To see the other types of publications on this topic, follow the link: North american theater.
Dissertations / Theses on the topic 'North american theater'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 35 dissertations / theses for your research on the topic 'North american 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
Lee, Carrie Kathryn. "Something Beautiful: Craft and Survival in North American Alternative Theatre Companies." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1155844310.
Full text
2
Däwes, Birgit. "Native North American theater in a global age sites of identity construction and transdifference." Heidelberg Winter, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2945427&prov=M&dok_var=1&dok_ext=htm.
Full text
3
Däwes, Birgit. "Native North American theater in a global age : sites of identity construction and transdifference /." Heidelberg : Winter, 2007. http://catalogue.bnf.fr/ark:/12148/cb41119420w.
Full text
4
Lima, Eduardo Luis Campos. "Procedimentos formais do jornal Injunction Granted (1936), do Federal Theatre Project, e de Teatro Jornal: Primeira Edição (1970), do Teatro de Arena de São Paulo." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-06052013-102207/.
Full textAbstract:
O presente estudo analisa os procedimentos formais do jornal vivo, forma teatral fundamentada na encenação de notícias, conforme o gênero configurou-se nos Estados Unidos e no Brasil. Para tanto, define como objeto, do lado estadunidense, o jornal vivo Injuction Granted (Liminar é Concedida), produzido no âmbito do Federal Theatre Project (Projeto Federal de Teatro), iniciativa do Governo de Franklin Roosevelt para lidar com o desemprego provocado pela Grande Depressão, na década de 1930. Do lado brasileiro, faz-se uma leitura de Teatro Jornal: Primeira Edição, exposição didática de nove técnicas de encenação desenvolvidas por jovens artistas reunidos no Teatro de Arena de São Paulo e sistematizadas pelo teatrólogo Augusto Boal. O trabalho é introduzido por uma breve história da forma do jornal vivo, consolidada no período da Revolução Soviética, que procura apresentar suas principais manifestações e alguns dos caminhos que percorreu, principalmente nas décadas de 1920 e 1930. Demonstra-se que o jornal vivo sempre foi uma forma teatral ancorada na luta dos trabalhadores, sendo uma vertente central da arte de agitação e propaganda. A análise de suas manifestações nos Estados Unidos e no Brasil, dessa maneira, leva em conta o momento histórico dos países quando da produção das referidas peças, tentando relacionar conformação estética e horizonte político continuamente. O materialismo histórico ampara tal reflexão e, mais especificamente, sua aplicação ao pensamento sobre teatro, consubstanciada na teoria do teatro épico, desenvolvida por pensadores como Bertolt Brecht, Peter Szondi e Anatol Rosenfeld.<br>This is a study of the formal procedures of the living newspapers a theatrical form based on the theatricalization of news according to their configuration in the United States of America and in Brazil. Therefore, the work defines as an object in the American side the living newspaper Injunction Granted, a play staged under the Federal Theatre Project, which was one of Franklin Roosevelts programs to deal with unemployment during the Great Depression in the 1930s. In the Brazilian side, the focus is on Teatro Jornal: Primeira Edição (Theatre Newspaper: First Edition), a didactic exposition of nine staging techniques developed by young artists which had joined Teatro de Arena de São Paulo, as systematized by director Augusto Boal. This study begins with a short history of the form of the living newspaper which was cemented during the Soviet Revolution that tries to present its main ways of actualization and some of the paths taken by this genre, chiefly in the 1920s and 1930s. The work demonstrates that the living newspapers were always anchored on the workers struggle and are a central strand of the art of agitation and propaganda. Thus the examination of the American and Brazilian manifestations of the genre takes into account the historical conjuncture of both countries at the time the plays were produced, trying to continuously relate aesthetic conformation and political horizon. Historical materialism supports that reflection more specifically its application on the ideas about theater which were consubstantiated in the theory of the epic theater, developed by thinkers as Bertolt Brecht, Peter Szondi and Anatol Rosenfeld.
5
Elkin, Courtney Carmel. "Clashes of cultural memory in popular festival performance in Southern California 1910s-present /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495960481&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
6
Sebestyen, John S. "Culture, Crisis, and Community: Christianity in North American Drama at the Turn of the Millennium." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1242080581.
Full text
7
Ilari, Mayumi Denise Senoi. "Teatro político e contestação no mundo globalizado: o Bread & Puppet Theater na sociedade de consumo." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-14052008-134439/.
Full textAbstract:
Criado na cidade de Nova Iorque no início dos anos sessenta, o Bread & Puppet Theater estabeleceu-se em meio à vanguarda artística norte-americana do século XX, tornando-se célebre nas apresentações e paradas de rua em protesto contra a guerra do Vietnã. Quatro décadas de teatro mais tarde, em plena guerra no Iraque, o grupo dirigido por Peter Schumann, agora radicado em Vermont, prossegue com seu teatro de papel-maché, em protesto contra os impérios vis e injustos do mundo globalizado. Esta pesquisa compara o espetáculo Portões do Inferno, último \"Circo de Ressurreição Doméstica\" (1998), espetáculo anual apresentado a dezenas de milhares de pessoas, a O Mundo de Pernas para o Ar, uma nova versão do Circo - \"Circo de Insurreição do Primeiro Mundo\" (2004), analisando relações entre forma e história. Observaremos que, em nossa atual civilização, fundada na lógica da mercadoria, na comercialização da arte, na espetacularização da vida (no sentido debordiano), e no embrutecido e fragmentário deslumbramento pós-moderno frente aos mesmos paradigmas exaltados como inovações (ou no esmaecimento do afeto, na expressão de Jameson), o teatro histórico, épico e dialético do Bread and Puppet segue resistindo efetivamente, na contramão da sociedade de consumo, na insurreição contra o mundo globalizado, a insurreição \"da mente contra a supremacia do dinheiro e a insurreição de toda a alma do teatro de bonecos contra a estupidez do maravilhamento pós-moderno\".<br>Originated in the city of New York in the 1960s, the Bread & Puppet Theater established itself amidst the North American artistic vanguard of the 20th century. It was especially known for its demonstrations and protests against the Vietnam war. Four decades later, during the Iraq war, the group leaded by Peter Schumann, now established in Vermont, continues with their papier-maché theater, demonstrating and protesting against the evil and unfair empires of the globalized world. This study compares Gates of Hell (1998) - the final \"Domestic Resurrection Circus\"- an annual show presented to thousands of people, to Upside Down World - a new version of the circus called \"First World Insurrection Circus\" (2004) - analyzing the relationships between form and history. The analysis reveals that in our current civilization, which is largely based on the logic of commodities, in the commercialization of art, in the \"spectacularization\" of life (in debordian sense) and in the brutalized and fragmented post-modern wonderfulness, which presents and glorifies the same paradigms as innovations (or in its waning of affect, in Fredric Jameson\'s sense), Bread and Puppet\'s historical, epic and dialectic theater effectively resists, going the opposite direction of consumer society, in the insurrection against globalized world, the insurrection \"of the mind against the supremacy of money and the insurrection of the whole soul of puppetry against the stupidity of post-modern wonderfulness\".
8
Flores, Fúlvio Torres. "Da Depressão às raízes do macartismo: representação de questões sócio-históricas em American blues, de Tennessee Williams." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-15052013-093207/.
Full textAbstract:
A proposta desta tese é analisar a representação de questões sócio-históricas em American blues, de Tennessee Williams, coletânea de cinco peças curtas escritas durante as décadas de 1930 e 1940 e reunidas para publicação em 1948. Cada uma delas é de vital importância para a compreensão da sociedade norte-americana desse período. Considerando que o blues expressa o pathos e as condições de vida da classe trabalhadora e dos excluídos das relações de produção, afirma-se que as peças Moony´s kid don´t cry, The dark room e The long stay cut short, or The unsatisfactory supper figuram os efeitos causados sobre essa larga camada da população nos anos da Depressão Econômica. The case of the crushed petunias a lyrical fantasy parodia o impacto da sufocante ideologia do American way of life sobre a classe média e o desinteresse dessa pelos principais acontecimentos durante a II Guerra Mundial. Por fim, Ten blocks on the Camino Real a fantasy alegoriza a sociedade capitalista do pós-guerra e o nascedouro da era macartista. Por meio de um sucinto levantamento das peças escritas por Tennessee Williams até a publicação da coletânea é possível extrair elementos que permitem evidenciar a constituição e organicidade de American blues.<br>The purpose of this thesis is to analyze the representation of socio-historical issues in American blues, by Tennessee Williams, a collection of five short plays written during the 1930s and 1940s and grouped for publication in 1948. Each one is vitally important to the understanding of the American society of that period. Taking into consideration that the blues express the pathos and the living conditions of the working class and those excluded from the relations of production, we assert that the plays Moony\'s kid don´t cry, The dark room and The long stay cut short, or The unsatisfactory supper represent the effects of the Great Depression on this broad population group. The case of the crushed petunias a lyrical fantasy parodies the impact of the American way of life ideology on the middle class as well as this class´s indifference concerning the major events of World War II. Finally, Ten Blocks on the Camino Real a fantasy allegorizes postwar capitalist society and the roots of the McCarthy era. Through a brief survey of the plays written by Tennessee Williams until the publication of the collection it is possible to draw elements that evidence the constitution and organicity of American blues.
9
Leme, Viviane Maria. "A concepção da tragédia moderna em \'The crucible\' e \'A view from the bridge\' de Arthur Miller." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-07112007-131916/.
Full textAbstract:
A presente pesquisa dedica-se ao estudo da forma de tragédia moderna utilizada pelo dramaturgo americano, Arthur Miller, em The Crucible [As Feiticeiras de Salém] (1953) e A View From the Bridge [Panorama Visto da Ponte] (versão de dois atos, de 1956), apoiando-se na obra Tragédia Moderna do crítico inglês, Raymond Williams, e concentrando-se no texto teatral, ou seja, na dramaturgia, o que não inclui análise de montagens. O pressuposto teórico do presente trabalho é a crítica histórica e dialética que considera o conteúdo histórico determinante dos aspectos formais. No primeiro capítulo, discute-se o que é tragédia moderna, quais as fontes da tragédia moderna e da tragédia milleriana, qual o conceito de tragédia para Arthur Miller, por que ele escolheu a tragédia para tratar das questões figuradas nas duas peças e quais os recursos formais que ele utiliza. A partir daí, demonstra-se que ambas as peças possuem características que mesclam peculiaridades da tragédia grega com a tragédia moderna, as quais dão forma a um tipo de dramaturgia que Raymond Williams denomina tragédia liberal, cuja principal marca é mostrar e discutir a luta do homem contra sua sociedade. Com essas peças Arthur Miller \"atualiza\" a forma da tragédia para assim restaurar a idéia que está por trás dela, isto é, a idéia de causação, de conectividade. No segundo capítulo, parte-se dessa base central de conectividade para analisar como a forma escolhida por Miller reflete esse conceito; assim, ele constrói suas peças demonstrando como, em suas estruturas, as causas se conectam com seus efeitos, como as ações individuais afetam o todo, como a vida particular influi na vida pública, e vice-versa, e demonstrando, além disso, uma preocupação não-maniqueísta na construção das personagens e dos fatos. Avistamos esses traços nas duas peças de Miller principalmente devido à inserção de um narrador, que chamamos de \"explícito\" em The Crucible e \"implícito\" em A View from the Bridge, cujas funções são também analisadas. No terceiro capítulo, o que se destaca das tragédias de Miller é o fato de que os conteúdos de suas obras são determinados historicamente; sendo assim, as duas peças são exploradas à luz do macartismo para que se verifique como os paralelos podem ser compreendidos e o que eles dizem sobre o senso de coletividade.<br>Based on the assumption that the formal choice of the artist reveals the content of his work, and vice-versa, the present research studies the form of modern tragedy as it is applied to the text of The Crucible (1953) and A View from the Bridge (the two-act version of 1956) by Arthur Miller. For this purpose, this work draws on Raymond Williams\' conception of modern tragedy. Thus, the first chapter demonstrates that both plays combine certain characteristics which can be found in Greek tragedy, and some others that are present in the modern tragedy to form a specific kind of tragedy that Raymond Williams calls liberal tragedy; the main purpose of a liberal tragedy, according to Williams, is to show and discuss that the man is constantly struggling against his society. We have noticed that Arthur Miller relies on this assumption of the modern tragedy to rescue the idea of causation and connectedness. Having the idea of connectedness in mind, in the second chapter, we analyze the way Miller develops these plays with the preoccupation of showing the relatedness of causes and effects, which means to show how the individual acts are related to the whole society, and how the private life influences in the public one, and vice-versa. We have also observed a certain concern in depicting characters and facts taking into consideration that the truth is relative, which can be noted by the presence of what we call an \"implicit narrator\" (in The Crucible) and an \"explicit narrator\" (in A View from the Bridge). The presence of these narrators, besides having the function of establishing a complicity between characters and audience, also ensures a distancing voice, epic par excellence, which challenges the commonly held notions about the topics discussed in the plays. In the third chapter, relying on the notion that Miller\'s tragedies are historically determined, we analyze the parallels between the two plays and the historical moment in the United States which is commonly called McCarthyism, and what it represents for the sense of community explored by the author in both plays.
10
Martins, Rafael. "Nobody knows you when you´re down and out: a encenação de Alguns Blues do Tennessee pelo Grupo TAPA no Teatro de Arena Eugênio Kusnet." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-17042018-142235/.
Full textAbstract:
A proposta desse trabalho é a análise da encenação do espetáculo Alguns blues do Tennessee, dentro do projeto TAPA no Arena: uma ponte na História no ano de 2013 no Teatro de Arena, vencedor do Edital de Ocupação do Teatro de Arena Eugenio Kusnet. Trata-se da encenação de três peças em um ato, O quarto escuro, Verão no Lago e A dama da loção antipiolho, do dramaturgo estadunidense Tennessee Williams. O espetáculo é o resultado do trabalho iniciado no ano de 2009 com a direção de Eduardo Tolentino e Brian Penido Ross, tendo no elenco Conrado Sardinha, Isabella Lemos, Kadi Moreno e Rita Giovanna. A apresentação foi desenvolvida em sala de ensaios pelos atores do Grupo TAPA num processo que contou o estudo sistematizado da dramaturgia da obra de Williams. Recebeu a tradução de um lote de 26 peças curtas e 6 peças longas do autor, tendo como resultado, além da produção do espetáculo, na publicação, pela editora É Realizações, dos livros Mister Paradise e outras peças em um ato (WILLIAMS, 2011), 27 carros de algodão e outras peças em um ato (WILLIAMS, 2012), O zoológico de vidro; De repente no último verão; Doce pássaro da juventude (WILLIAMS, 2014) e Gata em telhado de zinco quente; A descida de Orfeu; A noite do iguana (WILLIAMS, 2016).<br>The purpose of this work is the analysis of the performance staging of the play \"Some blues by1 Tennessee\" within Tapa no Arena project: a bridge in history in 2013 at Arena Theater, winner of the Edict of Occupation of the Arena Theater Eugenio Kusnet. It\'s the staging of three one act plays: \"The Dark Room\", \"Summer on the Lake\" and \"The lady of the Larkspur Lotion\" of the American playwright Tennessee Williams. The performance is the result of a work that began in 2009 with Eduardo Tolentino and Brian Penido Ross as directors and Conrado Sardinha, Isabella Lemos, Kadi Moreno and Rita Giovanna in the cast. This work has been developed in a rehearsal room by the Tapa Group actors during a process which included the systematic study of the dramaturgy work of Williams and the translation of a batch of 26 one-act plays and 6 long plays of the author. Besides the production of the show, it also resulted the publication of the books: \"Mister Paradise e outras peças em um ato\" (Williams, 2011), \"27 carros de algodão e outras peças em um ato\" (Williams, 2012), \"O zoológico de vidro; De repente no último verão; Doce pássaro da juventude (Williams, 2014) and \"Gata em telhado de zinco quente; A descida de Orfeu; A noite do iguana (Williams, 2016) by \"É Realizações\" publisher.
11
Pinheiro, Graziela Maria Lisboa. "El Teatro Campesino: Experiências formais e reflexões políticas em cena." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-10112009-145625/.
Full textAbstract:
Essa pesquisa constrói uma reflexão sobre o trabalho de El Teatro Campesino, grupo fundado em 1965 na Califórnia com o objetivo de criar peças de agit-prop, chamadas de actos, que propunham discutir temas pertinentes à sociedade camponesa chicana. Dois actos, formulados a partir de criações coletivas, são analisados nessa tese: Quinta Temporada cujo tema central são as greves organizadas na década de 1960 pelo sindicato United Farm Workers (Trabalhadores Agrários Unidos), liderado por César Chávez, militante de enorme importância ao Mexican American Civil Rights Movement (Movimento pelos Direitos Civis dos Mexicano-Americanos) e Vietnam Campesino, marco do teatro militante norte-americano, que discute temas não só relativos à Guerra do Vietnã, mas também a inúmeras outras questões caras à comunidade chicana. Além dos actos, nossa pesquisa também analisa o musical Zoot Suit, de autoria individual de Luis Valdez, fundador do Teatro Campesino, e que alcançou grande projeção ao se tornar a primeira peça de temática chicana escrita por um chicano a ser produzida na Broadway.<br>This research analyses the work of El Teatro Campesino, a theater group founded in 1965 in California, in order to perform agit-prop plays, called actos. The actos aimed at discussing themes which were relevant to rural chicano society. Two collectivelly created actos are analyzed in this thesis: Quinta Temporada in which the central theme is the strikes organized in the 1960s by the United Farm Workers, conducted by César Chávez, a militant of great importance to the Mexican American Civil Rights Movement and Vietnam Campesino, a milestone of the North-American political theater, which discusses themes related not only to the Vietnam War, but also many other pertinent issues to chicano society. Besides the actos, our research also analyses the musical Zoot Suit, written by Luis Valdez, founder of the Teatro Campesino, which became widely known as the first play concerning chicano themes written by a chicano to be produced on Broadway.
12
Leite, André Luiz [UNESP]. "O zoológico existencialista de Edward Albee." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/91594.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:25:24Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-04-26Bitstream added on 2014-06-13T18:26:25Z : No. of bitstreams: 1
leite_al_me_arafcl.pdf: 864986 bytes, checksum: 0067c970ef9b685707a6e900dd9a6ce9 (MD5)<br>A obra de arte dramática, diferentemente de outras formas artístico-literárias, é a que de forma mais prática e imediata estabelece uma relação entre seu realizador e o público ao qual ela é destinada. Contudo, o drama moderno, produzido a partir do final do século XIX, passou por uma série de crises e adaptações quanto à forma e ao conteúdo, decorrentes de várias mudanças ocorridas nos mais diversos setores da sociedade. Edward Albee é um dos maiores dramaturgos norte-americanos da segunda metade do séc. XX. Seguindo uma tradição que produziria grandes talentos como Eugene O'Neill, Tennessee Williams e Arthur Miller, o novo autor surge em 1958 com seu texto, The Zoo Story, associado ao Teatro do Absurdo. A peça de forma minimalista põe em cena dois bancos de praça e duas personagens: Peter que é a própria personificação do self made man, já que está enjaulado aos ideais e aos valores burgueses de vida, e Jerry o outsider ou o transeunte permanente que não se insere nos padrões, no código moral e de valores socialmente estabelecidos. Entretanto, ou por isso mesmo, possui uma capacidade reflexiva extremamente aguçada. O objetivo é tratar de um aspecto da peça - a questão da absurvidade e da liberdade, como formas de transcender a angústia existencial e a vida sem significado em um contexto destituído de símbolos metafísicos. Analisar-se-ão os elementos relacionados a estes tópicos bem como o modo que servem de instrumento para o esvaziamento da ideologia burguesa, que culmina na crítica ácida que Edward Albee desfere ao American way of life.<br>Dramatic art, differently from other literacy-artistic forms, is the one that most practically and immediately establishes a relationship between its producer and the audience it is created for. However, modern drama, produced since the end of nineteenth century, has gone through many crises and adaptations in its form and content, originated from many changes occured in the various instances of society. Edward Albee is one of the major American playwrights of the second half of the twentieth century. Following a tradition which produced gifted authors such as Eugene O'Neill, Tennessee Williams and Arthur Miller, the new author appears with his play The Zoo Story in 1958, associated to the Theater of the Absurd. The play, in a minimalist way, stages two park benches and two characters: Peter, the personification of the self made man, encaged in the bourgeois ideals and values of life; and Jerry, the outsider or the permanent transient who does not fill in the patterns, in the moral code or the established social values. However, or because of this, he has a sharpened reflexive ability. The aim of our search is to treat one aspect of the play - absurdity and freedom - a means of transceding existential anguish and life without meaning in a context deprived of metaphysical symbols. We intend to analyze elements related to these topics, as well as the way they function as instruments for the emptying bourgeois ideology which, ends up the sour criticism Albee aims at the American way of life.
13
Leite, André Luiz. "O zoológico existencialista de Edward Albee /." Araraquara : [s.n.], 2006. http://hdl.handle.net/11449/91594.
Full textAbstract:
Orientador: Alcides Cardoso dos Santos<br>Banca: Iná Camargo Costa<br>Banca: Maria Clara Bonetti Paro<br>Resumo: A obra de arte dramática, diferentemente de outras formas artístico-literárias, é a que de forma mais prática e imediata estabelece uma relação entre seu realizador e o público ao qual ela é destinada. Contudo, o drama moderno, produzido a partir do final do século XIX, passou por uma série de crises e adaptações quanto à forma e ao conteúdo, decorrentes de várias mudanças ocorridas nos mais diversos setores da sociedade. Edward Albee é um dos maiores dramaturgos norte-americanos da segunda metade do séc. XX. Seguindo uma tradição que produziria grandes talentos como Eugene O'Neill, Tennessee Williams e Arthur Miller, o novo autor surge em 1958 com seu texto, The Zoo Story, associado ao Teatro do Absurdo. A peça de forma minimalista põe em cena dois bancos de praça e duas personagens: Peter que é a própria personificação do self made man, já que está enjaulado aos ideais e aos valores burgueses de vida, e Jerry o outsider ou o transeunte permanente que não se insere nos padrões, no código moral e de valores socialmente estabelecidos. Entretanto, ou por isso mesmo, possui uma capacidade reflexiva extremamente aguçada. O objetivo é tratar de um aspecto da peça - a questão da absurvidade e da liberdade, como formas de transcender a angústia existencial e a vida sem significado em um contexto destituído de símbolos metafísicos. Analisar-se-ão os elementos relacionados a estes tópicos bem como o modo que servem de instrumento para o esvaziamento da ideologia burguesa, que culmina na crítica ácida que Edward Albee desfere ao American way of life.<br>Abstract: Dramatic art, differently from other literacy-artistic forms, is the one that most practically and immediately establishes a relationship between its producer and the audience it is created for. However, modern drama, produced since the end of nineteenth century, has gone through many crises and adaptations in its form and content, originated from many changes occured in the various instances of society. Edward Albee is one of the major American playwrights of the second half of the twentieth century. Following a tradition which produced gifted authors such as Eugene O'Neill, Tennessee Williams and Arthur Miller, the new author appears with his play The Zoo Story in 1958, associated to the Theater of the Absurd. The play, in a minimalist way, stages two park benches and two characters: Peter, the personification of the self made man, encaged in the bourgeois ideals and values of life; and Jerry, the outsider or the permanent transient who does not fill in the patterns, in the moral code or the established social values. However, or because of this, he has a sharpened reflexive ability. The aim of our search is to treat one aspect of the play - absurdity and freedom - a means of transceding existential anguish and life without meaning in a context deprived of metaphysical symbols. We intend to analyze elements related to these topics, as well as the way they function as instruments for the emptying bourgeois ideology which, ends up the sour criticism Albee aims at the American way of life.<br>Mestre
14
Camêlo, Gerson Vieira. "Four black revolutionary plays: Amiri Baraka e a construção de uma dramaturgia revolucionária negra." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-16022011-101923/.
Full textAbstract:
Esta pesquisa pretende apontar a presença e a representação de elementos revolucionários nas estruturas formais das Four Black Revolutionary Plays: All Praises to the black man (Quatro Peças Revolucionárias Negras: Todos os louvores ao homem negro). Peças escritas pelo dramaturgo negro Amiri Baraka que, sobretudo nos anos sessenta, se colocou contra o establishment e produziu uma dramaturgia que pregava a valorização da cultura negra, o engajamento político e a rebeldia contra os valores do status quo branco e de parte da classe média negra norte-americana. Nossas hipóteses, aqui apresentadas, são de que a obra baraqueana é processual porque não se finda em um único período ou obra, mas guia-se por uma necessidade de mudança contínua em face dos acontecimentos históricos e sociais que o dramaturgo vivencia enquanto escreve suas peças e porque busca reescrever uma nova história e mitologia negra. Desta forma, ao procurar valorizar a negritude e os outros valores apregoados pelo movimento Black Power e pelo nacionalismo negro, Baraka desenvolve uma dramaturgia contundente que tenta abarcar as demandas da comunidade negra e que a instigue a agir coletivamente.<br>This paper intends to spot the presence and representation of the revolutionary elements within the formal structures of the Four Black Revolutionary Plays: All Praises to the black man. These are the plays by the black playwright Amiri Baraka who, especially in the sixties, fought against the establishment by means of plays that extolled the appreciation of the black culture, the political engagement and the defiance of the white mens status quo and also a portion of the American black middle class. Our theses provided herein say Barakas work has an ever-evolving nature as its not restricted to a single time or work; rather, it is driven by the need for the continuous change due to the social and historic events the playwright experienced at the time he wrote his plays, also seeking to rewrite a new black history and mythology. Accordingly Baraka creates groundbreaking plays intended to consider and review the black communitys condition and make it act collectively in response.
15
Flores, Fúlvio Torres. "Nem só bem-feitas, nem tão melodramáticas: \'The Children\'s Hour\' e \'The Little Foxes\', de Lillian Hellman." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-08072008-150422/.
Full textAbstract:
A proposta dessa dissertação é analisar as peças The Children´s Hour e The Little Foxes, de Lillian Hellman, pela primeira vez encenadas nos Estados Unidos em 1934 e 1939 respectivamente. A análise discute a forma da peça bem feita e a forma do melodrama nessas obras, assim como o conteúdo delas, a fim de identificar como a crítica social e as formas teatrais propostas pela dramaturga estão intrincadas. Com base em autores como Peter Szondi, essencial para se entender a dialética entre forma e conteúdo, Jean Marie Thomasseau, teórico do melodrama, e de outros que escreveram sobre a peça bem feita, procurou-se entender como Hellman valeu-se das próprias formas correntes da cultura dominante e da indústria cultural para investigar a sociedade capitalista norte-americana. Para a compreensão ampla de tais questões, foram analisados os textos dramatúrgicos, encenações, adaptações para cinema e televisão, tanto nos Estados como no Brasil. Hellman foi constantemente criticada pelas opções formais de suas obras, algo que é revelado pela fortuna crítica mais relevante que foi coletada e é apresentada nessa dissertação, servindo de suplemento para as análises. Lillian Hellman examinou o conservadorismo arbitrário e as estratégias de manutenção do capitalismo criticando a classe dominante através da utilização das formas teatrais privilegiadas por essa classe.<br>This work aims to analyze Lillian Hellman\'s plays The Children´s Hour and The Little Foxes, which were first performed in the United States in 1934 and 1939 respectively. In addition to the content of these works, the analysis discusses the well-made play and the melodrama in order to identify how social criticism and these theater forms are interrelated, as proposed by her. Based on authors such as Peter Szondi, whose work is fundamental to understanding the dialectics between form and content, and Jean-Marie Thomasseau, a melodrama theorist, as well as others who wrote about the well-made play, this dissertation searches for a comprehension of how the playwright made use of the dominant culture\'s own forms to investigate North-American capitalist society. For a comprehensive understanding of such issues, the dramaturgical texts, performances, as well as film and television adaptations in both the United States and Brazil have been analyzed. Hellman was constantly criticized for the formal choices of her plays, something revealed in articles and essays by relevant critics. These criticisms are presented in this dissertation in order to supplement the analysis. Lillian Hellman criticized the dominant class\' arbitrary conservatism and the strategies of capitalist maintenance by employing theater forms which were endowed by that class.
16
Ferro, Paola Piovezan. "Figurações dramatúrgicas do indivíduo em \'Suppressed desires\' (1915), de Susan Glaspell e George Cram Cook, e \'Before breakfast\' (1916), de Eugene O\'Neill: um recorte analítico da dramaturgia dos The Provincetown Players." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-19082016-152048/.
Full textAbstract:
Esta dissertação tem como objetivo analisar a figuração dramatúrgica do indivíduo em duas peças produzidas pelo grupo teatral The Provincetown Players: Suppressed Desires (1915), de Susan Glaspell e George Cram Cook, e Before Breakfast (1916), de Eugene ONeill. Consideramos que o estudo da produção desse grupo norte-americano traz importantes reflexões acerca da representação de questões históricas, políticas e estéticas recentes naquela época , e que vieram a ter desdobramentos em diversas direções no teatro contemporâneo.<br>This work aims at analyzing the dramaturgical figurations of the self in two plays produced by The Provincetown Players: Suppressed Desires (1915), by Susan Glaspell and George Cram Cook, and Before Breakfast (1916), by Eugene O\'Neill. We believe that the study of the production of this American group introduces important reflections on the representation of historical, political and aesthetic factors recent then , which came to have developments in several directions in contemporary theater.
17
Chang, Eury Colin. "Railroad plays : performing reconciliation in Asian North American theatre." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44240.
Full textAbstract:
Railroad plays: performing reconciliation in Asian North American theatre is a study into a specific sub-genre of theatre coming out of the Asian Canadian and Asian American demographic. I use the term "railroad plays" to describe a body of work that gives voice to immigrant experiences working on the railroad. In a nutshell, railroad plays allow us to revisit and better understand historical prejudices of the late 19th and early 20th century. Additionally "performing reconciliation" is a term I use to suggest how contemporary theatre can help minority groups to engage in social activism, by imagining new ways of looking at history while reconsidering intercultural relationships. I argue that playwrights employ a variety of dramatic techniques - storyline, language and symbols, characterization, genre, and references to historical events - in order to encourage readers and audiences to reconsider intercultural relationships in North America. In this thesis, I analyze the dramatic text of two railroad plays: Forbidden Phoenix by Marty Chan, and lady in the red dress by David Yee. Both playwrights make references to historical moments and use the building of the Canadian Pacific Railway as a way to discuss broader issues such as human rights, inequality, and immigration. Additionally, I analyze a third railroad play by American playwright, David Henry Hwang. I provide a literary analysis to the play text coupled with a performance review of a 1998 Vancouver production, paying close attention to physicality, intercultural elements and audience reception. The purpose of my thesis is to draw meaningful connections between theatre practice and social justice, by asking: How do railroad plays contribute to a more nuanced knowledge and understanding of theatre history and intercultural relationships in Canada?
18
Vickery, Anthony John Louie. "The logistics and finances of touring North America, 1900-1916." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. https://dspace.library.uvic.ca//handle/1828/9865.
Full textAbstract:
In the month of December, 1904, 420 theatre companies were “on the road” in North America. This volume of touring was made possible only by the centralisation of the commercial theatre business, a feat of organisation accomplished by three partnerships that came to be collectively known as the Syndicate: Marc Klaw and Abraham Erlanger; Charles Frohman and Al Hayman; and Sam Nixon-Nirdlinger and Fred Zimmerman. These men, later in competition with the three Shubert brothers, Lee, Sam S., and J. J., brought a “big business” approach to management into the theatre and employed it to reap considerable profits. My dissertation explores the business organisation of these firms throughout the period 1900–1916.
The first two chapters of my dissertation provide a general context and information on theatrical conditions up to the foundation of the Syndicate with special emphasis on tours of North America. In the second chapter, I pay special attention to the makeup of the combination companies that ruled the road during 1900–16. My third chapter investigates the organization of the Shubert main office. Included in this chapter are examinations of the various contracts the corporations used to form and control their empires. My fourth chapter examines the road companies. Topics I cover in this chapter include company operations, route changes, employment of backstage staff and company discipline. My final chapter analyses business practices in road theatres with special emphasis on their communications with the Shuberts or Syndicate. Since there were literally hundreds of road theatres to choose from, I selected circuits that conducted operations in Canada as the basis for the chapter (circuits operated by Ambrose J. Small and Corliss P. Walker). I conclude my dissertation with a discussion of the road in the late 1990s because many of the conditions of touring today are reflective of touring in the early 1890s. The road at the end of the twentieth century is making a comeback in strikingly familiar ways.
Information for my dissertation comes primarily from documents in the Shubert Archives. Many of the records there have never been analysed by academics and they provided a fertile field for my investigation. Contemporary periodicals, especially The New York Dramatic Mirror and Variety , also provide a great deal of information on the period. Other sources consulted were the myriad biographies and autobiographies performers and managers published during the era or shortly thereafter.<br>Graduate
19
Oliveira, Ronaldo Alves de. "Teatro Campesino & Black Revolutionary Theatre: ruptura, inovação e transformação." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-02022010-155111/.
Full textAbstract:
Este trabalho examina a forma estética sob os tópicos ruptura, inovação e transformação de 5 peças no contexto de reivindicações sócio-políticas da década de 1960 nos Estados Unidos por parte de dois grupos teatrais extremamente significativos em suas propostas e atuação, a saber: o Teatro Campesino (TC), feito por e para chicanos na Califórnia, e o Black Revolutionary Theatre (BRT - Teatro Negro Revolucionário), feito por e para afro-americanos em Nova York.<br>This paper reviews the aesthetic form under the topics rupture, innovation and transformations in 5 plays in the context of social political demands in the 1960s in the United States by two extremely significant theatre groups concerning their goals and performance, to wit: Teatro Campesino (TC), made by and for Chicanos in California, and Black Revolutionary Theatre (BRT), made by and for Afro-Americans in New York.
20
Cooperkline, Kristen J. "Misconceptions crumble the potential of Native-controlled theatre to deconstruct non-Native Americans' perception of Native peoples in the United States /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1240582844.
Full text
21
Lee, Diana Sution. "O sonho americano em Pins and Needles." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-02022018-093129/.
Full textAbstract:
Esta dissertação tem como objetivo a análise do sonho americano em Pins and Needles. Criada na cidade de Nova Iorque em 1937 por dramaturgos ligados ao teatro de esquerda, a peça espalhou-se pelos Estados Unidos, angariou trabalhadores para os sindicatos, influenciou grupos amadores de teatro, parodiou shows populares e satirizou eventos da Grande Depressão, mostrando um humor incomparável. Nos quesitos histórico e cultural, a peça mais popular da década de 1930 é única, por ser representante do apogeu do Movimento Teatral dos Trabalhadores Americanos e da Frente Popular durante o Novo Acordo. Através do que denominamos de os quatro eixos ideológicos do sonho americano, estudamos como o texto dramatúrgico de Pins and Needles, na sua mistura de agitprop e revista musical, questiona se haveria de fato para os trabalhadores igualdade de oportunidades, direito à vida, liberdade e busca da felicidade, (possibilidade de) atuação e mobilidade social como recompensa do trabalho árduo, ajudando-nos a reconceptualizar a ideologia da nação norte-americana.<br>This dissertation aims at analyzing the American dream in Pins and Needles. Originated in the city of New York in 1937 by playwrights connected to the theater of the left, the play spread throughout the United States, attracted workers to the labor unions, influenced amateur theater groups, parodied popular shows and satirized Great Depression events, by using an incomparable humor. In the historical and cultural requisites, the most popular play in the 1930s is unique, by being the representative of the apogee of the American Workers Theater Movement and of the Popular Front during the New Deal. By observing what we call the four ideological axes of the American dream, we study how the dramaturgical text of Pins and Needles, in its blend of agitprop and musical revue, questions if really there were equality of opportunities, right to Life, Liberty, and the pursuit of Happiness, agency and social mobility as a result of hard work to the workers, helping us to reconceptualize the ideology of the American nation.
22
Deus, Marcio Aparecido da Silva de. "Análise dos recursos épicos em Angels in America, de Tony Kushner (Part I, \'Millennium Approaches\', e Part II, \'Perestroika\')." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-06112014-105506/.
Full textAbstract:
Esta dissertação tem como objetivo exclusivo a análise do uso de recursos formais épicos na estrutura dramatúrgica da peça Angels in America (Part I, Millennium Approaches, e Part II, Perestroika), do dramaturgo norte-americano Tony Kushner [1956- ]. Trata-se, portanto, de uma análise voltada ao texto dramatúrgico das duas partes da peça, e não às suas encenações e à adaptação televisiva. Nesse texto, são tratadas algumas questões históricas, políticas e sociais dos Estados Unidos da América nos anos de 1980, momento esse em que o ex-ator norte-americano Ronald Reagan estava cumprindo seu segundo mandato como presidente estadunidense e uma doença sem precedentes a AIDS abatia principalmente a comunidade gay. Levando em consideração que esse conteúdo, dada a sua natureza histórica, não pode ser representado pela estrutura do drama convencional, e que por sua vez se insere na esfera formal do épico, procuramos evidenciar e problematizar criticamente os recursos épicos usados no arcabouço formal da peça e, por meio dessa análise, definir qual é o tratamento dado ao épico neste trabalho, que é um marco da dramaturgia kushneriana<br>This thesis aims at analyzing the use of epic resources in the dramaturgical structure of the play Angels in America (Part I, \"Millennium Approaches\" and Part II, \"Perestroika\"), written by the American playwright Tony Kushner [1956 -]. It is an essentially dramaturgical analysis focused on the text of the two parts of the play, and not on their stage productions or television adaptation. Kushners play deals with historical, political and social issues in the context of the United States in the decade of the 1980s, when Ronald Reagan, formerly an actor, was serving his second term as U.S. president and AIDS, a disease of unprecedented severity, spread and decimated the gay community mainly. Since the historical nature of this type of subject cannot be represented within the structure of conventional drama, and since it is characteristic of the epic sphere, we propose to examine the epic resources used in the formal structure of the play and, in the analysis, discuss Kushners approach to the epic in this play, which is a landmark of his dramaturgy
23
Oliveira, Éwerton Silva de. "The American Clock, de Arthur Miller: forma épica e grande depressão." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-13042017-094624/.
Full textAbstract:
Considerando o conceito de épico tal como o analisado por teóricos do teatro como Szondi (2001) e Rosenfeld (2006), este trabalho objetiva empreender a análise de elementos épicos presentes na estrutura de The American Clock (O Relógio Americano, 1980), do dramaturgo norte-americano Arthur Miller (1915-2005). O estudo será de como a forma teatral desta peça (com seus traços épicos) representa cenicamente a Grande Depressão econômica que assolou os Estados Unidos após a quebra da bolsa de valores em 1929 e durante toda a década de 1930. The American Clock conta com mais de 40 personagens (muitos deles também narrado-res) que comentam e ao mesmo tempo vivenciam os problemas gerados pela recessão econô-mica dos anos 1930, em que milhões de pessoas chegaram ao nível da miséria. Embora não seja uma das obras teatrais mais estudadas de Arthur Miller (tanto no contexto americano co-mo no brasileiro), a análise de The American Clock é fundamental para um maior entendimen-to da poética deste autor, tão debatida por críticos e dramaturgos brasileiros: diferentemente do que acontece em outros trabalhos teatrais de sua autoria, Miller assume abertamente, em seus ensaios, a importância do elemento épico para a construção de The American Clock, e o resultado deste uso explícito e consciente do épico por parte do dramaturgo é uma utiliza-ção mais abrangente e aprofundada de recursos épicos nesta peça, tanto dos que já eram co-muns em outras obras de Miller (personagens-narradores, por exemplo), quanto novos recur-sos como a dança e a música. Outra consequência desta consciência do épico é a apropria-ção que o autor faz de conceitos como o de mural, vaudeville e narrativa oral para a constru-ção formal da peça. Esta preocupação de Arthur Miller em considerar o épico na criação de The American Clock existe, dentre outras coisas, devido à necessidade de representar cenica-mente a Depressão econômica, uma temática de cunho social, econômico e histórico, cujas transformações sociais, políticas e culturais que ela provocou são cruciais por reverberarem em outras décadas da história dos EUA (e, consequentemente, no processo histórico de outros países como o Brasil).<br>Considering the concept of epic in theater theories such as Szondis (2001) and Rosenfelds (2006), this research aims at analyzing the epic elements present in the structure of The Amer-ican Clock (1980), a play by the American playwright Arthur Miller (1915-2005). The objec-tive is to study how this plays theatrical form (with its epic traces) puts on stage the Great Depression, which was responsible for devastating The United States economy after the 1929 stock market crash and during the 1930s. The American Clock contains more than 40 charac-ters (many of them are also narrators) who simultaneously discuss and experience the eco-nomic problems generated by this 1930s recession, which led millions of people to face mis-ery in this period. Although The American Clock is not one of Millers most studied theatrical works (both in Brazilian and American context), the analysis of this play is essential to a bet-ter understanding of the authors poetics, largely discussed by Brazilian critics and play-wrights: Miller overtly declares, in his essays, the importance of the epic element in The American Clocks creation, which is something singular in this playwrights career. The result of this explicit and conscious use of the epic by Miller is a deepened and broadened inser-tion of epic resources in this play, both the ones already present in other Millers works (char-acters-narrators, for example), and new ones such as dance and music. Another consequence of this epic consciousness is the authors use of concepts such as mural, vaudeville and oral narrative in order to create the form of the play. Arthur Millers concern in considering the epic in the creation of The American Clock exists, among other things, due to the necessity of putting on stage the Great Depression, a social, economic and historical subject, which brought crucial changes responsible for affecting socially, politically and culturally other dec-ades of American history (and, consequently, this 1930s economic crisis also affected the his-torical process of other countries such as Brazil).
24
Singletary, Savannah M. "Theatrical Texts and Contexts: Poe and Hawthorne’s Fictional Women." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4861.
Full textAbstract:
Edgar Allen Poe and Nathaniel Hawthorne are arguably two of the most highly read and heavily debated nineteenth-century antebellum authors in America. Their writings fascinate readers, while their character depictions, particularly their characterizations of fictional women, prompt intense academic debate. This thesis examines the previously less-studied historical developments surrounding Poe and Hawthorne in the antebellum era that shaped their approach to writing fiction. In particular, this study scrutinizes the effects of the development of a newly popular art form, ballet, the ascendency of female authorship, and the impact of American theatrical reform upon antebellum authors’ authorial faculties, especially Hawthorne and Poe.
25
Sittig, Jennifer M. "Zora Neale Hurston and the Narrative Aesthetics of Dance Performance." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/2303.
Full textAbstract:
Zora Neale Hurston’s literature involves dance and performance. What makes this a viable topic of inquiry is her texts often exhibit the performative, whether portraying culture or using dance and associated folk rituals to create complex meaning. Hurston’s use of black vernacular and storytelling evokes lyrical expression in "Their Eyes Were Watching God." African and Caribbean Diasporas in Hurston’s literature reflects primitive dance performances and folklore. This novel requires lyrical analysis. The storytelling feature of performance arts and reclamations of the body are present in Hurston’s text. In recent academic settings, the body has come to occupy a crucial place in literary and cultural texts and criticism. Hurston’s versatile material and anthropology techniques are instrumental in reshaping dance history. A new archetype for theorizing the body has surfaced, where the body of text is performance and lyrical expression.
26
Purtscher, Lina. "An American Myth in the (Re)Making: The Timeless Fantasy Appeal of 'The King and I'." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1151.
Full textAbstract:
It is now well-known that The King and I has little claim to truth. Recent research has exposed the inaccuracy of the “biographical” works on which the musical is based: Anna Leonowens invented many things about her personal background and experiences. Much of her life, then, is a contrived fantasy. Yet her life of fantasy has been resurrected in countless adaptations, including the 1951 Rodgers and Hammerstein musical and its 2015 revival production, that ceaselessly draw audiences. The fascination of American audiences with Anna’s tale lies their belief in the timeless American ideals that her fantasy employs: those of freedom and equality, which undergird such myths as American exceptionalism and American multiculturalism. The appeal of this cultural fantasy is illuminated by examining the history of the Cold War era in which The King and I was created, as well as the politics of President Trump that define recent years and influence the creation and reception of the revival show (and its 2016-2018 national tour). America today is occupied by the same conflicting desires for integration/internationalism and isolationism of bygone times; today, the idea of a superior America is still upheld by a fear of the Other. Examining how the visual elements, songs, and performances of the original and revival musicals both reinforce and undermine the fantasy of cultural superiority will reveal how Americans continue to fall under the spell of fantasy, and how a connection to the past sheds light on what it means to be an American today.
27
De, Wagter Caroline. "Mouths on fire with songs: negotiating multi-ethnic identities on the contemporary North american stage." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210237.
Full textAbstract:
A travers une étude interculturelle détaillée et comparée de la production théâtrale minoritaire canadienne et américaine, ma thèse cherche à mettre en lumière les les apports thématiques et esthétiques du théâtre multi-ethnicque nord-américain contemporain à la tradition anglo-américaine du 20ème siècle. Les communautés asiatiques, africaines et aborigènes sont retenues comme poste d'observation privilégié de l'expression esthétique de la condition multiculturelle postcoloniale dans le théâtre nord-américain de la période allant de 1972 à nos jours. Sur base d'un corpus de pièces de théâtre, ma recherche m'a permis de redéfinir les grandes articulations des notions d'hybridité, d'identité et de communauté/nation postcoloniale.<p><p>Through a detailed cross-cultural approach of the English Canadian and American minority theatrical production, my thesis aims to identify the thematic and aesthetic contributions of multi-ethnic North American drama to the Anglo-American tradition of the 20th century. My study examines North American drama from the vantage points of African, Asian, and Native communities from 1972 until today. Relying on a number of case studies, my research opened up new avenues for rethinking the notions of hybridity and identity in relation to the postcolonial community/nation. <p><br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished
28
Lazzaris, Fabiane. "Expressionistic aspects in some works by Tenessee Williams and by other american authors." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/23312.
Full textAbstract:
A presente dissertação se propõe a traçar o desenvolvimento do Expressionismo desde sua origem na Alemanha da década de 1910 até o teatro estadunidense da década de 1920, assim como a influência desse movimento de vanguarda na obra do dramaturgo americano do pósguerra, Tennessee Williams. Para esse fim, a relação entre artes visuais, teatro, literatura e cinema é apresentada, definindo essa dissertação no campo dos Estudos Interdisciplinares. A análise será principalmente enfocada nas peças expressionistas americanas da década de 1920 dos dramaturgos Eugene O'Neill, Susan Glaspell, Elmer Rice e Sophie Treadwell, e em quatro peças de Tennessee Williams e suas respectivas versões fílmicas: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Primeiramente, serão apresentadas as origens do Expressionismo na Alemanha na década de 1910 para definir as características do movimento. Posteriormente, serão identificadas características expressionistas no teatro, literatura e cinema estadunidense da década de 1920. Por fim, será verificada a influência do movimento expressionista na obra de Tennessee Williams, tanto em suas peças quanto nas versões fílmicas. O objetivo dessa dissertação é provar a ligação entre a obra de Tennessee Williams e as peças de dramaturgos expressionistas estadunidenses anteriores, assim como discutir a inter-relação e o aspecto colaborativo entre artes visuais, teatro, literatura e cinema.<br>The aim of this thesis is to track the development of Expressionism from its roots in Germany in the 1910s to its outcome in the American theatre in the 1920s, as well as the influence of the avant-garde movement in the work of the postwar American playwright Tennessee Williams. For the purpose of the present thesis, a relation including the visual arts, theatre, literature and cinema will be traced, thus setting this work in the field of Interdisciplinary Studies. The analysis will mainly focus on 1920s American expressionist plays by Eugene O'Neill, Susan Glaspell, Elmer Rice and Sophie Treadwell, and four plays by Tennessee Williams and their respective film adaptations: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Firstly, the origins of Expressionism in Germany in the 1920s are presented to define the characteristics of the movement. Later, expressionistic aspects are identified in 1920s American theatre, literature and cinema. And finally, the influence of the expressionist movement is verified in the work of Tennessee Williams, both in his plays and film versions. The objective of this thesis is to prove the connection of Tennessee Willliams's work with that of earlier American expressionist playwrights, as well as to discuss the interrelation and collaborative aspect of the visual arts, theatre, literature and cinema.
29
Speight, Dana T. Ms. "Transforming the Mundane: Juxtaposing Maria Friedman’s "High Society" with George Cukor’s "The Philadelphia Story" as an Emphasis on the Importance of Theatre." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/352.
Full textAbstract:
The subjects of film and theatre belong to an extensive hierarchical debate that has remained prominent within the realm of performing arts since the introduction of cinema in the late nineteenth century. A plethora of scholars choose to argue in favor of the former, suggesting that film surpasses theatre as superior in both aesthetics and overall execution of naturalism; however, the argument is purely subjective and cannot be applied to all films and their corresponding plays. As a counterclaim, theatre continues to thrive as a prominent source of artistic entertainment globally, not only offering a contemporary twist to preexisting texts, but also impacting an audience in methods that film will never be able to do so. Maria Friedman’s High Society is a primary example that reaffirms how theatre can triumph the continual debate when compared to its preceding film – The Philadelphia Story – directed by George Cukor, both artistically and through its overall execution of the profound topics represented within the original text. This thesis will primarily juxtapose Cukor’s iconic film with Friedman’s revival of the former that was performed in 2015 at London’s Old Vic theatre, offering an innovative rebuttal to the preexisting debate as well as to affirm the argument of how theatre compellingly transforms the mundane.
30
Breedlove, Allegra B. "Hamlet #PRINCEOFDENMARK: Exploring Gender and Technology through a Contemporary Feminist Re-Interpretation Of Hamlet." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/667.
Full text
31
Weiss, Katherine. "Water, Waste, and Words in Beckett’s Plays." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2251.
Full text
32
Alonso, Michelle. "We Are Standing in the Nick of Time: Translative Relevance in Anne Carson's "Antigonick"." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2509.
Full textAbstract:
The complicated issues surrounding translation studies have seen growing attention in recent years from scholars and academics that want to make it a discipline and not a minor branch of another field, such as linguistics or comparative literature. Writ large with Antigonick, Carson showcases the recent Western push towards translation studies in the American academy. By offering up a text that is chaotic in its presentation, she bypasses the rigid idea of univocality. By giving the text discordant images, she betrays the failed efficacy of sign and signification, and by choosing a text to be performed and mutually participated in, she exceeds ideas of the individual subject as the site of authorship. Ultimately, Carson enacts a theory of translation that critically deconstructs translation itself.
33
Yard, Jaime Dianne. "Rehearsing politics : explorations of North American 'theatre of the oppressed' praxis as embodied pedagogy /." 2005.
Find full textAbstract:
Thesis (M.A.)--York University, 2005. Graduate Programme in Social Anthropology.<br>Typescript. Includes bibliographical references (leaves 179-188). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11931
34
Hartana, Sutrisno Setya. "Origins, journeys, encounters: a cultural analysis of wayang performances in North America." Thesis, 2017. http://hdl.handle.net/1828/8047.
Full textAbstract:
This dissertation examines an Indonesian-North American version of an evolving, transnational and hybrid multimedia art form which has come about through forty years of adaptations made by cross-culturally located artists in creative conversation with Indonesian performers involved in the Javanese and Balinese forms of musical theatre known as wayang.
Wayang theatre employs puppets and other components including gamelan music (Indonesian percussion instruments, drums, flutes, strings and vocals). Given this complexity, there are many possibilities for variations, changes, and hybridization. In this research project, I analyze aspects of this hybrid performance by analyzing select Indonesian-North American wayang performances, as case studies.
In order to isolate complex changes and various adaptations of wayang performances in the North American setting, I also analyze and contextualize a hybridization of Javanese and Balinese wayang performances. As a performance art form, wayang has always been changing historically—at some points more quickly and dramatically than at other periods of time, thus resisting firm categorization that would provide a baseline for comparison. I have developed the wahiyang theoretical framework as an analytical tool to identify the influence of North American culture on the wayang performances in my case studies.
I argue that new genre of wayang is emerging, creating a hybridized form that I call wahiyang gaya NA. This process has progressed to the point that wahiyang gaya NA can be said to represent a new genre of multimedia world art, which combines elements of local and global artistic practises, making the form even more flexible and adaptable than its original forms in Indonesia.
The gradual spread and popularization of wayang in North America has definite historical contexts, namely the early 19th-to-mid 20th century conjunction of decolonization and Third World nationalism, with the more recent decades’ layering of multiculturalism and push towards conscious cultural responses to economic globalization. This developing continuum of new hybrid forms spans a spectrum of cultural inclusion and expansion of wayang and new components. At times these may be seen as wayang influence upon Western performance practice; at other times an entire Indonesian wayang production with additional elements added from Western music, theater, and other disciplines may be presented. These developments signify an enhanced and expanded exchange of cultural products between the nations of the world, taking place in an expanded space for dialogue between the artists of the developed and developing countries.
I will show, using case studies, how this process has produced and is producing a new branch of wayang as part of a continuum of hybridized wayang forms. By examining selected performance collaborations that have taken place over the last 40 years, I will provide a detailed analysis, which for the first time, lays out the components that constitute the variation of wayang art performance that has developed in response to geographical and cultural contexts of the Pacific Northwest of USA and Westcoast Canada.<br>Graduate<br>2018-04-12<br>0377, 0357, 0465<br>sutrisno@uvic.ca
35
Hollows, Emma. "Kofifi/Covfefe: How the Costumes of "Sophiatown" Bring 1950s South Africa to Western Massachusetts in 2020." 2020. https://scholarworks.umass.edu/masters_theses_2/933.
Full textAbstract:
This thesis paper reflects upon the costume design process taken by Emma Hollows to produce a realist production of the Junction Avenue Theatre Company’s musical Sophiatown at the Augusta Savage Gallery at the University of Massachusetts in May 2020. Sophiatown follows a household forcibly removed from their homes by the Native Resettlement Act of 1954 amid apartheid in South Africa. The paper discusses her attempts as a costume designer to strike a balance between replicating history and making artistic changes for theatre, while always striving to create believable characters.