments rest. In Chapter Two, I examine the company’s first ‘home’, at Le Metro Club on New Compton Street, and show how it quickly became an integral part of the developing theatrical landscape. In Chapter Three, I concentrate on Soho’s time at the King’s Head pub in Islington. Here it mounted a series of productions that challenged traditional notions of the ‘one-act’ play and tested the boundaries of the performance space. In 1972, the Soho Theatre moved again, to a basement on Riding House Street owned by the Polytechnic of Central London. Chapters Four and Five examine the company’s first years at what became known as the Soho Poly. I pay particular attention to the importance of the venue itself, showing how it played a crucial role in Soho’s survival. I conclude by arguing that existing studies of fringe and alternative theatre have underestimated the values of ‘eclecticism’, ‘contingency’ and ‘responsiveness’ that often characterised the Soho Theatre and other companies on the lunchtime scene.

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18

Millet, Sandra Kay. "Theatre History in the Secondary Drama Classroom and Beyond." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3507.

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Current Utah State Core Standards for Theatre require that theatre history be taught at levels II (Standard 3 Objective C), III (Standard 4 Objective D), and IV (Standard 4 Objectives A and D) of high school drama classes. However, a 2011 survey of Utah high school theatre teachers indicates that only 54% include theatre history as an "important" or "very important" part of their curriculum, while another 36% say they "touch on it." This thesis is designed to be a resource for secondary drama teachers in integrating theatre history pedagogy into their drama classes, in an engaging and performance-based manner that builds on activities that are usually already present in the curriculum. It also suggests methods for crossing the curricular divide and using theatre history projects to enrich students' experiences in other core and elective classes. As continued funding for the arts in our secondary schools is threatened in the current economic climate, it unfortunately becomes increasingly important for theatre programs to demonstrate the ability to collaborate with and enhance other disciplines, as we focus on producing graduates with high-level cognitive skills.

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19

Key, Nancy Martin. "A narrative history of Lake Charles Little Theatre, Lake Charles, Louisiana, 1927-1982." Lake Charles, La. : McNeese State University, Frazar Memorial Library, Dept. of Archives and Special Collections, 2008. http://library.mcneese.edu/depts/archive/FTBooks/key.htm.

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20

Swetnam, Ashley Nicole Londré Felicia Hardison. "A natural stage a history of theatre in Arkansas/." Diss., UMK access, 2008.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2008.
"A thesis in theatre." Typescript. Advisor: Felicia Hardison Londreʹ Vita. Title from "catalog record" of the print edition Description based on contents viewed Sept. 12, 2008 Includes bibliographical references (leaves 59-64). Online version of the print edition.

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21

Lay, Ruth Ann. "The Memory and the Legacy: The Whittlin' Whistlin' Brigade -- The Young Company 1974-2001." BYU ScholarsArchive, 2002. https://scholarsarchive.byu.edu/etd/2838.

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The Memory and The Legacy: The Whittlin' Whistlin' Brigade - The Young Company 1974-2001, is a history of the children's theatre of Brigham Young University. The Whittlin' Whistlin' Brigade - The Young Company acts as a training ground for graduate students working in theatre for young audiences. Then directing a production for The Whittlin' Whistlin' Brigade - The Young Company, students are instructed to perform all functions required of a professional company. As the The Whittlin' Whistlin' Brigade - The Young Company (WWB-TYC) spends much of its performance time on tour, those responsibilities are relegated to the students. Developed and headed by Dr. Harold R. Oaks of Brigham Young University, WWB-TYC produced children's theatre for local, regional, national and international audiences. The history includes production photos, budgets and business plans. A survey of former company members was conducted assessing the long-term affect on participants in relationship to their personal and professional life. This thesis is also in electronic form using animation, musical and narrative audio, an interactive menu and a photo-gallery. Text is available in HTML and PDF format with 'print' capability. A tutorial is included to aid in possible navigational concerns. Working within an electronic medium has facilitated the accessibility of a considerable collection of material highly diverse in nature. Twenty-seven years of production notes, performance programs, production photos, music, scripts, budgets, permissions, required licensing, travel arrangements and itineraries, performance schedules, educational/clientele data and historical developmental notes of the children's theater program itself presented not only volumes of material but also brought specific inclusion needs. In addition, the results of a program survey of the program will be presented in graph and chart format. Determined needs include: 1. A history of children's theater both nationally and at Brigham Young University. 2. Supporting documentation of program development and implementation. 3. Survey results of WWB-TYC participants.

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22

Snyders, Theresa Lynne. "History of the University of Iowa Opera Theater 1938-1998." Diss., University of Iowa, 1998. https://ir.uiowa.edu/etd/5362.

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23

Phillips, Chelsea L. "“Carrying All Before Her:” Pregnancy and Performance on the British Stage in the Long Eighteenth Century, 1689-1807." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1418649014.

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24

Barnette, Jane Stewart. "Locomotive leisure : the effects of railroads on Chicago-area theatre, 1870-1920." Austin : University of Texas, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3110747.

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25

Tracie, Rachel E. "Deaf theatre in Canada, signposts to an other land." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/MQ28912.pdf.

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26

Glenfield, Mary Ross. "The growth of theatre in Edmonton, from the early 1920s to 1965." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60377.pdf.

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27

Huggett, Nancy. "A cultural history of cinema-going in the Illawarra (1900-1950)." Communication and Cultural Studies - Faculty of Creative Arts, 2002. http://ro.uow.edu.au/theses/246.

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This thesis explores a cultural history of cinema-going in the Illawarra region of New South Wales over the first half of the twentieth century through oral history interviews with cinema-goers of the period. The research was originally intended to explore the Australian cinema industry from a regional perspective. However, while the interviews contained fascinating details and stories of cinema-going in this period, they did not fit seamlessly into existing academic discussions about cinema which often focus on film texts and national cinema industries. Therefore, as well as considering how the oral histories I collected contributed to pre-existing academic discourses about the cinema industry and national screen content, I have also explored other discourses that are articulated in audience narratives. Through exploring the debates in cultural studies about audience research and the work of the Popular Memory Group and other critical oral historians, I critically evaluate the oral history narratives as well as the methodology of oral history itself. I look at the intersection of oral history practice with cultural studies in order to highlight issues of representation and power and to celebrate the way that differences between written and oral histories can foreground processes of meaning-making. My contention in this thesis is that cinema-going is a strategy of mediation through which people make sense of themselves, their lives and their relationships with others. I test this theory by considering cinema-going in relation to a series of identifications: national identity, local identity, personal identity and political identity (age being one strategic location from which older individuals can draw on age-related discourses and experiences to achieve particular narrative ends). In conclusion I argue that any cultural history of cinema-going is a mediated history which is constructed within a matrix of meaning-making strategies. It is created through audience members� narratives of cinema-going which re-configure memories in accordance with particular discourses of significance either in the narrated past or in the narrating present. The researcher, who tells the story with reference to specific research priorities and current academic discourses, further mediates such a history. Therefore, as well as setting out a cultural history of cinema-going in the Illawarra for debate and further research, the emphasis on mediation is intended to encourage reflection on the creation of history as a complex, collaborative and political process which creates one story as it silences others.

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28

Blackwell, Mary Alice. "An Undergraduate Theatre History Course Design Utilizing Problem-Based Learning." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1188.

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This thesis was written to provide an alternative teaching model for an undergraduate theatre history class. The course design, utilizing the Problem-Based Learning educational model, aims to create a student-centered, experiential theatre history class. The first section explores the history and evolution of the theatre discipline in academia. These chapters examine the expansion and transformation of the theatre curriculum within the discipline and higher education. The second part examines the history and the methodologies of Problem-Based Learning. Based on the philosophy of educator John Dewey, PBL is considered to be a non-traditional method of teaching and learning that encourages the development of self-directed learning and the acquisition of knowledge through experiential education. The final section describes the actual course design. Included in this section are the educational objectives of the class, examples of problems, assessment methods, and an examination of potential challenges in the design.

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29

Whitaker, Janelle. "A Whole New World: A study on the impact the Disney Theatrical Group has made on Broadway theatre and Times Square over the past 20 years." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1514644833674716.

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30

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

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31

Connick, Rob. "Rethinking Artaud's Theoretical and Practical Works." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300457063.

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32

Benson, Marilyn Leigh. "The birth of the Frederic Wood Theatre -- how the early development of the University of British Columbia fostered the establishment of the Theatre Department and the Frederic Wood Theatre." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/30330.

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It has been said that the character of an institution is largely determined by its history and the personalities that shaped it. If this is so, the Frederic Wood Theatre has much to draw on, for it was founded in the spirit of cooperation and promise. This thesis traces the beginning of the university from the original petition for its formation, through its early struggle to be established. Concurrent with this expansion is the growth of theatre at the university, a development which helped to introduce the institution throughout the province. The current Frederic Wood Theatre is the outgrowth of a tradition of theatre at the University of British Columbia. The beginning of this historical retrospective is the original petition for the founding of the university. Subsequent to that initial and failed attempt, the University of British Columbia was created by legislation through the efforts of Henry Esson Young, the "Father of the university", and by organization through the works of Frank Fairchild Wesbrook, its first President. Professor Frederic Wood, a founding member of the faculty in 1915, formed the Players'Club which provided the university its theatrical foundation for the next thirty years. Dorothy Somerset, a Director of the Players'Club and the Vancouver Little Theatre (also co-founded by Prof. Frederic Wood) established accredited theatre courses at the university and founded the Summer School of the Theatre. In 1952, these achievements won her the university's first legitimate theatre: the Frederic Wood. With single-minded purpose, Dorothy Somerset further established the Department of Theatre in 1958, building the present 410 seat Frederic Wood Theatre five years later in 1963. More than a physical building, the Frederic Wood Theatre is a dynamic process responding to the energies and influences of its principals. Seven individuals (out of hundreds) who were fundamental in contributing to the accomplishments of the Frederic Wood Theatre are introduced: Henry Esson Young, ''Father of the University'; Frank Fairchild Wesbrook, first President of the University of British Columbia; Professor Frederic G.C. Wood, founder of the Players' Club; Dorothy Somerset, founder of the Department of Theatre; Jessie Richardson, in whose honour years later, the Jessie Awards were created; Norman Young, stage manager, publicizer and lobbyist, and John Brockington, Head of the Theatre Department for 23 years, the man who guided and developed its academic and degree granting programs. Few people realize how great a role the theatre has played in the establishment of the University of British Columbia.
Arts, Faculty of
Theatre and Film, Department of
Graduate

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33

Comans, Christine Anne Wilmington. "La Boite Theatre 1925 to 2003: an historical survey of its transformation from an amateur repertory society to an established professional company." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16306/.

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This study addresses the central question of how Brisbane's La Boite Theatre negotiated its transformation from an amateur repertory society to an established professional company and, despite set-backs and crises, survived, changed and developed in an unbroken line of theatrical activity from its genesis in1925 to 2003. To answer the question, La Boite's history is surveyed within its three status modes of amateur, 'pro-am', and professional. Effective artistic and organizational leadership and a set of key manifestations of effective leadership are identified as crucial to the company's successful transformational journey. Such a transformation is a distinctive achievement in Australian repertory theatre history and, in exploring it, this study makes an original and important contribution to the history of Australian theatre organizations, very few of which have been the subject of scholarly research.

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34

Brooks, Cassandra M. "Cultural Exchange: the Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699929/.

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The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge.

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35

Leffner, Josephine. "BLACK CATS, BERLIN, BROADWAY AND BEYOND: CABARET HISTORY IN THE MAKING." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2664.

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Cabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a two-woman cabaret show we will write, produce, and perform together. The show, Black Cats, Berlin, Broadway and Beyond, will be a one-act historical look at the genre of cabaret. It will include material garnered from historical research of the cabaret genre, specifically focusing on some of the famous women, songs, stories, lives, and important contributions. The cabaret show will cover information and art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic and will culminate with cabaret's insurgence into American culture up to, and including, the state of American cabaret today. American cabaret will be emphasized, but a portion of the show will explore American cabaret's European roots. My thesis will explore the triumphs and tribulations of putting together the show. As the culmination of my UCF studies, this project will test my abilities as a librettist, performer, creative artist, director, and collaborator. This thesis will include the actual show performances as well as a written monograph document recording the project's journey from its inception to conclusion.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre

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36

Nadeau, Martin. "Theatre et esprit public : le role du Theatre-Italien dans la culture politique parisienne a l'ere des revolutions (1770-1799)." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37795.

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Taking as a case study the Theatre-Italien, here considered both as a particular theatrical practice and as a specific stage in Paris---one of the most popular at the time---this dissertation asks what role this theatre played in the novel competition of discourses which characterized political culture in the era of Revolutions. All too often, historians have overestimated print culture as the main medium through which discourses were produced in the eighteenth century, and this despite the fact that theatre played a fundamental role in the public life of this period. Furthermore, when theatre is studied, historians emphasize too often the written form of the plays.
The dissertation's structure seeks to underline the specificity of the cultural practice represented by the theatre. The discrepancies between the meaning of a play written by a particular author and the same play as it is performed on stage are emphasized. Political messages emerge out of the language of the actors and actresses without any possibility to control them, so that the players become, in effect, co-authors of the play. Similarly, the variety of the nature of the audience and the way in which it becomes at once judge, co-author and co-actor make the public, neither intangible nor invisible, but simply gathered, a crucial feature of this cultural practice which allows us to argue that theatre was actually a very bad instrument of propaganda. Instead, theatre can be seen at the time to be a public scene of immediate political debate. The conflicting opinions expressed there turn theatre not into the minor of political reality intended by various regimes confronted to the diversity of the polity---what some people have called "a school for the people"---but rather as the mirror of the reality experienced by a large number of Parisians at the time. It is in this sense that we relate the theatrical practices studied with the concept of public spirit, expressing the people's understanding of the general interest, instead of that of public opinion, expressing the unified message imposed by a dominant political group.

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37

Alotaibi, Naif Khalaf N. "A historical study of Saudi theatre with reference to the history of theatre in the General Presidency for Youth Welfare." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14554.

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The subject of Saudi theatre has not been very well investigated by scholars and researchers, and many agree that there is a lack of resources concerning theatre in Saudi Arabia. Although there are a few studies about Saudi theatre, more studies in the history of Saudi theatre as well as in different aspects of theatre in Saudi Arabia are needed in order to help readers to further understand this subject. Unfortunately, the international community of theatre has not been able to access information about theatre in Saudi Arabia owing to the absence of studies of Saudi theatre in different languages, especially in English; this lack plays a key role in preventing readers from understanding Saudi theatre. This thesis attempts to play a role in bridging this gap in the area of Saudi theatre. It presents, therefore, a historical study of Saudi theatre from the establishment of Saudi Arabia as a country in 1932 to the period in which the General Presidency for Youth Welfare (GPYW) was established as the first organization that was responsible for supervising and producing theatre in Saudi Arabia, 1974-2004. In particular, the main aim of this research is to study and examine the history of theatre in GPYW from its establishment in 1974 up to 2004 when the Saudi government decided to transfer the responsibility of cultural activities from different institutions, including the GPYW, to the Ministry of Culture and Information. This will offer an important picture of the history of Saudi theatre which previously has not been addressed by scholars and researchers. The thesis is divided into six chapters. Owing to the fact that Saudi Arabia is a part of the Arabic world and has some similarities with the other Arabic countries in terms of language, religion, history, and culture, the first chapter will attempt to familiarize readers with the history of theatre in the Arabic world by providing historical background of the Arabic theatre. The second chapter will offer an outline of the historical, religious and social context of Saudi Arabia. The third chapter will present a detailed picture of the beginning of theatre in Saudi Arabia and the theatrical activities that took place in Saudi Arabia from its establishment until 1974, the year in which the GPYW was established. The fourth chapter will be devoted to exploring and understanding the main tendencies of theatre that emerged in Saudi theatre and dominated the history of theatre in this establishment from 1974 until 2004. In addition, a summary of a play of each tendency will be presented. It is essential for readers to be aware of the nature of these tendencies as they move to explore the history of theatre in the GPYW through the next chapters. The fifth and sixth chapters will concentrate on the history of theatre in the two main parts of the GPYW that produced regular theatre; the General Administration for Cultural Activities and the Saudi Arabian Society for Culture and Arts. Finally, the thesis will conclude by summarizing its main points and ideas and will provide some recommendations that should help the readers, future researchers, and Saudi practitioners to further improve and develop the subject of theatre in Saudi Arabia.

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Chang, Ting-Chun. "Creating History Towards Utopia: The 2016 Taiwanese LDS Celebration." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6551.

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This thesis argues that emotions and memories in a community are essential to shaping a common future. Furthermore, when performed on stage, these memories and emotions create a utopian experience that moves performers and audience members towards a brighter future. The foundation for this thesis is built upon the ideas of utopian performative theories combined with the Asian Ganzhi belief that every sixty years a new cycle of hope begins. This thesis also includes a practical work. I was invited to write and direct a cultural production for the 60th year anniversary celebration of The Church of Jesus Christ of Latter-day Saints in Taiwan. The practical experience of creating this production and the utopian theories and Ganzhi beliefs interacted throughout the process of creating the production and writing this thesis. These utopian and Ganzhi ideas influenced the production and the production tested the theories. Historical memories of one generation performed by and to the next generation is a way for a community to shape a brighter future together. The performance of the 60th year anniversary celebration was based on the re-creation, restoration and emotional connection of the members of the performing group to the personal historical memories of the previous generation. When the Taiwanese LDS members prepared, rehearsed and performed their cultural celebration in October of 2016, the production shaped a common, brighter future.

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Clippard, Kristin. "A director's mash-up of She Stoops to Conquer or the Mistakes of a Night by Oliver Goldsmith." Thesis, The University of Iowa, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1540338.

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Walling, Carl Harry III. "Exhibiting Scenographic Identities at the 2007 & 2011 Prague Quadrennials." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1419006710.

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Rankin, Roberta. "A historiographical study of William Dunlap's History of the American Theatre /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9821342.

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42

Komu, Rose Wangui. "A history of Kenyan theatre : the intersections between culture and politics." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/16415/.

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The study is a piece of qualitative research that investigates both the history and historiography of Kenyan theatre. I have focused on showing how the performance traditions, thematic and theatrical concerns of theatre in Kenya have evolved from the colonial period to present time as well as the sociopolitical factors that gave birth to these changes. I also studied how other scholars have depicted Kenyan theatre with a view to identifying any confluence or contradictions with the historical data that was the basis of this study. The main question that the study investigated revolved around the major socio-political influences, internal and external, that have shaped Kenyan theatre since the colonial era. More specifically the study was interested in finding out the literary, intellectual and aesthetic considerations that have underpinned theatre practice in Kenya and the challenges the sector has been grappling with from the colonial to present period. To acquire the necessary information, the study triangulated various methods of qualitative research. These included archival research at the Kenya National Archives and on the internet, interviews with theatre practitioners and experts, analysis of journalistic articles and observations of performances. These were accompanied by a robust library and internet research. An interpretive analysis of plays and material from fieldwork was undertaken to answer the research questions. To argue out the various issues convincingly, theoretical frameworks from the fields of theatre historiography, post-colonialism and Theatre for Development were used. Among these were Frantz Fanon’s ideas on colonialism and neo-colonialism, African socialism, Augusto Boal’s ideas of Theatre for Development and Paulo Freire’s views on education of the oppressed. The writings of renowned theatre scholars such as Ngugi wa Thiong'o, David Kerr, Jane Plastow and Opiyo Mumma and historians such as Bethwell Ogot, Charles Hornsby and William Ochieng also shaped my work. The major findings of the study were that political regimes of Kenya and ideology have been major influences in shaping the direction and aesthetics of Kenyan theatre. Lack of adequate training was found to be a main challenge undermining the realisation of the full potential of Kenyan theatre. The study further revealed a lack of adequate research in the field of performance which has led to much misrepresentation of Kenya’s theatre history. The study recommends more investment in terms of policy, infrastructure development and training to enable the Kenyan theatre sector to realise its full potential.

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Chelakis, Gino S. "Of Holes and Historitivity Excavating the Ruins of History and Mining with Memory: A Performance Paradigm." LSU, 2004. http://etd.lsu.edu/docs/available/etd-12212003-201744/.

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The methods by which we collectively create, experience and remember history are complicated and fraught with holes and inconsistencies. All to often, the institutions that govern historical events are invested in eliminating those holes or reconciling those inconsistencies, or both. Our universities, as they purport to house knowledge and extend our experience of that knowledge, are highly implicated in this particular process of dealing with the historical hole. In response to that constructed reality, many scholars and theorists, both from within the walls of the academy and from their fields outside the academy, find themselves obligated, from a political and ethical position, to attack or subvert or weaken or punch their own holes in the prevailing academic body. A cycle of hole filling and hole drilling is created. As if we have been cursed by our own Atreusian knowledge, we, as academics, as historians and as theorists seem fated to perform in a cycle that perpetuates itself in an ever-continuing, self-reflexive way. Of Holes and Historitivity addresses this situation by advocating that historical experiences are perhaps best memorialized in performance. In reshaping the way we memorialize or remember our historical artifacts and events, Of Holes and Historitivity hopes to eventually reshape our understanding of knowledge and the pedagogy that purports to bring us to that knowledge. If this can happen, if the nature of the academy can change, then perhaps our understanding of our own natures and identities will follow. Perhaps we will come to recognize the holes and inconsistencies in our perceived realities as the most glorious parts of those realities. In the immediacy of a remembering theatre, Of Holes and Historitivity wants to change what and how we know.

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Kershaw, Barrie Richard. "Theatre and community : alternative and community theatre in Britain, 1960-1985; an investigation into cultural history and performance efficacy." Thesis, University of Exeter, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280752.

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Ruozzo, Stephanie Marie. "The Legitimate Princess: Intersections of Broadway and the Little Theatre Movement in Jerome Kern's Musical Comedies." Case Western Reserve University School of Graduate Studies / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=case1591286570783829.

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Fine, Abigail Calvert. "Totus Mundus Agit Histrionem': Identity and Politics in Eighteenth-Century English and Colonial American Theatre, 1752-1776." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626663.

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LaReau, Brandon. "Dramatic Themes: Active Learning and Thematic Teaching in the Theatre History Classroom." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5755.

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This thesis explores major texts dealing with pedagogical theory and active learning in the context of a theatre history class. By comparing a class which is taught in the traditional, chronological format relying heavily on lectures to a class taught in a newer, thematic format utilizing active learning the thesis defines what student-centered learning means. Active learning, its benefits, and its implementation are explained and explored, along with the advantages and benefits of teaching thematically instead of chronologically. All of this is applied to a theatre history class in the resulting syllabus in chapter three. The syllabus creates a curriculum which uses themes to teach theatre history, while incorporating active learning activities and assignments throughout, to the benefit of the student. Ultimately, student-centered learning and its importance are explained and demonstrated using research, observation, and creation.

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Moran, Patrick. "A 16 BAR CUT:THE HISTORY OF AMERICAN MUSICAL THEATREAN ORIGINAL SCRIPT AND MONOGRAPH DOCUMENT." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2294.

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A final thesis for my Master of Fine Arts degree should encompass every aspect of the past few years spent in the class room. Therefore, as a perfect capstone to my degree, I have decided to conceive, write, and perform a new musical with my classmate Rockford Sansom entitled The History of Musical Theatre: A 16 Bar Cut. The History of Musical Theatre: A 16 Bar Cut will be a two-man musical that will capsulate all of musical theatre history in a single evening. Starting with the Greeks and finishing in the present, the show will comedically inform the audience, while paying homage to, the astonishing art form called musical theatre, using several outrageous conventions such as a game show, spoof, mimicry, and most importantly, drag. The show will also pose the question to everyone: with all the great literature already created, where is musical theatre headed, and who is going to bring us there? Writing A 16 Bar Cut will test the training I have received and my mastery of musical theatre as an art form. The show will demonstrate my understanding and passion for several components used by authors and actors alike to create a musical. Being that the show is a capsulation of all musical theatre, A 16 Bar Cut will show my true mastery of the history and literature of musical theatre. I will be forced to hone my skills of the collaborative process at a new level, as never having to truly execute them with such intensity before. The challenges that lay ahead will be seen not only in the performance aspect, but also in the creation of A 16 Bar Cut. Since musical theatre has an immense range in genre and style, the ability to technically master these styles and genres will prove to challenge me as a performer, as well as a writer. In the performance, there will be three main challenges: vocal qualities, dance techniques, and my acting craft. The vocal styles used in A 16 Bar Cut will test my capabilities as a singer to meet the demands needed to convey the original material used as it was initially intended. As a dancer, the specific movements and "signatures" of the many choreographers will challenge me to understand and be able to re-create these "specifics" for an audience. The character building will test me as an actor, starting with one through-lined character--a heightened half-brained juvenile form of myself--along with building approximately fifty auxiliary characters throughout the show. As a writer, there are two major challenges that I foresee. The first challenge is the arc of the show--needing to keep a steady through-line that will let the audience understand what is happening and follow the history. The second obstacle is making sure the audience understands the show. I may be finishing an M.F.A. in Musical Theatre, but not everyone will be. In fact, some audience members may not know anything about musical theatre. This challenge arises trying to make the show funny to everyone, not just musical theatre dorks. The Research and Analysis portion of my monograph document will follow the course of action laid out in the M.F.A. Thesis Guidelines. The (A) Research section will include the biographical information pertaining to the composers and lyricists involved in the selected materials. Librettists of specific book shows that we choose to utilize as it pertains to our show will also be included in this section. I will also include a brief subsection of each composer, lyricist, and librettist's significance to musical theatre history. The (B) Structural Analysis section will discuss the structure and dramatic organization of how we choose to create A 16 Bar Cut. The (C) Analysis of the Role section will reveal how we employ the stock characters/ comedic duo of the straight man and funny man (i.e., Laurel & Hardy and Abbot & Costello). All other components outlined in the M.F.A. Thesis Guidelines will be included in my document.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre

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49

Shepherd, Janet. "Music, text and performance in English popular theatre 1790-1840." Thesis, University of London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284561.

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50

Sansom, Rockford. "A 16 BAR CUT: THE HISTORY OF AMERICAN MUSICAL THEATREAN ORIGINAL SCRIPT AND MONOGRAPH DOCUMENT." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2295.

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Believing that a thesis should encompass all aspects of a conservatory training program, I will write and perform--in collaboration with my classmate Patrick John Moran--a new musical entitled A 16 Bar Cut: The History of American Musical Theatre as the capstone project for my Master of Fine Arts in Musical Theatre. A 16 Bar Cut will be a two-man show that tells the entire history of American musical theatre from the ancient Greeks to today in a tongue-in-cheek manner. The goal of the project is to pay homage to an original American art form in a night of zany silliness and hilarity. The show will feature an informative perspective on the rise and current status of American musical theatre, several new songs, complete irreverence, and grown men singing, dancing, and making utter fools of themselves. Creating my thesis show will test and stretch my knowledge base of the musical theatre art form and virtually every skill that I have developed in my course of study. Since A 16 Bar Cut centers on the historical journey of musical theatre, constructing the new work will demonstrate my understanding of musical theatre history and literature. Performing the show will also challenge my ability and craftsmanship as an actor, singer, and dancer. Not only will I create a through-line character--a heightened, silly, professorial version of myself, but I will also create approximately fifty additional characters used throughout the show. The vocal and dance requirements for my track will also be numerous and demanding. And since the show travels through the major movements of musical theatre history, I will have to dance, sing, and act in the various styles and qualities of each movement and time period. Other significant challenges will center on script development. The first obstacle will be synthesizing music theatre into a single evening while maintaining an arc, storyline, and Patrick and my specific point of view about the genre. Another complexity to the show will be accessibility to the audience--how to be respectful to and informative about musical theatre, while at the same time being entertaining and funny to a wide array of audience members who will vary in musical theatre knowledge. In addition, developing a two-man thesis will require a complete collaboration with Patrick Moran. Since musical theatre is rarely--if ever--a solo art, working as a team will expand and exercise my collaborative abilities. And producing the show with Patrick will test supplementary skills such as marketing, resourcefulness, design and technical elements, etc. The Research and Analysis portion of my monograph document will be structured according to the M.F.A. Thesis Guidelines as applicable to my specific project. The (A) Research section will consist of a biographical glossary on all of the composers and lyricists referenced in A 16 Bar Cut. Librettists' information will be included when their work is pertinent. Additionally, each composer, lyricists, and librettists will be discussed in regards to their significance in musical theatre history. The (B) Structural Analysis section will describe the show's organization and construction and how the structural problems mentioned above are solved. The (C) Role Analysis section will have three sub-sections focusing on my different roles in the production as a playwright, producer, and actor.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre

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