To see the other types of publications on this topic, follow the link: Mexican drama, history and criticism.
Dissertations / Theses on the topic 'Mexican drama, history and criticism'
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 'Mexican drama, history and criticism.'
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
Neria, Leticia. "Humour as political resistance and social criticism : Mexican comics and cinema, 1969-1976." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3196.
Full textAbstract:
This research focuses on the study of Mexican comics and films from 1969 to 1976. It uses the language of humour to understand how these media expressed contemporary social and political concerns. After reviewing theories of humour and proposing an eclectic theory to analyse visual sources, three different comic books and four films were examined in order to gain an understanding of the issues that troubled the society at the time. This eclectic theory considered academic approaches from a variety of disciplines, including philosophy, sociology, linguistics, psychology, and others. The theory of humour proposed in this thesis can be used to study humorous visual expressions from other cultures and historical times. Thus, one of the novelties of this research is the proposal of an eclectic theory of humour to study visual culture. A second original contribution of this thesis is that it proposes an approach to social history through the analysis of two relevant cultural manifestations: humour and visual culture. This work also invites us to reflect on Mexican society during the presidency of Luis Echeverría Álvarez, as well as the circumstances of the mass media and the arts, both of which enjoyed some freedom in what was called the apertura democrática. Nevertheless, since some topics were still prickly and difficult, humour helped society discuss them, kept them on the social agenda, and acted as a safety valve to express the discomfort of the members of society. Finally, this thesis considers social manifestations, such as humour, as sources through which to study culture and history; it highlights the relevance of the cultural legacy of comics which have been considered as a sub-cultural product; and it shows how we can use films to discover something new about a specific time and social group.
2
Turner, Irene. "Farce on the borderline with special reference to plays by OscarWilde, Joe Orton and Tom Stoppard." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949204.
Full text
3
Streete, Adrian George Thomas. "Calvinism, subjectivity and early modern drama." Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/12800.
Full textAbstract:
This thesis examines the connections between Calvinism and early modern subjectivity as expressed in the drama produced during the reigns of Elizabeth I and James I. By looking at a range of theological, medical, popular, legal and polemical writings, the thesis aims to provide a new historical and theoretical reading of Calvinist subjectivity that both develops and departs from previous scholarship in the field. Chapter one examines the critical question of 'authority' in early modern Europe. I trace the various classical and medieval antecedents that reinscribed Christ with political authority during the period, and show how the Reformers' conception of conscience arises out of this movement. In chapter two, I offer a parallel reading of Reformed semiotics in relation to the individual's response to two specific loci of power, the Church and the stage. Chapter three brings the first two chapters together by outlining the development of Calvinist doctrine in early modem England. Chapter four offers a theoretical reading of the early modern 'unconscious' in relation to the construction of England as a Protestant nation state against the threat of Catholicism. In the next four chapters, I show how the stage provided the arena for the exploration of Calvinist subjectivities through readings of four early modern plays. Chapter five deals with Christopher Marlowe's Doctor Faustus and in particular the Calvinist conception of Christ interrogated throughout the play. Chapter six looks at The Revenger's Tragedy in relation to the question of masculine lineage and the Name-of-the-(Calvinist)-Father. Finally, in chapters seven and eight, I examine two of William Shakespeare's plays, Macbeth and Antony and Cleopatra. In the first, I demonstrate how the play's concern with witchcraft brings about a parody of providential discourse that is crucial to an understanding of Macbeth's subjectivity. And in the second, I excavate the use of the biblical book of Revelation in Antony and Cleopatra in order to show how an understanding of the text's 'religious' concerns problematises more mainstream readings of the drama.
4
D'Ermo-Tenaglia, Doria. "Calandro, un personaggio nella storia della critica, 1788-1980 : saggio di bibliografia critica." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65467.
Full text
5
O'Regan, Inge Brigitta. ""Zuwachs unsrer existenz" : the quest for Being in J.M.R. Lenz." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31078.
Full textAbstract:
Jakob Michael Reinhold Lenz (1751-1792), whose plays have been acclaimed as the prototype of the modern drama of Brecht and Durrenmatt, is a controversial figure who rose to prominence on the German literary scene in the early seventeen seventies.
Among Lenz's theoretical writings is the influential essay "Anmerkungen ubers Theater," in which he introduces his innovative dramatic theories and describes the independent protagonists he envisions for the German stage. In the same essay, he demands "Zuwachs unsrer Existenz" (a heightened awareness of existence) from contemporary drama.
However, in marked contrast to the "Anmerkungen," the protagonists of his two most prominent plays, Der Hofmeister (1774) and Die Soldaten (1776), are self-alienated, ontologically insecure individuals who seem victims of the socio-political realities of their times. Not surprisingly, critics are divided in their opinion as to what the contradictions in Lenz's oeuvre signify.
Lenz was a student of Immanuel Kant's between 1768 and 1770, a time when the latter was formulating ideas that would find their full expression years later in his critical philosophy. In 1770, Kant presented his inaugural address "de mundi sensibilis atque intelligibilis forma et principiis" (On the Form and Principles of the Sensible and Intelligible World) to the assembled faculty and students of KCnigsberg Academy, among them J.M.R. Lenz. It is in the inaugural dissertation that Kant introduces his thesis of the individual as an inhabitant of two "worlds," the noumenal and the phenomenal, a central concept in his first critique, Kritik der reinen Vernunft, which would be published in 1781.
This study examines Lenz's thoughts as they surface in his theoretical essays and his major plays and puts forward the thesis that it is Kant's division of the self into an intelligible and a sensible realm which prompts Lenz's call
for "Zuwachs unsrer Existenz." Lenz's quest is fuelled, furthermore, by his acute awareness of the ontological insecurity of the individual self, an awareness which seems to anticipate the thought of Kierkegaard.
The overriding purpose of this thesis is, through a reevaluation of Lenz's theoretical and dramatic works, to elucidate this eighteenth-century writer's quest for authentic being, a quest that he considered to be the individual's most urgent task.Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate
6
Li, Siu Leung, and 李小良. "Toward a theory of dramatic adaptation: with special reference to Shakespearean and Ming Qing adaptations." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1986. http://hub.hku.hk/bib/B31207352.
Full text
7
齊曉楓 and Hsiao-feng Chi. "Patterns of husband selection in traditional Chinese fiction and drama." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238312.
Full text
8
Duncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.
Full textAbstract:
Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.
9
Ramukosi, Patrick Mbulaheni. "Modern tragedy : a critical analysis of the elements of tragedy with special reference to N.A. Milubi's plays." Thesis, University of Limpopo, 1999. http://hdl.handle.net/10386/2336.
Full text
10
Montanari, Anna Maria. "'A heart in Egypt' : Cleopatra on the Renaissance stage in Italy and England." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709112.
Full text
11
Oh, Seiwoong. "The Scholarly Trickster in Jacobean Drama: Characterology and Culture." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278216/.
Full textAbstract:
Whereas scholarly malcontents and naifs in late Renaissance drama represent the actual notion of university graduates during the time period, scholarly tricksters have an obscure social origin. Moreover, their lack of motive in participating in the plays' events, their ambivalent value structures, and their conflicting dramatic roles as tricksters, reformers, justices, and heroes pose a serious diffculty to literary critics who attempt to define them. By examining the Western dramatic tradition, this study first proposes that the scholarly tricksters have their origins in both the Vice in early Tudor plays and the witty slave in classical comedy. By incorporating historical, cultural, anthropological, and psychological studies, this essay also demonstrates that the scholarly tricksters are each a Jacobean version of the archetypal trickster, who is usually associated with solitary habits, motiveless intrusion, and a double function as selfish buffoon and cultural hero. Finally, this study shows that their ambivalent value structures reflect the nature of rhetorical training in Renaissance schools.
12
Bishop, Glenford Richard. "The origins of the English folk-play : re-interpreting texts and theories." Thesis, University of Wales Trinity Saint David, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683021.
Full text
13
Wong, Chi-keung Frederick, and 黃志強. "Postmodernism, drama, language: Waiting for Godot and Inadmissible evidence revisited." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31951053.
Full text
14
Li, Jing. "Self in community: twentieth-century American drama by women." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.
Full textAbstract:
This thesis argues that twentieth-century American women playwrights spearhead the drama of transformation, and their plays become resistance discourses that protest, subvert, or change the representation of the female self in community. Many create antisocial, deviant, and self-reflexive characters who become misfits, criminals, or activists in order to lay bare women's moral-psychological crises in community. This thesis highlights how selected women playwrights engage with, and question various dominant, regional, racial, or ethnic female communities in order to redefine themselves. Sophie Treadwell's Machinal and Marsha Norman's 'night, Mother are representative texts that explore how the dominant culture can pose a barrier for radical women who long for self-fulfillment. To cultivate their personhood, working class Caucasian women are forced to go against their existing community so as to seek sexual freedom and reproductive rights, which are regarded as new forms of resistance or transgression. While they struggle hard to conform to the traditional, gendered notion of female altruism, self-sacrifice and care ethics, they cannot hide their discontent with the gendered division of labor. They are troubled doubly by the fact that they have to work in the public sphere, but conform to their gender roles in the private sphere. Different female protagonists resort to extreme homicidal or suicidal measures in order to assert their radical, contingent subjectivities, and become autonomous beings. By becoming antisocial or deviant characters, they reject their traditional conformity, and emphasize the arbitrariness and performativity of all gender roles. Treadwell and Norman both envision how the dominant Caucasian female community must experience radical changes in order to give rise to a new womanhood. Using Beth Henley's Crimes of the Heart and Lorraine Hansberry's A Raisin in the Sun as examples, this thesis demonstrates the difficulties women may face when living in disparate communities. The selected texts show that Southern women and African-American women desperately crave for their distinct identities, while they long to be accepted by others. Their subjectivity is a constant source of anxiety, but some women can form strong psychological bonds with women from the same community, empowering them to make new life choices. To these women, their re-fashioned self becomes a means to reexamine the dominant white culture and their racial identity. African-American women resist the discourse of assimilation, and re-identify with their African ancestry, or pan-Africanism. In the relatively traditional southern community, women can subvert the conventional southern belle stereotypes. They assert their selfhood by means of upward mobility, sexual freedom, or the rejection of woman's reproductive imperative. The present study shows these women succeed in establishing their personhood when they refuse to compromise with the dominant ways, as well as the regional, racial communal consciousness. Maria Irene Fornes' Fefu and Her Friends and Wendy Wasserstein's The Heidi Chronicles are analyzed to show how women struggle to claim their dialogic selfhood in minoritarian communities (New England Community and Jewish Community). Female protagonists maintain dialogues with other women in the same community, while they choose their own modes of existence, such as single parenthood or political activism. The process of transformation shows that women are often disturbed by their moral consciousness, a result of their acceptance of gender roles and their submission to patriarchal authority. Their transgressive behaviors enable them to claim their body and mind, and strive for a new source of personhood. Both playwrights also advocate women's ability to self-critique, to differentiate the self from the Other, to allow the rise of an emergent self in the dialectical flux of inter-personal and intra-personal relations. The present study reveals that twentieth-century American female dramatists emphasize relationality in their pursuit of self. However, the transformation of the self can only be completed by going beyond, while remaining in dialogue with the dominant, residual, or emergent communities. For American women playwrights, the emerging female selves come with a strong sense of "in-betweenness," for it foregrounds the individualistic and communal dimensions of women, celebrating the rise of inclusive, mutable, and dialogic subjectivities.
15
Ingham, Michael Anthony. "Theatre of storytelling : the prose fiction stage adaptation as social allegory in contemporary British drama /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20275961.
Full text
16
Ciesko, Martin. "Menander and the expectations of his audience." Thesis, University of Oxford, 2004. http://ora.ox.ac.uk/objects/uuid:ae81b7d0-87da-4e3e-bd00-3b49743a82c1.
Full textAbstract:
Fiktion der Handlung? This highly conventional genre can, I claim, through both embracing and problematising its very conventionality express itself with irony and subtlety that is at least as effective as open self-praise by poets in comic genres that allow it.
17
McBain, James. "Early Tudor drama and legal culture, c. 1485-1558." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670056.
Full text
18
Bokwe, Goliath Dumezweni. "Sarcasm, conflict and style in Mtywaku's plays." Thesis, Rhodes University, 1993. http://hdl.handle.net/10962/d1002169.
Full text
19
Rivest, Mélanie. "Nouveau théatre et nouveau roman : la quête d'un art perdu." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79975.
Full textAbstract:
The histories of the Theater and of the Novel have rarely been linked to one another. Nevertheless, studying the evolution of the two arts as of the seventeenth century, allows us to pinpoint and define the sources of contamination. It is more precisely in the nineteenth century that the history of both the Theater and the Novel became envenomed, going from fresh influences to disloyal relations during which time the Theater faded by admitting romanesque realism to take the stage. By denying its capacity to reveal the "real", the Theater failed its possibilities and let its art be disinterested from the theatricality showing all that should have been evoked. Men of theater participated at recapturing the theatrical art so to regain confidence on stage and near 1950, an avant-garde movement flourished to favor a renewal of vitality for the theater with a new language which utilizes all of what the scene could provoke. This "New Theater" is soon followed by a similar romanesque enterprise, the "New Novel", a group of novelists also wishing to acknowledge the right to explore a new style of writing.
20
曾慶慈 and Hing-chi Tsang. "A critical study of supernatural elements in Yuan drama." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B31210028.
Full text
21
鄧兆華 and Siu-wah Tang. "The commercial performance context of Chinese drama in the Song period = 宋代戲劇的商業演出環境." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/193000.
Full textAbstract:
China entered its revolutionary stage of commercial development in the 10th to 13th centuries. Provided with its relatively stable political and economical environment, its rapid development in commercialization, urbanization and population was obviously recorded in history. Commercial performing spaces of the Chinese drama and opera, also known as the “Goulan theatres”, were vastly developed in a number of cities and towns in the Northern and Southern Song Dynasties (960-1279). This paper would study the influence of this kind of commercial performance on the development of the Chinese Opera.
Adopting the methodology by Alan P. Merriam (1923-1980) on ethnomusicology, the work of this paper was divided into three stages. First, the relevant data, including a large amount of notes written by Song scholars, and the unearthed historical relics were collected. Then the collected data was put into contextual analysis. Finally, the conclusion obtained was applied on explain another relevant phenomenon, how the mature Chinese Classical opera became so well developed in the late Song Period and early Yuen Period(1271-1368).
The first chapter is the introduction, which had been divided into three parts, the significance of the study, the past studies, and the research method.
The second and third chapters tried to define the terms: Chinese drama, Chinese Opera and the conception of commercial performing areas in Song Period.
The fourth chapter tried to explain why the commercial theatres could be well developed in the Song Period.
The fifth chapter studied the development of the commercial theatres in the cities in the Song Period.
The sixth and seventh chapters studied the architectural environment and the inter-personal relationships of the commercial theatres.
The eighth and ninth chapters studied the ecology of different dramatic and non-dramatic genres of classical performing arts in the commercial theatres.
The last chapter emphasized the entertaining and competitive properties of the commercial theatre, in where different cultural exchanges are processed. Therefore, the mature Chinese Opera was well developed in the Goulan theatres in the late Song and early Yuen Period.published_or_final_version
Chinese Historical Studies
Master
Master of Arts
22
Hanink, Johanna Marie. "Classical tragedy in the age of Macedon : studies in the theatrical discourses of Athens." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609148.
Full text
23
Macbeth, Georgia School of Theatre Film & Dance UNSW. "A Plurality of Identities: Ulster Protestantism in Contemporary Northern Irish Drama." Awarded by:University of New South Wales. School of Theatre, Film and Dance, 1999. http://handle.unsw.edu.au/1959.4/33257.
Full textAbstract:
This thesis examines the ways in which Ulster Protestant identity has been explored in contemporary Northern Irish drama. The insecurity of the political and cultural status of Ulster Protestants from the Home Rule Crises up until Partition led to the construction and maintenance of a distinct and unified Ulster Protestant identity. This identity was defined by concepts such as loyalty, industriousness and ???Britishness???. It was also defined by a perceived opposite ??? the Catholicism, disloyalty and ???Irishness??? of the Republic. When the Orange State began to fragment in the late 1960s and early 1970s, so did notions of this singular Ulster Protestant identity. With the onset of the Troubles in 1969 came a parallel questioning and subversion of this identity in Northern Irish drama. This was a process which started with Sam Thompson???s Over the Bridge in 1960, but which began in earnest with Stewart Parker???s Spokesong in 1975. This thesis examines Parker???s approach and subsequent approaches by other dramatists to the question of Ulster Protestant identity. It begins with the antithetical pronouncements of Field Day Theatre Company, which were based in an inherently Northern Nationalist ideology. Here, the Ulster Protestant community was largely ignored or essentialised. Against this Northern Nationalist ideology represented by Field Day have come broadly revisionist approaches, reflecting the broader cultural context of this thesis. Ulster Protestant identity has been explored through issues of history and myth, ethnicity, class, gender and sexuality. More recent explorations of Ulster Protestantism have also added to this diversity by presenting the little acknowledged viewpoint of extreme loyalism. Dramatists examined in this thesis include Stewart Parker, Christina Reid, Frank McGuinness, Bill Morrison, Ron Hutchinson, Marie Jones, Graham Reid, Robin Glendinning and Gary Mitchell. The work of Charabanc Theatre Company is also discussed. What results from their efforts is a diverse and complex Ulster Protestant community. This thesis argues that the concept of a singular Ulster Protestant identity, defined by its loyalty and Britishness, is fragmented, leading to a plurality of Ulster Protestant identities.
24
Sirayi, Mziwoxolo. "The characteristics of some Xhosa dramas." Thesis, Rhodes University, 1993. http://hdl.handle.net/10962/d1002173.
Full textAbstract:
This study aims at highlighting some crucial aspects of Xhosa drama. These aspects are of great significance for the understanding of Xhosa drama. It also aims to historicize and contextualize examinations of traditional Xhosa drama and modern Xhosa drama.
25
Tanner, Jane Hinkle. "Sharing the Light: Feminine Power in Tudor and Stuart Comedy." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278551/.
Full textAbstract:
Studies of the English Renaissance reveal a patriarchal structure that informed its politics and its literature; and the drama especially demonstrates a patriarchal response to what society perceived to be the problem of women's efforts to grow beyond the traditional medieval view of "good" women as chaste, silent, and obedient. Thirteen comedies, whose creation spans roughly the same time frame as the pamphlet wars of the so-called "woman controversy," from the mid-sixteenth to the mid-seventeenth centuries, feature women who have no public power, but who find opportunities for varying degrees of power in the private or domestic setting.
26
Manossa, Geraldine, and University of Lethbridge Faculty of Arts and Science. "The roots of Cree drama." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2002, 2002. http://hdl.handle.net/10133/227.
Full textAbstract:
This study examines the foundation of contemporary Cree performance, tracing its existence to traditional Cree narratives. Contained within traditional Cree stories is the trickster, Wasakaychak. These oral stories are shared collectively, providing the community with relevant cultural knowledge. The thesis concludes that contemporary Cree playwrights and performers such as Shirley Cheechoo and Margo Kane maintain the roles of traditional storytellers because their work informs its audience about the history of the land and also comments on the state of the community. This study further demonstrates how the mythological character, Wasakaychak, remains an active part of Cree society by examining his significance within Tomson Highway's plays, The Rez Sisters and Dry Lips Oughta Move to kapuskasing.v, 107 leaves ; 28 cm.
27
何秀蘭 and Sau-lan Ho. "Taoist influences on the drama of the Yuan dynasty, 1279-1368." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31207261.
Full text
28
Si, Tou Sau-ieng, and 司徒秀英. "A study of zhuanqi drama of the mid-Ming period." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31239262.
Full text
29
Bender, Ashley Brookner. "Personal Properties: Stage Props and Self-Expression in British Drama, 1600-1707." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12081/.
Full textAbstract:
This dissertation examines the role of stage properties-props, slangily-in the construction and expression of characters' identities. Through readings of both canonical and non-canonical drama written between 1600 and 1707-for example, Thomas Middleton's The Revenger's Tragedy (1607), Edward Ravenscroft's adaptation of Titus Andronicus (1678), Aphra Behn's The Rover (1677), and William Wycherley's The Plain Dealer (1677)-I demonstrate how props mediate relationships between people. The control of a character's props often accords a person control of the character to whom the props belong. Props consequently make visual the relationships of power and subjugation that exist among characters. The severed body parts, bodies, miniature portraits, and containers of these plays are the mechanisms by which characters attempt to differentiate themselves from others. The characters deploy objects as proof of their identities-for example, when the women in Behn's Rover circulate miniatures of themselves-yet other characters must also interpret these objects. The props, and therefore the characters' identities, are at all times vulnerable to misinterpretation. Much as the props' meanings are often disputed, so too are characters' private identities often at odds with their public personae. The boundaries of selfhood that the characters wish to protect are made vulnerable by the objects that they use to shore up those boundaries. When read in relation to the characters who move them, props reveal the negotiated process of individuation. In doing so, they emphasize the correlation between extrinsic and intrinsic worth. They are a measure of how well characters perform gender and class rolls, thereby demonstrating the importance of external signifiers in the legitimation of England's subjects, even as they expose "legitimacy" as a social construction.
30
彭文慧 and M. W. Petti Pang. "The image of physics and physicists in modern drama: portraits and social implications." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31225056.
Full text
31
Przychodzeń, Janusz 1962. "Le théâtre québecois dans tous ses discours /." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34767.
Full textAbstract:
This study is inspired by social discourse theory and sociocriticism of literature. it aims to describe an organizational system that informs theatre practice in Quebec and to go beyond aesthetic form, critical interpretation and institutional structure to reveal Quebecois theatre in its most synthesized form.To comprehend the model's overall operation, three broad sectors of the theatre's sphere of activity were explored and juxtaposed: institution, reception and creation. For this purpose, a preliminary set of quantitative and discursive data was assembled from a study of the network of professional schools, associations, and festivals in the theatrical milieu. Following this, examination of a number of scholarly texts made it possible to observe the way in which these elements are linked together into a more comprehensive ideological structure, while analysis of a representative body of contemporary (1945--1990) Quebecois plays served to consolidate and refine these observations.
The central thesis of this work is that, at the level of the representation of the "world", there are a series of characteristics that may be thought of as the distinctive elements of Quebecois drama. In general, Quebecois theatre feeds off the denial of the theatrical in order to present itself to the spectator as a site of an impossible theatricality. This dynamic inscribes itself in sociocultural representation in general, and is perceived both in the spatio-temporal dimension of the play, and in the structure of dramatic character and dramatic conflict.
32
潘步釗 and Po-chiu Poon. "A study of the image of singsong girls in Yüan drama." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212621.
Full text
33
Staton, Maria S. "Christianity in American Indian plays, 1760s-1850s." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1364944.
Full textAbstract:
The main purpose of this study is to prove that the view on the American Indians, as it is presented in the plays, is determined by two dissimilar sets of values: those related to Christianity and those associated with democracy. The Christian ideals of mercy and benevolence are counterbalanced by the democratic values of freedom and patriotism in such a way that secular ideals in many cases supersede the religious ones. To achieve the purpose of the dissertation, I sifted the plays for a list of notions related to Christianity and, using textual evidence, demonstrated that these notions were not confined to particular pieces but systematically appeared in a significant number of plays. This method allowed me to make a claim that the motif of Christianity was one of the leading ones, yet it was systematically set against another major recurrent subject—the values of democracy. I also established the types of clerical characters in the plays and discovered their common characteristic—the ultimate bankruptcy of their ideals. This finding supported the main conclusion of this study: in the plays under discussion, Christianity was presented as no longer the only valid system of beliefs and was strongly contested by the outlook of democracy.I discovered that the motif of Christianity in the American Indian plays reveals itself in three ways: in the superiority of Christian civilization over Indian lifestyle, in the characterization of Indians within the framework of Christian morality, and in the importance of Christian clergy in the plays. None of these three topics, however, gets an unequivocal interpretation. First, the notion of Christian corruption is distinctly manifest. Second, the Indian heroes and heroines demonstrate important civic virtues: desire for freedom and willingness to sacrifice themselves for their land. Third, since the representation of the clerics varies from saintliness to villainy, the only thing they have in common is the impracticability and incredulity of the ideas they preach. More fundamental truths, it is suggested, should be sought outside of Christianity, and the newly found values should be not so much of a "Christian" as of "democratic" quality.Department of English
34
Lauzière, Carole. "El monólogo en el teatro español desde los años setenta : un estudio sobre las funciones del lenguaje en un "nuevo" género dramático." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40379.
Full textAbstract:
The object of this thesis is to study the monologue, a dramatic genre that re-emerged on the Spanish literary scene in the 1970s. Despite the fact that a number of well-known Iberian playwrights have cultivated this genre assiduously over the past three decades, their work has received relatively little critical attention from either academic or theatre circles. What is sought here, therefore, is the means to demonstrate the importance and richness of the monologue as an autonomous dramatic creation. To do this it was necessary to establish a sufficiently large corpus--some eighty long and short monologues--and identify those particular conventions and the structural diversity that would make possible the formulation of a theory of connected language functions in the monologue by adapting existing theoretical principles to the study of this singular genre. The application of this theoretical construct enabled me to determine the nature of the functions of expression, communication and persuasion present in the discourse of a single speaker.Specifically, in considering the function of expression I reflect both upon the coherent discourse that derives from the (exterior) verbalization of (interior) thought and emotion, and upon the objectives and consequences of such expressions of the mental and emotional states of the individual. Secondly, I focus attention on the same verbal discourse inasmuch as it reflects the complex function of communication manifested in both an immanent and in a transcendental form. Such complexity derives from the fact that, if verbal discourse here is enunciated either in isolation or before an interiorized addressee (a fictional being), it is always emitted in the "presence" of an external addressee (the theatre audience/or reader). Finally, my study of the function of persuasion underscores the idea of empowerment: the authority of the word that is wielded by the monologist upon his/her addressee(s), a verbal manipulation that takes place both within the fictional world and beyond.
In short, this thesis seeks to show how the monologue as a fictional dramatic genre questions the viability of interpersonal relationships.
35
Brelage, Elna. "Die radiodrama in isiZulu met verwysing na die werk van D.B.Z. Ntuli." Diss., Pretoria : [s.n.], 2002. http://upetd.up.ac.za/thesis/available/etd-10132005-085945/.
Full text
36
Kelly, Catriona. "Innokenty Fedorovich Annensky and the classical ideal : poetry, translations, drama and literary essays." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:402cf752-742c-4447-ae0c-ffeace85f95c.
Full textAbstract:
Innokenty Annensky (1855-1909) was better known to his contemporaries as a classics teacher and translator than as a poet; but, with the exception of two or three obituary articles, nothing has been written on his work as a classicist. His work has often been misconstrued and he has been described as an outstanding scholar. It has not been generally appreciated that his interest in the scholarly world was not really academic; he saw classical texts as models for his own literary works, and as inspiration for the 'Slavonic renaissance' he looked forward to with F.F. Zelinsky. This thesis covers Annensky's classical education, the essays he wrote on classical literature, and his translations of classical texts. Particular attention is given to the essays and translations which were intended to be published in Teatr Evripida, the first complete Russian version of Euripides. Annensky wrote no essay explicitly devoted to the subject of classicism. But from his essays on classical literature and the remarks on classical literature in his essays on modern literature it is possible to extrapolate his views on the nature of the classical tradition and on how he thought classical literature should be imitated. I show that Annensky's attitude to the classics was idiosyncratic and paradoxical. On the one hand, the classical world was viewed elegaically as an ideal of lost perfection; on the other, it was one of many cultural traditions on which he drew in his literary works and which was adapted in accordance with Modernist poetics. The discussion of Annensky's views on classicism is accompanied by information about the system of classical education in Russia 1870-1910, and about the history of classical scholarship and of literary classicism in Russia. Annensky's essays are compared with those of a representative scholar, Zelinsky, and a representative Symbolist, Vyacheslav Ivanov.
37
譚達先 and Tat-sin Tam. "Folk literature and the Zaju (Northern drama) of the YuanDynasty, 1279-1368." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31232395.
Full text
38
Wang, Hui, and 王卉. "Reconfigurations of gender: contemporary Chinese drama 1979-1989 : the politics of re-inscribing sexualdifferences." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31242364.
Full text
39
潘步釗 and Po-chiu Poon. "A study of the drama (Chuanqi) of good versus evil in theMing dynasty." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B29947418.
Full text
40
陳方 and Fong Chan. "A study of Xu Wei (1521-1593) and his Si sheng yuan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31222225.
Full text
41
Lee, Jun-yu Phoebe, and 李俊妤. "Balcony romance: stage distance andclosure." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B36763159.
Full text
42
Pfeiffer, Kerstin. "Passionate encounters : emotion in early English Biblical drama." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3575.
Full textAbstract:
This thesis seeks to investigate the ways in which late medieval English drama produces and theorises emotions, in order to engage with the complex nexus of ideas about the links between sensation, emotion, and cognition in contemporary philosophical and theologial thought. It contributes to broader considerations of the cultural work that religious drama performed in fifteenth- and early sixteenth-century England in the context of the ongoing debates concerning its theological and social relevance. Drawing on recent research in the cognitive sciences and the history of emotion, this thesis conceives of dramatic performances as passionate encounters between actors and audiences – encounters which do not only re-create biblical history as a sensual reality, but in which emotion becomes attached to signs and bodies through theatrical means. It suggests that the attention paid to the processes through which audiences become emotionally invested in a play challenges assumptions about biblical drama of the English towns as a negligible contribution to philosophical and theological thinking in the vernacular. The analysis is conducted against the background of medieval and modern conceptions of emotions as ethically and morally relevant phenomena at the intersection between body and reason, which is outlined in chapter one. Each of the four main chapters presents a detailed examination of a series of pageants or plays drawn mainly from the Chester and York cycles and the Towneley and N-Town collections. These are supplemented, on occasion, with analysis of individual plays from fragmentary cycles and collections. The examinations undertaken are placed against the devotional and intellectual backdrop of late medieval England, in order to demonstrate how dramatic performances of biblical subject matter engage with some of the central issues in the wider debate about the human body, soul, and intellect. The second chapter focuses on the creation of living images on the stage, and specifically on didactically relevant stage images, in the Towneley Processus Prophetarum, the Chester Moses and the Law, and the N-Town Moses. The third chapter shifts the focus to the performance of the Passion in the N-Town second Passion play and the York Crucifixio Christi, concentrating on the potential effects of the perception of physical violence on audience response. The subject of chapter four is the emotional behaviours and expressions accorded to the Virgin Mary in the Towneley and N-Town Crucifixion scenes, and those of her precursors, the mothers of the innocents, in the Digby and Coventry plays of the Massacre of the Inncocents. In chapter five, the analysis finally turns to dramatisations of the Resurrection, examining its realisation on stage in the Chester Skinners’ play, as well as staged responses to the event by the apostles and the Marys in the N-Town The Announcement to the Three Marys; Peter and John at the Sepulchre and the Towneley Thomas of India. These four central chapters pave the way for a summary, in the conclusion, of the central problematic underpinning this thesis: how the evocation of emotion in an audience is linked to embodiment in theatrical performance, and tied to a certain awareness, on the part of playwrights, of the popular biblical drama’s potential as a locus of philosophical-theological debate.
43
Percival, Gary William. "Developments towards a theatre of the absurd in England, 1956-1964." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/14879.
Full textAbstract:
In 1961 Martin Esslin created the term 'Theatre of the Absurd' as a working hypothesis, a device with which to make fundamental traits present in the plays of a number of France-based dramatists accessible to discussion by tracing the features they had in common. Despite the popularity of Esslin's study, there has been no comparable discussion of England-based absurdism. An explanation for this lack of critical attention may be found in the dogged insistence amongst scholars that there are only two absurd playwrights in the English theatre before 1967. My first aim in this thesis is to redress the imbalance in critical literature, to demonstrate that there existed in England, in the late 1950s and early 1960s, an indigenous expression of absurdism far broader and significantly more complex than that which has been recognised by theatrical reviewers during the past thirty years. Having identified an indigenous absurdism, I go on to challenge the generalisations and over-simplifications surrounding the English 'absurd', which are a product of its critical marginalisation and neglect. I discuss the complexities of the evolution of the English 'absurd', and the ramifications of its development, paying due regard to the theatrical, historical and social factors which shaped its early growth. The playwrights who represent the genre are examined in tum, and attention is devoted to the details of the development of an absurd dynamic within their works. The study falls into three parts. Part I attempts to explain why the English 'absurd' had such a limited impact within its own country up until the late 1960s. It is revealed that many of the writers of the English 'absurd' were incapable of divorcing their plays from the social-orientated drama which dominated English theatre in the late 1950s. The cross-fertilization of an overtly social theatre and absurdism resulted in an expression of the genre which was modified and, to an extent, compromised by its adherence to external, political realities. The focus shifts, in the second part, to accommodate those neglected writers of the English 'absurd' who managed to avoid such compromises and who created a more abstract theatre, the aesthetic and epistemological intentions of which resemble those of the French absurd. Part III explains why, despite the relative obscurity of the English 'absurd', a fragmented absurdism managed to be absorbed into the permanent vocabulary of dramatic expression in England in the 1960s. This final section examines the works of a number of non-absurd writers who took on isolated absurd devices as part of an experiment with the parameters of drama, thereby bringing those techniques into mainstream theatre.
44
GRAY, FRED ALLEN. "CHILDREN'S MUSICALS, 1973-1985: ANNOTATIONS WITH SOURCEBOOK FOR PRODUCTION (DRAMA, ELEMENTARY, HISTORY, VOICE, CHORAL)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188089.
Full textAbstract:
The purpose of this study was to collect and annotate the musical dramas for children of elementary school age published since 1972. Musical dramas selected were limited to those having a story line rather than just a narrator and chorus, having dialogue interaction between the characters, containing mostly original music, and written for grades kindergarten through six. This document is intended as a resource for elementary school teachers and church workers who are searching for appropriate material for performance or study. Annotations of 210 musicals for children, sacred and secular, are the main emphasis of the study. Pertinent information in each annotation includes: basic story line, voice span (extreme range of the music), tessitura (range where most of the tones lie), recommended grade level, duration, type of accompaniment available, 1985 prices and required purchase for performance rights, staging requirements, number and characteristics of the songs, and personnel needed. Musicals were obtained through publishers, music retailers, and leasing firms. A part of the study is a history of musical drama in America and in America's schools. Musical drama has been a part of elementary education in America almost from its inception. The first musical drama in America was presented in Charleston, S.C., in 1735, and the first school music drama was presented in New York in 1853. Because children's musicals involve the child voice, information is contained in the study concerning practices which might cause vocal damage. Current research and theory about children's voice range is reported. Opinion is divided about proper natural voice range for children. Each viewpoint has supporting research. The study shows that an abundance of musical drama material is available for children of elementary age, especially the upper grades. A sourcebook for directors and producers of children's musicals has been included to assist those who have a limited knowledge of stage lighting, choreography, make-up, sound systems, sets, and costumes. Suggestions are provided for choosing a musical, holding auditions, scheduling rehearsals, and involving parents and community. 1973 was selected as the beginning date for inclusion of musicals in the study because of the resurgence of writing and publishing elementary school musicals and because of the growing number of musicals written for church children's groups. Recommended areas for further research concerning children's musicals include the present usage figures for published musicals, an annotated list of musicals using only narrators and choir, and usage figures of musicals by geographic areas.
45
Mukherjee, Manisha. "The representation of transgressive love and marriage in English Renaissance drama /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42103.
Full textAbstract:
This study explores the presentation of transgressive, effective and erotic relationships in a selected group of early modern plays as those relationships relate to the English Renaissance ideal of marriage and sexuality expressed in religious and secular tracts. The depictions of illicit love and sexuality in these plays reveal problematic social and moral issues inherent in the construction of the English Renaissance ideal of love and marriage. Not only do the dramatists reveal the tension between transgressive and normative love and sexuality, but they do so through the use of aesthetic forms that transgress conventional dramatic structure. This dissertation contends that the unconventional dramatic representation of transgression functions as a cognitive mode for the audience in their understanding of the practical social reality associated with the abstract ideality of love and marriage. Focussing on a selected plays of English Renaissance dramatists William Shakespeare, Thomas Middleton, Francis Beaumont, John Fletcher, Thomas Heywood, John Ford, and two anonymous playwrights, I suggest that the dramatists refuse to condemn or condone the transgression. Rather, they endow it with meaning, and while not rescinding the ideal love and sexuality, offer possible ways of accommodating it.
46
Fenn, Jeffery W. "Culture under stress : American drama and the Vietnam War." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28668.
Full textAbstract:
The dissertation undertakes an analysis of the dramatic literature engendered by the Vietnam War in the 1960s and 1970s, and illustrates how the dramas of that period reflect the stresses and anxieties that assailed contemporary American society. It investigates the formative influences on the drama, the various styles in which it emerged, and the recurring themes and motifs. The thesis proceeds from the premise that the events of the 1960s fractured American society in a manner unknown since the Civil War. It demonstrates that the social, political, and intellectual divisiveness that characterized the society was interpreted in the theatre by dramatic metaphors of fragmentation of the individual and collective psyche, and that this fragmentation was reflected in characters who experienced a collective and individual sense of loss of cultural identity, cohesion and continuity.
Included in the examination of the drama is a description of how the social upheaval of the period influenced playwrights to undertake a reassessment of American values and ethics, and to interpret in dramatic form the nature of the trauma of Vietnam for American society. The study includes a discussion of how individual and collective reality is based on cultural conditioning, and how the challenging of cultural myth in an extra-cultural milieu.Arts, Faculty of
Theatre and Film, Department of
Graduate
47
Kwong, Jessica Mun-Ling. "Playing the whore : representations of whoredom in early modern English comedy." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.707984.
Full text
48
LAW, Ching. "高行健之戲劇 : 理論與實踐." Digital Commons @ Lingnan University, 2006. https://commons.ln.edu.hk/otd/17.
Full textAbstract:
高行健的戲劇作品與理論，兼備中西文化主題（motifs），東西方劇場的手法，最適合作比較文學的範例。本文全面分析高行健的劇作與理論，從主題與形式兩方面，審度劇作中重複出現追尋自我的主題。其劇作包括《絕對信號》、《車站》、《野人》、《彼岸》、《冥城》、《逃亡》、《山海經傳奇》、《生死界》、《對話與反詰》、《夜遊神》、《周末四重奏》、《八月雪》、《叩問死亡》；五個現代折子戲包括《模仿者》、《躲雨》、《行路難》、《喀巴拉山口》、《獨白》；一個舞劇《聲聲慢變奏》共計十八部戲劇。又整理探究理論文集《對一種戲劇的追求》、《沒有主義》、以及《文學的理由》。作者的主體意識扣緊不同時期的逃亡經驗，經一番外求與內尋的過程，不斷抗衡與否定不同的「他者」。這種抗衡，固然呈現人類本質的狀態，卻缺乏主體的自主性，也展示主題的矛盾。因為無論「他者」怎樣不斷置換為集體、強權、中國、性、慾望等對象，也不能抹殺其先於主體的實存性，反倒確立了主體的依附性。所以他的主體都一貫逃避中心、集體、缺乏實質的內涵，卻又內外交困，無法安頓。這種不斷反詰的精神，又反映在劇作的「間離」的形式上。高行健以敘事、三重角色與儀式（rituals），間離觀眾與角色。雖然他追求戲劇本質，嘗試回復中國儺戲與戲曲的傳統，也緊隨現當代劇作家如布萊希特（Bertolt Brecht）、惹奈（Jean Genet），但是難以調動觀眾的直覺感知經驗，達至娛人的目的。更有甚者，因為敘事手法的視點所限，宣揚個人主義的目的，昭然若揭。他的儀式意在增強戲劇的假定性，不在於回歸中國的佛道傳統，但效果不彰。他的「表演三重論」源於中國戲曲與布萊希特，貢獻止於為表演的監控意識命名，缺乏系統落實的方法，故難以與斯坦尼斯夫斯基（Konstantin Stanislavsky）、以及格羅多夫斯基（Jerzy Grotowski）的表演系統相提並論。本文試以高行健的劇作與理論，與現當代的國際劇作家、以及劇場理論家的成就互相發明，以鑑定其戲劇地位。
49
La, Taille Jean de 1533?-1611 or 12, E. C. (Elliott Christopher) 1924 Forsyth, and des textes francais modernes (Paris France) Societe. "Tragedies, Saul le furieux ; La Famine, ou les Gabeonites : Edition critique / par Elliott Forsyth." Paris: Societe des textes francais modernes, 1998. http://hdl.handle.net/2440/38643.
Full textAbstract:
Includes facsim of 1572 imprint of first title; and of 1573 imprint of second title.Also submitted by the editor as part of application for candidature for the degree of Doctor of Letters, University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006.
Includes bibliographical references (p. 169-174) and index.
lxxix, [183] p.:
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
50
La, Taille Jean de 1533?-1611 or 12, Elliott Christopher Forsyth, and des textes francais modernes (Paris France) Societe. "Tragedies, Saul le furieux ; La Famine, ou les Gabeonites : Edition critique / par Elliott Forsyth." Thesis, Paris: Societe des textes francais modernes, 1998. http://hdl.handle.net/2440/38643.
Full textAbstract:
Includes facsim of 1572 imprint of first title; and of 1573 imprint of second title.Also submitted by the editor as part of application for candidature for the degree of Doctor of Letters, University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006.
Includes bibliographical references (p. 169-174) and index.
lxxix, [183] p.:
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.