To see the other types of publications on this topic, follow the link: Life or Theater?.
Dissertations / Theses on the topic 'Life or Theater?'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Life or Theater?.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Enriquez, Andres Ray. "Acting as a life : "What am I doing?"." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3290.
Full text
2
Nason, Ryan. "Life in the Pits: A Trumpeter’s Life in New York’s Musical Theater." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23798.
Full textAbstract:
Pit musicians have fallen through the cracks of musical theater scholarship. In all my research, I have yet to come across any sources that thoroughly examine musical theater from the perspective of the musicians who perform in its orchestras day in and day out. Thus, this thesis documents Richard (Dick) R. Smith's life as a professional musician living and working--in vaudeville and on Broadway--in midcentury New York City. Smith might be relatively unknown, but he played a significant role in a variety of musical contexts. By understanding his life, we gain valuable insight into histories that have only focused on the experiences and achievements of actors, bandleaders, composers, orchestrators, and conductors, among others. Examining Smith's experiences also help us understand something about the hundreds, if not thousands, of similarly anonymous pit musicians whose talents and hard work made New York City's vibrant musical life possible.
3
Najar, Daronkolae Esmaeil. "Pam Gems: Rethinking Her Life and the Impact of Her Plays on British Stage." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523487108676837.
Full text
4
Bayer, Mark. "Queen Anne's men and the commercial life of London's neighborhood economies /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402957195914.
Full text
5
Jeffries, Sean A. "LIFE ON THE LINE: AN ANALYSIS OF THE LIGHTING DESIGN FOR A CHORUS LINE." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334244672.
Full text
6
Griff, Adam M. (Adam Michael) 1974. "Open space : theater and public life on the Central Artery." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29299.
Full textAbstract:
Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2003.Includes bibliographical references (p. 89).
In the light of changes to the composition of society and the emergence of new technologies, conventional understandings of public space and inherited spatial forms no longer apply. Yet, for all the pessimism about whether these spaces will continue to exist, people still flock to places where they can be together. At the heart of this urge lies a crucial understanding of the modern city. Instead of being a closed community the modern city is cosmopolitan, a place for the gathering and living together of strangers. The city is the place where one goes to know people different from one self. Consequently, the city's reason for being is to socialize- for information, for business, for the development of the self. Like any place for socializing, it has its roots in pleasure. Located on the North End parcels of the central artery, my thesis project employs those programs that emerged right as this new understanding of the city dawned -- hotels, clubs, coffee shops, public promenades, restaurants, theaters, and pubs- to create spaces for socializing within the city. Social interaction is discursive, based on communicating, instead of being a visual relationship. The goal of the design is to create those moments where individuals can approach each other instead of being passive spectators to one another. Despite its lightheartedness, socializing and pleasure are serious because they set the terms on which different people can communicate and relate to one another, which ultimately is the basis for any democratic politics.
by Adam M. Griff.
M.Arch.
7
Kattner-Ulrich, Elizabeth [Verfasser]. "The early life and works of George Balanchine (1913 - 1928) / Elizabeth Kattner-Ulrich." Berlin : Freie Universität Berlin, 2010. http://d-nb.info/1024743748/34.
Full text
8
Vaieland, Natalie Marie. "Shadow, Gender, Transference: Alfred Wolfsohn in Charlotte Salomon's Life? or Theater?" BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6433.
Full textAbstract:
Charlotte Salomon's Life? or Theater? is a complex compilation of painting, musical notations, autobiography, cinematic layouts, and literary text. Salomon scholars have neglected a crucial element of Life? or Theater?, which is the significant influence of Salomon's friend, Alfred Wolfsohn. This thesis fills this void by examining the correlation between stylistic influences in Salomon's work and by exploring Wolfsohn's theoretical practices. Using a framework informed by Jungian psychology and Wolfsohn's extensive music theory, this thesis argues that Salomon portrayed her own story via Wolfsohn's philosophy of catharsis. As trauma became a reoccurring theme in Salomon's life, painting and creation became her purification and the means by which she recovered her own sanity. To expound the importance of Salomon's emotional expulsion in Life? or Theater?, this thesis considers her biography, traumatic life events, and her formal art training at the Vereinigte Staatsschulen für Freie und Angewandte Kunst. The combination of her chaotic life events, her training as a visual artist, and her inclusion of musical and theatrical elements emphasize her ability to efficiently call upon the most effective and expressive artistic style for her catharsis. In its synthesis, Salomon's Life? or Theater? becomes a Gesamtkunstwerk that is the pinnacle of German Expressionism. Lastly, this thesis will look to the relationship and influence of Wolfsohn. Arguing that Wolfsohn's influence was more than encouraging Salomon to paint, this thesis will draw connections between Wolfsohn's theories and Salomon's approach to Life? or Theater?. In arguing for the importance of Wolfsohn's theories, and by understanding her work as catharsis via Gesamtkunstwerk, this thesis has contributed new ways of understanding Salomon's complex work, Life? or Theater?, as more than an illustrated autobiography.
9
Raby, Peter Humfrey. "'Life at the full' : the idea of the natural in English and French theatre, 1815-1848." Thesis, Royal Holloway, University of London, 1985. http://repository.royalholloway.ac.uk/items/692532ab-fb94-46aa-a56d-cf2d972586a3/1/.
Full textAbstract:
The study investigates the development of theatre in England and France between 1815 and 1848, concentrating on a number of attempts to create a serious and poetic dramatic experience which reflected the artistic concerns of the time. It examines the general state of theatre and drama in London and Paris, and takes particular note of the reactions of one country's critics to the productions of the other. The central issue discussed is the idea of the natural, especially in terms of acting style and mise en scene. The study analyses some of the efforts of authors and producers to reconcile the demands and potential of Romantic dramaturgy with the expectations of the audience. The crucial problem may be described, in Bulwer Lytton's terms, as the attempt to fuse the simple and the magnificent, or, alternatively, the natural and the theatrical. The study outlines the organization, repertory, mise en scene and acting style in England and France at the start of the period (Chapters 1 and 2). It discusses the difficulties confronting the English Romantics as potential dramatists, with particular attention to Marino Faliero (Chapter 3). Chapter 4 describes the 1827-28 visit to Paris of the Theâtre-Anglais, specifically the impact of Shakespeare productions upon French critical consciousness. The effect of that impact is discussed with reference to selected productions of French Romantic drama (Chapter 5). Chapter 6 outlines the incidence and influence of French theatrical practice in London, emphasising the natural acting style of the comediens and the high quality of mise en scene. Chapter 7 describes the growth in England of the idea of the unified production, and assesses the importance of Macready as a producer. In Chapter 8, the difficulty of achieving a satisfactory balance between the style of acting and the increasinglyelaborate physical context is examined, and it is argued that the idea of the natural was more capable of realisation in musical drama, especially ballet.
10
Burden, Josephine E. "Living life to the full a qualitative study of community theatre, older people, and the construction of leisure /." Connect to this title online, 1997. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050914.125729/.
Full text
11
Rossi, Marion O. "Life skills and actor training : pedagogical attitudes and approaches /." view abstract or download file of text, 1999. http://wwwlib.umi.com/cr/uoregon/fullcit?p9957573.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 1999.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 192-197). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9957573.
12
Doe, Connor Bartlett. "Puppet Theater in the German-Speaking World." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/88.
Full textAbstract:
This work begins with a brief history of puppet theater in Germany. A look at important social aspects, pertinent philosophical discussions and the significance of puppet theater in the German literary tradition follow. The final chapter looks at Peter Schumann, a German puppeteer and artist who lives in America. In Germanistik, German puppet theater deserves a devoted place in the field of legitimate study in terms of its history, content and influence. Puppet theater's historical development in Germany represents the larger evolution of Germany. From ancient times up to the present day, this artistic form of representation has enjoyed an audience in the German-speaking regions. The evolution of puppet theater parallels Germany's quest for legitimacy as a nation and desire for cultural unification. A study of puppet theater thematizes the issue of popular cultural history. For most of its existence in Germany, puppet theater served as popular entertainment. The conception of folk art and folklore - which includes puppet theater - by the German Romantics led them to believe that folk artists possessed a mysterious authenticity inaccessible to Classicists and their narrowly-defined world of high art. Much German literature and thought from the 19th century onward shows a fondness for the Volk aspect of puppet theater. Puppet theater and its reception in German Romanticism helped to shape literary and philosophical themes that would lead to further recognition of puppetry as an art form and an integral aspect of German culture. In the 20th century, puppet theater took on bold new forms. Adapting to film, television, academia and the avant-garde, respected proponents of puppet theater brought the art form into the light of day. No longer did it merely consist of vulgar or mildly artistic street performances or as a vehicle for Romantic-era nostalgia. German puppet theater in the 20th century moved into the realm of mass culture with film and, more effectively, with television. It also gained footing in academia, eventually becoming a fully-recognized field of study as well as a performance medium with infinite possibilities. One can only hazard a guess as to where puppet theater will go in the future. The ability of the art form to uncannily reflect the human condition is well known. How the human condition will change and how the performers of puppet theater will respond remains to be seen.
13
Roberts, Christine Elizabeth. ""I've needed a friend my whole life". Voices offormer gang members: An ethnodrama." Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278801.
Full textAbstract:
This thesis set about to achieve three goals. First it discusses street gang research, assessment of the gang problem, and in particular the forces that push and pull American youths into the street gang lifestyle and the gang member experience. Second, it explores how alternative forms of data presentation, such as ethnodrama, blur the boundary lines between art and scientific research and demonstrates that the embodiment of human experience through artistic means enhances our understanding of the gang problem and creates context. Third, it includes an ethnodrama text constructed from qualitative interviews of three former gang members, in support of narrative inquiry research methods, and illustrating how three young men were drawn into the gang lifestyle, what they experienced by being in a gang, and the factors that helped them to leave the gang and lead them to make positive changes in their lives.
14
Kinser, Amber E. "Gendered and Feminist Performances in the Social ‘Theater of Food’." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1253.
Full text
15
Hooton, Darby Nicole. "Relationship Between Vitamin D Deficiency Risk, Depression Symptoms, and Health-Related Quality of Life in Theater Personnel." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou155602180054644.
Full text
16
Farris, Charles Adron III. "CHARLES MEE’S HOTEL CASSIOPEIA: A DIRECTORIAL COMPOSITION IN SEARCH OF THE ‘INNER LIFE’." Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1247861560.
Full text
17
Konesko, Patrick M. "Constructing a "sense of life" Ayn Rand's Night of January 16th from conception to "disaster" /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1245105207.
Full text
18
Yazici, Ezgi. "Theater In Nineteenth Century Istanbul: Cases For The Translation Of An Architectural Typology." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612683/index.pdf.
Full textAbstract:
As far as the traditional Turkish theater does not refer to any architectural structurethe theater buildings that are built during the nineteenth century are identified with the ideals of modernity and treated as the literally translations of the Western typologies.This study aims to investigate the possbility of a geniune architectural language in the theaters of nineteeenth century Istanbul. While doing this, rather than offering a pure formal analysis,the study concentrates on the cultural panorama of the nineteenth century Istanbul, political and ideological changes, international relations, economic downturn and their impact on theater that starts to appear as a popular leisure time activity of the capital of the Ottoman Empire.
19
Konesko, Patrick Mike. "Constructing a “Sense of Life”: Ayn Rand’s Night of January 16th from Conception to “Disaster”." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1245105207.
Full text
20
Farris, Charles Adron. "Charles Mee's Hotel Cassiopeia a directorial composition in search of the 'inner life' /." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1247861560.
Full text
21
Brown, Gregory S. "A field of honor : writers, court culture and public theater in French literary life from Racine to the Revolution /." New York : Columbia university press, 2002. http://catalogue.bnf.fr/ark:/12148/cb39102098t.
Full textAbstract:
Th. doct.--Histoire--New York--Columbia University, 1997.Bibliogr. p. 338-387. Cette publication a d'abord été éditée sous forme multimédia dans la série "Gutenberg-e series", on peut y avoir accés en allant sur le site http://gutenberg-e.org., il s'agit d'un programme de l'"American historical association and Columbia university press"
22
Lee, Jirye. "Stage of Her Own: Autobiographical Solos by Women in New York City in the First Decade in the 21st Century." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494288492098892.
Full text
23
Reinhardt, David Lee. "Theatrical living : responsive lives which manifest God's loving presence and ways." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16579.
Full textAbstract:
God is revealed through Scripture and the Incarnation as desiring to establish loving relationships with others beyond the Trinity. In the beginning he did so by creating human beings, and making himself, his desires, and his ways known to them. He chose to do so through particular actions and encounters in history which involved various forms of embodied manifestation, and led up to the supreme manifestation: the enfleshing of Jesus. Following on from the acts of Jesus which perfectly manifested God and his ways to the world in the flesh, human creatures created in the image of God and united to Christ are also called and gifted by God to manifest God's presence, activity, and ways in this world by using their bodies to live faithfully and responsively to the leading of the Spirit. In order to investigate and demonstrate these claims, Part I of the thesis examines a selection of precedent-setting events chronicled in the Old Testament in which God manifested his presence and ways to people in a variety of circumstances. Part II is concerned with a theological examination of God's manifestations and the roles people can and should play in these manifestations. It begins by engaging with reflections on the subject from the early church fathers Irenaeus, Athanasius, and Augustine; and, in keeping with the Reformed approach taken in the thesis generally, this is followed by in-depth treatments of Reformer John Calvin and Reformed theologian Karl Barth on the revelation, manifestation, and proclamation of God by people in this world. Having substantiated the claim that how people live is significant and of concern to God as it can impinge upon his ongoing desire to make himself and his ways known, Part III is designed to provide a fuller understanding of some of the meaning and significance conveyed by bodily expressions in human interactions with an eye towards seeking ways to live more faithfully to God. It identifies the theatre, particularly improvisational theatre, as a laboratory for understanding human living, and so explores the insights of theatre practitioners into everyday living; while also considering the work of philosophers of language and sociologists who do the same. Through this spotlight on the theatricality of life the case is made for attempting to live responsively, in keeping with improvisational actors, in ways that are faithful to God and which can serve to aid those united to Christ as they seek to make God known to others.
24
Hwang, Seunghyun. "Remaking the American Family:Asian Americans on Broadway during the Cold War Era." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1403302910.
Full text
25
Charpentier, Marc 1965. "Broadway north : musical theatre in Montreal in the 1920s." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35990.
Full textAbstract:
This thesis examines the professional musical stage of Montreal in the decade following the First World War. Throughout the 1920s, almost all of the city's musical theatre attractions were foreign in origin, and were staged by American, French, and British roadshow companies, arriving mainly from New York City. Analysis of Montreal's musical theatre entertainment and satellite relationship with Broadway highlights the growing cultural influence of the United States upon Quebec society in the interwar period. As a northern outpost of Broadway, Montreal was directly affected by the profound transformation of the entertainment industry of the United States. After peaking in the second half of the decade, the musical stage of Montreal was gradually supplanted by the decline of the roadshow system, the advent of the sound film, the onset of the Great Depression, and the resurgence of local stock theatre companies.The northern extension of Broadway into Montreal heightened divisions within Montreal society between a growing middle class of businessmen, managers, and other professionals who embraced modernity and cultural change, and more conservative forces who favoured the traditional Quebec based on religious and nationalist values. While the musical attractions sent northwards from Broadway were a popular divertissement for a large proportion of Montrealers from all social classes and linguistic backgrounds, they were abhorred by the province's clerical and nationalist elites and their supporters who regarded them as a threat to the survival of traditional French Canadian values and culture.
26
Shrader, Angela D. "A Comparison of Audience Response to Live and Recorded Theatre Performances." Marietta College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1430070781.
Full text
27
Rowland, Hilary. "Shakespeare and the public sphere in nineteenth century America." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35936.
Full textAbstract:
The eighteenth century public sphere has been defined by Habermas in terms of its rational, critical style of debate and egalitarian ideals. In eighteenth century America the public sphere comprised mainly elite merchants. This group mediated between civil society and the state in order to influence government decisions. Motivated largely by commercial interests, they nevertheless claimed to represent the entire society. But around the mid-nineteenth century, the American public sphere began to expand, mainly due to the emergence of a middle class. Debate over Shakespearean drama had a profound effect on the ways in which 19th century civil society presented and considered arguments related to public issues. Increasingly, the credibility of an individual's public utterance, rather than his or her social or intellectual status, was of primary import in determining the merit of an argument. The discursive behaviour adopted in discussion of Shakespeare plays in numerous clubs and societies helped to form habits of rational critical debate which characterized public decision-making in the latter part of the century. Those largely excluded from public debate, such as blacks and women, began to publicly argue for rights previously extended only to white males. The major spread of mass entertainment and its perceived ills toward the end of the century, however, rendered Shakespeare the chief weapon in the resistance to modern vulgarity and commercialism. The wedge which developed in Shakespeare discussion between amateurs and academics at this time may be partly explained by a developing mass consumption mentality which Habermas contends segmented the public into protective, specialized minorities and an often uncritical mass of consumers.
28
Barbara, Rodrigo Peixoto. "(Des)dobrando o teatro da crueldade: Nietzsche, Artaud, Deleuze e outros pensadores rebeldes." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7354.
Full textAbstract:
Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2017-05-22T10:38:35Z
No. of bitstreams: 2
Dissertação - Rodrigo Peixoto Barbara - 2017.pdf: 2301704 bytes, checksum: f4ba0c98b2ea5cea2c9f830b6a1c4b21 (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-22T10:43:16Z (GMT) No. of bitstreams: 2 Dissertação - Rodrigo Peixoto Barbara - 2017.pdf: 2301704 bytes, checksum: f4ba0c98b2ea5cea2c9f830b6a1c4b21 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Made available in DSpace on 2017-05-22T10:43:16Z (GMT). No. of bitstreams: 2 Dissertação - Rodrigo Peixoto Barbara - 2017.pdf: 2301704 bytes, checksum: f4ba0c98b2ea5cea2c9f830b6a1c4b21 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-24
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The Theater of Cruelty is an Artaudian artistic manifestation that shook the representative Western aesthetic bases by returning the ritual, magic and life suppressed by Western theater to the performing arts, also highlighting controversial subjects / themes silenced by a ruling class, similarly as Friedrich Nietzsche and Gilles Deleuze did with their philosophical thoughts. In view of this, it is proposed with this Master's Dissertation, to (un)fold this Theater of Cruelty having as a theoretical subsidy, besides the studies of Antonin Artaud, the investigations of Nietzsche, Deleuze and some other rebellious thinkers. Through this unfolding, one studies the possible cruel plot given by the Philosophy-Art-Life conjunction and of that, the link between Tragedy, Dionysus and the Artaudian Theater. In view of this panorama, one wonders: what unites these cruel-artist thinkers? What do Nietzsche's Tragedy and the god Dionysus lend to the Theater of Cruelty of Artaud? To this end, the theoretical clause presented here rests on the attempt to account for a study that shows the rhizomatic agreement between these three thinkers and subversive thoughts having as central axis the Theater of Cruelty. Therefore, this theater is staged to propose a connection between Artaudian Cruelty and the revolutionary powers of the Nietzschean and Dionysian tragic.
O Teatro da Crueldade é uma manifestação artística artaudiana que estremeceu as bases estéticas representativas ocidentais devolvendo às artes cênicas o ritual, a magia e a vida suprimida pelo teatro ocidental, evidenciando, também, assuntos/temas polêmicos silenciados por uma classe dominante, similarmente como fizeram Friedrich Nietzsche e Gilles Deleuze com seus pensamentos filosóficos. Diante disso, propõe-se com essa Dissertação de Mestrado, (des)dobrar esse Teatro da Crueldade tendo como subsídio teórico, além dos estudos de Antonin Artaud, as investigações de Nietzsche, Deleuze e alguns outros pensadores rebeldes. Por intermédio desse desdobramento, estuda-se a possível trama cruel dada pela conjunção Filosofia-Arte-Vida e, a partir dessa, o enlace entre Tragédia, Dioniso e o Teatro artaudiano. A partir desse panorama apresentado, pergunta-se: o que une esses pensadores artistas-cruéis? O que a Tragédia de Nietzsche e o deus Dioniso emprestam ao Teatro da Crueldade de Artaud? Para tanto, o recorte teórico que aqui se apresenta repousa na tentativa de dar conta de um estudo que mostre o acordo rizomático entre esses três pensadores e pensamentos subversivos tendo como eixo central o Teatro da Crueldade. Logo, esse teatro se faz palco para propor uma ligação entre a Crueldade artaudiana e as potências revolucionárias do trágico nietzschiano e do dionisíaco.
29
Main, Sarah. ""Enacting the Story of Her Life": The Written Legacies and Enduring Mis/Perceptions of Zelda Fitzgerald." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564749555581709.
Full text
30
Du, Preez Petrus. "Ikoon en Medium: die toneelpop, masker en akteurmanipuleerder in Afrika-performances." Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/620.
Full text
31
Saldanha, Marcelo Ramos. "Teatro da encarnação: contribuições do Teatro de Animação para a Teoloda Missão." Faculdades EST, 2012. http://tede.est.edu.br/tede/tde_busca/arquivo.php?codArquivo=373.
Full textAbstract:
Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorEsta dissertação apresenta um princípio de teorização acerca do Teatro da Encarnação, uma prática artística e missionária desenvolvida pelo autor em seu la- bor pastoral, e sua relação com a teologia da Missão Integral. Sob a visão de uma dupla encarnação na figura do boneco, o Teatro da Encarnação é uma manifestação corporeificada do lúdico infantil, onde o adulto e a criança transformam-se em seres que dialogam num espaço de significados compartilhados. Como esse teatro encar- nado é uma apropriação missionária do teatro de animação, sendo uma manifesta- ção artística que mantém enorme semelhança com o ato de brincar, o abordaremos inicialmente como técnica, falando do ator, do boneco e da criança, a partir do en- contro do mundo concreto do adulto com a hermenêutica lúdico-sincrética da crian- ça. E posteriormente, a partir da filosofia da Vida de Michel Henry e da teologia da Missão Integral, o abordaremos como um potente meio de apreensão dos saberes próprios da Vida, que, em sua auto-doação a nós, constrói um universo simbólico rico em experiências, onde ambos podem ver-se como seres nascidos na vida, num espaço kenótico de múltiplas possibilidades de interação e transformação.
This dissertation presents an introduction to the theorization on the Incarna- tion Theater, an artistic and missionary practice developed by the author in his pasto- ral labor, and its relation with the theology of Integral Mission. Under the notion of a double incarnation by the puppet, the Incarnation Theater is a bodily manifestation of children's ludic or playful behavior, where the adult and the child become beings who dialogue in a space of shared meanings. As this incarnated theater is a missionary appropriation of animated theater, and as an artistic manifestation has great similari- ties with the act of playing, we will approach it initially as a technique, speaking of the actor, the puppet and the child, starting from the encounter of the concrete world of the adult with the ludic-syncretic one of the child. After, starting from the Philosophy of Life of Michael Henry and the Integral Mission theology, we will approach it as a powerful means of apprehension of knowledges of life itself, which, in its self-giving to us, builds a symbolic universe rich in experiences, where both adult and child can see themselves as life-borne, in a kenotic space of multiple possibilities of interaction and transformation.
32
Doyle, Dennis M. (Dennis Michael) 1958. "American Gothic: A Group Interpretation Script Depicting the Plight of the Iowa Farmer." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500827/.
Full textAbstract:
This thesis examines the possibilities of social-context issues in interpretation. A group interpretation script relating the current difficult conditions of rural Iowa was compiled. Three experts in the field of interpretation were asked to evaluate the potential of this social-context script. It was discovered that a compiled interpretation script of Iowa literature can successfully depict the social concerns facing the family farms of Iowa.
33
Björnsson, Karl. "Amplified Speech in Live Theatre, What should it Sound Like?" Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74001.
Full textAbstract:
Sound on-stage has always been part of the theatre experience. Today the usage of microphones to amplify speech is very common and has become more of a rule rather than an exception. This study investigates amplified speech in live theatre. The goal was to understand the sound engineers’ choice in how, when and why they would apply certain techniques when amplifying speech in live theatre. Six theatre sound engineers were interviewed using a semi-structured form and the analysis was of a grounded theory. The interviews were conducted via skype where both video and audio were recorded. Four main categories were created; microphones, voices, aesthetics and technical, and subcategories were developed from the interviews. The research showed that theatre engineers strive to optimize the illusion for the theatre audience to believe that during the performance, they’re located in the same world as the actors are located in.
34
Cabral, Judson Forlan Gonzaga. "Antonin Artaud: a vida e sua dimensão política." Pontifícia Universidade Católica de São Paulo, 2015. http://tede2.pucsp.br/handle/handle/2537.
Full textAbstract:
Made available in DSpace on 2016-04-25T20:21:24Z (GMT). No. of bitstreams: 1
Judson Forlan Gonzaga Cabral.pdf: 1249179 bytes, checksum: 108bd4cb632cff4920bd1d72334899c4 (MD5)
Previous issue date: 2015-04-23Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Antonin Artaud was a french artist that lived on 20th century. With his theater and lifestyle, he shattered several moral institutions and rules that guided life. Made his life and art a combat. For this same reason, was subject of several reprimands. Artaud, man of theater stage, worked as a film actor, playwright, costume designer, scenographist, illustrator, art critic, an active man among his peers. Begun threading the path of historical avant-garde, and his ideals, especially those connected to surrealism, were aimed at revive theatrical art so it could be used as the place of action on life. Theater as practice of itself. Artaud s works were crucial so he could draw a life that was beyond or earlier of a certain life perspective consonant with its standardizing mechanisms. Beyond Artaud and his theater, this research focus on Nietzsche and Foucault, addressing some concepts dear to those authors. The life of those three were lives that to a certain extent drawn over existence other ways to be part of it. They established an aesthetic of existence from designing their lives as art pieces. Therefore, the research focuses on life and its political dimension seen through quality of life and its experiments. In this sense, draws the authors thoughts for different kinds of political actions
Antonin Artaud foi um artista francês que viveu no século XX. Ele com seu teatro e estilo de vida abalou os diversos programas morais e instituições pelas quais a vida era balizada. Fez de sua vida e arte um combate. Por isso mesmo sofreu diversos tipos de correções. Artaud, homem de teatro, trabalhou como ator de cinema, foi dramaturgo, figurinista, cenógrafo, desenhista, crítico de arte, foi um ativo entre seus contemporâneos. Trilhando inicialmente a esteira das vanguardas históricas e de seus ideais, especialmente o dos surrealistas tinhacomo projeto revivificar a arte teatral para que a mesma fosse usada como o lugar de ação sobre a vida. O teatro como prática de si. A obra de Artaud foi fundamental para que ele pudesse traçar uma vida que se colocava além ou aquém de certa perspectiva de vida vigente com seus mecanismos normalizadores. Além de Artaud e seu teatro a pesquisa enfatiza Nietzsche e Foucault com alguns conceitos caros a esses autores. A vida dos três foram vidas que de certa forma traçaram sobre a existência maneiras outras de estar nela. Instituíram uma estética da existência àmedida que fizeram das suas vidas uma obra de arte. Portanto, a pesquisa enfatiza a vida e sua dimensão política entendida aqui na qualidade de uma vida no e pelos seus experimentos. Para tanto, busca pensar à luz dos autores outros tipos possíveis de politização
35
Matsos, Christopher T. "“With Clotted Locks and Eyes Like Burning Stars”: Corporeality and the Supernatural on the Gothic Stage, 1786 - 1836." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274922246.
Full text
36
Machado, Thiago Luiz Berzoini. "Espectros – um drama familiar: narrativa transmídia aplicada às artes cênicas." Universidade Federal de Juiz de Fora, 2012. https://repositorio.ufjf.br/jspui/handle/ufjf/1914.
Full textAbstract:
Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-06-29T19:52:27Z
No. of bitstreams: 1
thiagoluizberzoinimachado.pdf: 2242060 bytes, checksum: e5be95a0a6b81848845c4066ec4da618 (MD5)Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T15:50:26Z (GMT) No. of bitstreams: 1 thiagoluizberzoinimachado.pdf: 2242060 bytes, checksum: e5be95a0a6b81848845c4066ec4da618 (MD5)
Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T15:50:44Z (GMT) No. of bitstreams: 1 thiagoluizberzoinimachado.pdf: 2242060 bytes, checksum: e5be95a0a6b81848845c4066ec4da618 (MD5)
Made available in DSpace on 2016-07-13T15:50:44Z (GMT). No. of bitstreams: 1 thiagoluizberzoinimachado.pdf: 2242060 bytes, checksum: e5be95a0a6b81848845c4066ec4da618 (MD5) Previous issue date: 2012-03-30
Utilizando como matriz midiática “Espectros – Um drama familiar” (Gengangere, 1881) de Henrik Ibsen, esta dissertação analisa a expansão do universo ficcional de uma peça teatral por diversas plataformas de mídia. A montagem da obra foi desenvolvida através da aplicação de estratégias transmídia com base nas explanações de Henry Jenkins e Stephen Dinehart, teóricos dessa nova forma de utilização da narrativa perante a era da “Cultura da Convergência”. O projeto apresentou ao espectador uma obra que possui vários “pontos de entrada” no universo ficcional da trama de Ibsen, acessíveis através de um conteúdo distribuído eletronicamente: vídeos, áudio-teatro, história em quadrinhos, um jornal fictício que contém informações sobre o programa da peça e um dossiê contra um dos personagens centrais da trama. A experiência também foi levada para um ambiente imersivo - o Second Life –, apresentando uma assembleia virtual que reuniu o elenco e o público atingido pela divulgação do evento nas redes sociais e sítio de hospedagem do material produzido. Com a aplicação dessa estratégia, o espectador é motivado a organizar mentalmente os fragmentos narrativos de situações pulverizadas através de canais de distribuições complementares, proporcionando a continuidade de imersão no universo ficcional mesmo após o término da experiência.
Using as a media-matrix “Ghosts – a family drama” (Gengangere, 1881) by Henrik Ibsen, this work analyzes the expansion of the fictional universe of a play by various media platforms. The composition of the play was developed through the application of strategies based on the explanations of Henry Jenkins and Stephen Dinehart, theorists of this new way of using the narrative according with the era of “Convergence Culture”. The project presented a work in which the viewer has multiple “entry points” into the fictional universe of Ibsen’s plot, accessible via electronically distributed content: videos, audio dramas, comic, a fictional newspaper which contains information about the program of the play and a dossier against one of the central characters of the plot. The experience was also taken to an immersive environment – the Second Life – featuring a virtual meeting that gathered the cast and the audience reached by the advertisement of this event through social networking and hosting website with the material produced. With the implementation of this strategy, the viewer is encouraged to mentally organize the narrative fragments of situations sprayed throughout additional distribution channels to provide continuous immersion in the fictional universe even the ends of the experiment.
37
Hallenbeck, Christopher Brunner. "On the Line: Lighting A Chorus Line." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/200051.
Full textAbstract:
TheaterM.F.A.
This thesis examines, details, and evaluates the process used while executing the lighting design for a production of A Chorus Line, produced by Temple University's Department of Theater. I will discuss each part of the design process as well as the technical rehearsal process and evaluate the choices made.
Temple University--Theses
38
Droth, Barbara Elektra. "Live art, life art : a critical-visual study of three women performance artists and their documentation." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/48339/.
Full textAbstract:
This thesis is a 'practice-led' project that uses observational documentation methods, a long-term collaboration with three live artists, and a narrative analysis to encourage a visual display of 'knowing' the person who makes live art, the performance work itself and the reality of producing and archiving live art. My practice of documenting live performances produces digital representations of the three artists I collaborated with. The fragmented and non-linear expressions of the live performances, which can be viewed in the video documents, also find echo in the life history interviews of the artists. Triangulated with an examination of the artists' websites, these diverse texts provide insight into how the live artists make sense of their embodied autobiographical experiences in a virtual environment. A post-structuralist narrative analysis proposes that the live and online performance-narratives constitute the artists' self as 'an artist' and examines these texts for ideas of the 'self-portrait' and of 'life as experienced'. The research suggests this is especially helpful to the audience's meaning-making processes when engaging with Live Art. The thesis investigates the three artists' representations of the body, specifically their strategies to compel a disruptive reading of nudity, femininity and motherhood. Other performative strategies found in these artists' work lead to discussions on ritual enfleshed in performance, based on Richard Schechner's (1995) understanding of iterative practices, and of participatory incantations that integrate narratives found in myths into narratives of selfhood and community. This thesis aims to develop the understanding of contemporary performance art pratice through examples of three artists' autobiographical performativity in live and online environments. The thesis advances narrative theory beyond its literary framework through a visual and practice-based approach. By linking narrative theory with visual methods this project seeks to demonstrate that experiential approaches could be relevant to narrtaive researches, visual anthropologists, performance ethnographers, as well as live artists, all faced with the inevitability of mediatisation. It contributes to ideas on the digital dispersions of the live artists' identity as not a fracturing of the unified body experienced in live performance but instead as a place for the artists to exercise agency through virtual performativity. The thesis consists of two parts, a website (http://bsdroth.wix.com/thesis2013) and a written text. The online videos and the written text, when read together, form a performative analysis towards the 'knowing who' of the artists. It contributes to the growing interest in methodologies that investigate, document and present cultural experiences and their perceived value. The online presentation of my practice also demonstrates the digital and virtual environment the live artists' work operates in, as exemplified in this thesis. The website is a physical manifestation of integral ideas in this project, around authenticity, ownership and virtual experiences.
39
Schor, Ruth. "Eine alltägliche Tätigkeit : performing the everyday in the avant-garde theatre scene of late nineteenth-century Berlin." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:f182a548-e450-4efa-a3a0-478461d44ab6.
Full textAbstract:
This dissertation situates late nineteenth-century Berlin's reception of naturalist drama in contemporary discourse about European modernism, which to date has disregarded the significant impact of this cultural environment. Examining the Berlin avant-garde's demand for "truth" and "authenticity," this study highlights its legacy of promoting more honest and dynamic forms of human interaction. Sketching the historical background, Chapter 1 demonstrates how the reception of Henrik Ibsen in Berlin fuelled creative strategies for a more honest approach to theatre. From literary matinees to more egalitarian ways of directing theatre, this moment in cultural history significantly shaped people's understanding of theatre as a tool for social criticism and as a means of creating a sense of intimacy. Two important figures are highlighted here: literary critic and theatre director Otto Brahm, central to the promotion of naturalism, and his more prominent protégé Max Reinhardt, who developed Brahm's legacy. Situating these developments in a theoretical framework, Chapter 2 draws on the concept of "the everyday" as set out by Toril Moi, Stanley Cavell, and Ludwig Wittgenstein to link the role of the ordinary on stage to the avant-garde's search for authenticity and truthfulness. Through this framework, Ibsen's social dramas from A Doll's House to Hedda Gabler (Chapter 3) can be seen perfectly to exemplify this shift in perspective from the 1880s through the 1890s, revealing the complexity of truthfulness in communications. Tracing these themes in other dramatic works, innovative readings of Arthur Schnitzler's Liebelei (Chapter 4) and Rainer Maria Rilke's Das tägliche Leben (Chapter 5) shed new light on these two fin-de-siècle authors. By highlighting these authors' previously unrecognised connections with Berlin's avant-garde theatre scene and their dramatic exploration of interpersonal connection, this study shows both how theatre functioned as a tool to examine human relationships and to what extent twentieth-century literature was grounded in this way of thinking.
40
Thomas, Kenneth. "Who, What, Why: A Self-Reflection on the Creation and Practice of Audition Technique in the Business of Live Theatre." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/633.
Full text
41
Rosa, Daniela Roberta Antonio. "Teatro experimental do negro : estrategia e ação." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281890.
Full textAbstract:
Orientador: Elide Rugai BastosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-08T09:31:11Z (GMT). No. of bitstreams: 1 Rosa_DanielaRobertaAntonio_M.pdf: 16057853 bytes, checksum: fc5ae7d0d17d93002f583d8275690555 (MD5) Previous issue date: 2007
Resumo: Em outubro de 1944 no Rio de Janeiro um grupo de homens e mulheres negras, tendo como líder Abdias do Nascimento, formou o Teatro Experimental do Negro. O objetivo primordial era dar ao ator negro condições de levar aos palcos personagens livres dos estereótipos que foram sendo absorvidos e reproduzidos pelo teatro brasileiro especialmente a partir do século XIX. O moleque de recado levando cascudo, a mãe preta chorosa e o negro representado de maneira quase bestial seriam ignorados para dar lugar a um negro humanizado com seus próprios dramas e questionamentos. O ator branco brochado de preto, tão comum no teatro brasileiro, daria lugar ao negro real. Amplamente a iniciativa do TEN implicou na recusa de um lugar pré-determinado para o negro no palco e na sociedade brasileira, e o questionamento desta determinação que o teatro mostrava como reflexo de toda sociedade. Assim, ao ser pensado como sujeito do próprio destino o negro a que o TEN queria atingir deveria assumir boa parte da responsabilidade para integrar-se, sem perder de vista a luta por condições efetivas para isso. Este objetivo determinou a abrangência de sua intervenção que assumiu uma série de reivindicações que o grupo reconhecia como parte da demanda da população negra brasileira, e que tentava abarcar através dos diversos projetos e eventos realizados. A investigação da trajetória do grupo e sua estratégia de ação mostram a maneira como esta iniciativa tão importante do movimento negro brasileiro relacionou-se com seu contexto
Abstract: In October 1944 in Rio de Janeiro a group formed by black women and men, having as its leader the black activist Abdias do Nascimento was created: the Experimental Black Theater. Its prime aim was to give black actors and actresses conditions to take to stage characters free from the stereotyped vision that was being reproduced and absorbed specially after the 19th century. Black people represented in an inhumane way were about to be ignored, to make room for the Negro with his own questions and dilemmas. The white actor painted black, so common in the Brazilian theater, would also be substituted. Widely the group initiative also represented the refuse of a role, not only in theater, but also in society, that the stage represented very clearly. Considered the subject of his own destiny the blacks were asked to assume a great part of the responsibility to himself integrated, but always claiming for real integration conditions. This objective was determinant for the development of a wide proposal of the group. And the investigation of its trajectory and its strategy of action shows the way this important initiative of the Brazilian black movement was it connected to its context
Mestrado
Pensamento Social
Mestre em Sociologia
42
Rodrigues, Eder Sumariva. "O embate além do sangue e da carne de Ruth Escobar : facetas de uma guerreira." Universidade do Estado de Santa Catarina, 2015. http://tede.udesc.br/handle/handle/660.
Full textAbstract:
Made available in DSpace on 2016-12-08T16:03:15Z (GMT). No. of bitstreams: 1
122484.pdf: 11000839 bytes, checksum: 1e7b1de2df0e53705be71712ef56c270 (MD5)
Previous issue date: 2015-03-31Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Who was Ruth Escobar? Is it possible to answer this question? The uniqueness of a person, the point of view adopted by this thesis, is only understandable when it comes to a bigger perception of it s individuality as a subject of it s social context. Through this outlook, I aim to comprehend the paths walked by Ruth Escobar betIen 1935 and 1990, when she undertook a series of professional activities and sociopolitical fights. With this time frame 1935 to 1990 and the access to countless unpublished documents was possible to establish a multifaceted view to Ruth Escobar and built a life narrative understood as the report of this practices. To review this 55 years frame, focusing on the quality of the being allow us to notice several artistic and politic practices which counted on the initial boost or the later involvement, but still relevant, of Ruth Escobar. In order to better narrate the dimension of what was lived, I built eight sides of this character, which are related to well defined features as experiences, made with or from her personal involvement. To this sides I sought titles that encapsulated the essence of the practice I narrate at the chapter in question. The titles, related to the chapters structure of this thesis, were created in order to retell the course of our character: the Adventurous, the Newbie, the Producer, the Rebel, the Mastermind, the Resistant, the Feminist, the Resurrected. Eight different looks to the experiences lived by Ruth Escobar. It stands out that this report was written from the intersection of written documents and oral sources. The written documents are mostly centered on the journalistic material and documents released from the dungeons of the last Brazilian censorship. To complement the textual narrative, I organized at the end of each chapter an image dossier, many of them unpublished in Brazil and Portugal. The study of the different paths followed by Ruth Escobar, as an actress, producer, businesswoman, feminist, deputy and cultural agent, make possible a reading of the events and of the society in which Escobar was involved. It allows, mostly, to understand the transformations that took place on the São Paulo Theater and it s reflections on the theater made in Brazil, and as a result, aligning the Brazilian theater to the scenic and politic avant garde of the XX century.
Quem foi Ruth Escobar? É possível responder a essa questão? A unicidade de uma pessoa, do ponto de vista adotado nesta tese, só é compreensível na percepção maior de sua individualidade, enquanto sujeito inserido em seu contexto social. Desta perspectiva, procurase compreender as trajetórias percorridas por Ruth Escobar entre 1935 e 1990, quando esta empreendeu uma série de atividades profissionais e de lutas sócio-políticas. Com este recorte temporal 1935 a 1990 e o acesso a inúmeros documentos, ainda não trabalhados na historiografia teatral brasileira, foi possível estabelecer um olhar multifacetado para Ruth Escobar, e construir uma narrativa de vida compreendida como relato de práticas. Ao olhar esse tempo de cinquenta e cinco anos, privilegiando o nível do indivíduo, percebe-se as inúmeras práticas, artísticas e políticas, que contaram com o impulso inicial ou com envolvimento posterior, porém muito relevante, de Ruth Escobar. Para melhor narrar essa dimensão do vivido, construiu-se oito facetas dessa personagem, que correspondem a traços bem definidos enquanto experiências elaborados com ou a partir de seu envolvimento pessoal. Para essas facetas procurei encontrar um título que sintetizasse a essência da prática que eu estava relatando no conjunto do capítulo em questão. Para recontar o percurso dessa personagem foram elaborados os seguintes títulos, em sequência com a estrutura dos capítulos desta tese: A Aventureira, A Novata, A Produtora, A Rebelada, A Organizadora, A Resistente, A Feminista, A Ressurgida. Estes foram os oito diferentes olhares para as experiências vivenciadas por Ruth Escobar. Ressalta-se que esse relato foi elaborado a partir do cruzamento de fontes orais e documentos escritos. Sendo esses último centrados, em sua grande maioria, em material jornalístico e documentos liberados dos porões da censura da última ditadura brasileira. Para complementar essa narrativa textual, elaborei ao final de cada capítulo, um dossiê de imagens, muitas delas inéditas no Brasil e em Portugal. O estudos dos diferentes caminhos trilhados por Ruth Escobar enquanto atriz, produtora, empresaria, feminista, deputada e agente cultural, tornam possível uma leitura dos acontecimentos e da sociedade na qual ela estava inserida. Permite, principalmente, compreender as transformações ocorridas no teatro paulista, e as suas reverberações no teatro praticado no Brasil, e, como consequência, alinhando o teatro brasileiro às vanguardas cênicas, e políticas, do século XX.
43
Torpey, Peter Alexander. "Disembodied performance : abstraction of representation in live theater." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/55198.
Full textAbstract:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2009.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 151-158).
Early in Tod Machover's opera Death and the Powers, the main character, Simon Powers, is subsumed into a technological environment of his own creation. The theatrical set comes alive in the form of robotic, visual, and sonic elements that allow the actor to extend his range and influence across the stage in unique and dynamic ways. The environment must compellingly assume the behavior and expression of the absent Simon. This thesis presents a new approach called Disembodied Performance that adapts ideas from affective psychology, cognitive science, and the theatrical tradition to create a framework for thinking about the translation of stage presence. An implementation of a system informed by this methodology is demonstrated. In order to distill the essence of this character, we recover performance parameters in real-time from physiological sensors, voice, and vision systems. This system allows the offstage actor to express emotion and interact with others onstage. The Disembodied Performance approach takes a new direction in augmented performance by employing a nonrepresentational abstraction of a human presence that fully translates a character into an environment. The technique and theory presented also have broad-reaching applications outside of theater for personal expression, telepresence, and storytelling.
Peter Alexander Torpey.
S.M.
44
Miller, Michael R. M. Eng Massachusetts Institute of Technology. "Show design and control system for live theater." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/65324.
Full textAbstract:
Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2010.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 75).
Tod Machover's upcoming opera Death and the Powers calls for an unprecedented integration of technology and theater. These uses of technology are at the heart of the show and include a Greek chorus of nine "Operabots"; a novel surround sound and audio processing architecture; a massive string instrument called "The Chandelier"; three 14' tall robotic stage fixtures with displays called "The Walls"; and more. Each component has its own unique challenges, but all share the need for a comprehensive show design and control system. A show design and control system was built for this specific purpose and will be used for Death and the Powers. The software affords real-time control over the robotic elements in the opera alongside predetermined, choreographed routines.
by Michael R. Miller.
M.Eng.
45
Mackay, David Bruce. "DIRECTING AS YOU LIKE IT: FROM CONCEPTION TO PERFORMANCE." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/207270.
Full textAbstract:
TheaterM.F.A.
As You Like It is regarded as one of Shakespeare's mature comedies in that he combines both serious and comic subject matter. Hired by Bard on the Beach Shakespeare Festival in Vancouver, Canada, I was granted permission by Temple University to submit this production as my thesis. Approaching the play from an objective perspective proved initially difficult due to the vast multitude of research materials and my personal experience of having twice performed in the play. However, by analyzing Shakespeare's text, and approaching the play from the ending first, I was able to discover my unique conceit on directing the play. Set during the English Civil War, I was able to establish the necessary two worlds of the play, a Puritan Court and an English Cavalier Forest of Arden. Through a series of six chapters I explain my process from conception to production, as well, I also evaluate my growth as a director during this artistic achievement. A Director's Script, Costume Sketches, an early Set Design and Reviews support my journey to Opening Night of As You Like It.
Temple University--Theses
46
Walker, Greg Delany. "Embracing failure: the life between polite and pushed." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6329.
Full textAbstract:
My name is Greg Delany Walker. I’m an MFA candidate in Theatre Arts with a specialization in Acting at the University of Iowa. The following is my thesis that addresses my artistic process as an actor. My main focus in this thesis is to unpack my beliefs about what makes good acting and how I personally achieve that. I detail many schools of thought that pair well together to seek out vulnerability in actors. Vulnerability is my chief struggle as an actor given that I have a tendency to overthink things and rely more on intellect than on passionate expression in my daily life and in my work. That tendency leads me to be polite as an actor, which has gotten in the way of my being able to reach my full potential.
I discovered time and time again how important it is to understand and embody acting techniques so deeply that I can let them go. All the different techniques of analysis, physical and voice work are essential, but they need to transition to being second nature. The techniques outlined in this thesis, learned in my life and through the program at the University of Iowa, have to be so ingrained that I don’t need to think of them in the moment on stage. The key to being present on stage seems so simple in a way, but it has been a great challenge for me to fully let go of control to allow for my potential public failure and humiliation. The times that I’ve embraced failure have been the strongest moments for me as an actor because of the power of risk.
My hope is that by detailing my own process and experiences, with that idea of building technique and releasing into the present moment, that others could be further empowered to do the same in acting or in life.
47
Okafor, Mary-Blossom Chinyelum. "Theatre of life : rituals, transition and progression among the Igbo." Thesis, University of Plymouth, 1998. http://hdl.handle.net/10026.1/2560.
Full textAbstract:
The Igbo are perpetual celebrants of life. Their need to celebrate life means that the Igbo will ceaselessly try to make the best of life, because they believe that although life may be full of uncertainties, such uncertainties are only temporary. So, the Igbo will celebrate whatever fortune brings in the knowledge that tomorrow will definitely be different. It is this insight into the transitory nature of things that makes the Igbo celebrate life, aware that time has the ability to obliterate uncelebrated memories. In the researcher's opinion, this work has succeeded in establishing the fact that the study and understanding of rituals do not have to be a schematic nightmare neither do they have to prove that they belong to either the dramatic or theatrical genres - rituals are just what they are - performance. Rituals reflect life in action, and this study has demonstrated that these rituals can be better understood by breaking them down into various categories and clusters (families). From such sub-division will, hopefully, emerge specific attributes which can enable us to determine the cluster each ritual belongs to. Furthermore, the analyses of rituals, ritual agents and performance styles bring out the real flavour of Igbo performance. These make it evident that Igbo performance is vibrant, symbolic and full of life, and that conversely, Igbo life is equally vibrant, symbolic and full of theatre and rituals that need to be constantly performed. It is hoped that Igbo theatre practitioners and users (playwrights, directors, producers and actors) would find the ritual categorisation and explanation of ritual symbols useful in enabling their work to be as meaningful as possible. This study developed and used the concept of Triangle of Life (ToL) to facilitates the emergence of the real nature of Igbo theatre because it enabled the classification of Igbo rituals into clusters of either passive, controlled active or active. These adjectives as used here, refer to the extent of the performer's involvement in the ritual action. However, while for the performer(s) a ritual can either be passive, controlled active or active, it is always active for the participatory spectator- audience or participant. The ToL is an equilateral triangle (three equal sides marked as A-B, B-C and C-A axes), and from plotting the rituals along the axes of the triangle, it becomes evident that Igbo theatre is in two main phases- the theatre of the living, and that of the dead - this means that while at any time any of the phases is dominant, it still has undertones of the other. For example, the rituals on the A-B and B-C axes belong to the theatre of the living, and these are performed in readiness for life after death in the ancestral realm. However, the C-A axis is made up of rituals in which the dead are made to rest and empowered to re-incarnate and re-appear at point A. This axis is equally important to the living because in empowering their dead, the living ventilate painful emotions through mourning and in so doing, they are healed not only of the departure of the deceased, but also of the most of life's pent up pains. This is a demonstration that the theatre of the living and the dead are both two sides of the same coin - none is more important than the other. In Igbo theatre, therefore, we come in direct contact with the core of Igbo dualism in which the human being operates as a spirit, and vice versa. A full appreciation of this form of theatre will depend primarily on how willing one is to remain open to the way the Igbo see, interpret and live their lives. In view of this, I shall throughout this work, continually strive to achieve the following: (a) to use the study of Igbo ritual performance to add to the picture of Igbo life (hence, Igbo theatre) which archaeology, oral tradition and observation from the Europeans gave little or no insight into, (b) to use Igbo rituals as a practical framework for understanding aspects of Igbo performance (c) by the end of this work to be able to have contributed a model that can be applied to the study of most ritual performances, and in doing so, to provide a cross-cultural perspective in ritual performance, theory and practice. Chapter 1 traces the origin of the Igbo, their entire belief system and encounter with, and progression through Christianity and colonialism. It is important that this chapter be read as dispassionately as possible, for it is only in this manner that the full effect of dualism on Igbo performance can become clearer. Chapter 2 examines some existing theoretical perspectives in relationship to ritual practices in Igboland. Chapter 3 and 4 contain the main thrust of the work because they apply the information gathered during the fieldwork to enable a better understanding of the performative structure and process of Igbo rituals. A lot of Igbo words have been unavoidably used in order that the full flavour and essence of the work is savoured. Most of these words have been explained.
48
Ladki, Maha. "#Life in a concentrated form' : Peter Brook's theatre (1960-1990)." Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283447.
Full text
49
Mottin, Monica. "Rehearsing for life : theatre for social change in Kathmandu, Nepal." Thesis, SOAS, University of London, 2009. http://eprints.soas.ac.uk/28933/.
Full textAbstract:
The objective in this research is to examine the production and performance of theatrical activities aiming at bringing about social change in both development and political intervention. My investigation began with Aarohan Theatre Group, a Kathmandu-based professional company and subsequently extended to Maoist cultural troupes. I have taken a critical perspective considering theatre as a mode of socio-cultural practice embedded in the wider socio-political reality. Thus, I present an account of what it means to do theatre and live by theatre in contemporary Nepal, from 2005 to 2006, through the artists' perspective. Co-performance, that is participation in some performances, complemented participant observation as a methodology. Theatre provides an outstanding context for both social reflection and symbolic action. In a manner similar to ritual, theatrical performances can become deliberate means for both constructing and de-constructing power and symbolically legitimizing or de-legitimizing authority. In Nepal, modern artistic and political theatre developed side by side. First, an historical overview of its development will set the scene for understanding the role played by theatrical performances in the years 2005-2006. In fact, during my fieldwork, history repeated itself. The restrictions on civil rights imposed by the king through the 2005 Emergency affected both street and proscenium theatre activities. Subsequently, ethnographic descriptions will illustrate the theatrical apparatus that the king employed to legitimize his power and how autocracy was similarly resisted and fought against in the streets through theatrical forms of protest and street theatre, loktantrik natak. I will then narrow my focus to a specific form of participatory street performance, kachahari natak, to describe how it was adopted and adapted in Nepal and how the theatre group developed as an organization. In conclusion, 1 will draw comparisons between different forms of 'theatre for social change', kachahari natak, loktantrik natak and Maoist cultural programmes.
50
Vandorpe, Dries. "The Archaeology of Liveness." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430786242.
Full text