Dissertations / Theses on the topic 'Pantomime Theater Theater'

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

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

Whilst in recent years the study of nineteenth-century popular theatre and culture has expanded into the music hall, fairgrounds and 'minor' theatres, embracing melodrama and spectacle, the Victorian pantomime has attracted little attention. More especially, the widespread and dynamic productions of the English provincial theatres have been largely excluded in discussions that repeatedly focus on the London stage. My thesis is centred on the Theatres Royal of Nottingham and Birmingham, two towns sited in the English Midlands, but with markedly different population sizes, socioeconomic structures and national status. My argument, however, is not predicated on comparison but rather on siting the pantomimes within the very specific local contexts of each town. The relationship between the pantomime and the town engages with a notion of audience, identifiable through textual and promotional materials. The argument in my thesis moves from an overview of production styles at the two theatres to a specific analysis of the financing and promotion of the pantomime at Nottingham in the mid- 1860s. Using extant financial records, I have established how the pantomime was produced in times of local hardship, and how a production affected by low expenditure and failing revenue was promoted to its potential audiences. The emphases of advertising and the promotional techniques engaged by the theatre managements, together with those of the local newspapers also enable a reassessment of the role of the pantomime author. The traditional understanding of authorship as related to ownership of the text is reconsidered in relation to the role the pantomime author played in the promotion of the production, and his real and construed relationship to the theatre and town for which he was writing. Moreover, the available empirical evidence has served to foreground the pantomime text as an expression of local concerns and political interests that were particular to each town and displayed an acute awareness of issues of regional identity and status.

Notre thèse interroge les formes et les enjeux des représentations de la douleur au XVIIIe siècle dans les arts graphiques, les dessins et les gravures revêtant à la fois un caractère d’expérimentation et d’indice dans la diffusion des thèmes. L’étude tient compte des conventions, des débats et des codifications dont elles faisaient alors l’objet dans le domaine esthétique, médical, social et politique. À l’heure où l’on estime que la douleur doit s’effacer, il nous paraît important d’évaluer ses occurrences et ses mises en scène passées. À cet égard, les arts figurés de la seconde moitié du XVIIIe siècle offrent, en France, un champ d’étude remarquable. Les débats esthétiques autour du groupe sculpté du Laocoon et du voile dit « de Timanthe », mais aussi, sur le plan médical, les interrogations à propos de la persistance de la douleur chez les suppliciés par décollation, témoignent de cet intérêt
This study aims to examine the forms and the issues of pain in graphic arts during the 18th century, as drawings and engravings take on an experimental aspect and constitute precious evidence of patterns diffusion. It considers the conventions, the debates and the codifications determining its figurative representations, in relation to aesthetic, médical, social and political matters. In a time when pain tends to be obscured by people who are supposed to be in charge of it, it seemed important to appraise its occurrences and its past depictions. Seen from this perspective, the French figurative arts through the second half of the 18th century offer a remarkable field of study. The aesthetic debates about the sculpted group of Laocoon and the veil of Timanthes, or, on a medical level, concenring pain persistence in persons convicted and decapitated, reveal that this passion was of great interest for the theorists at that time

Le monde ou nodier vecut son enfance et sa jeunesse mettait le theatre au premier plan de ses preoccupations, faisant de lui un spectateur enthousiaste, un critique pertinent et un auteur fecond, quoique peu joue. Ses admirations pour les grands classiques et shakespeare, qu'il prone dans son cours de litterature de dole et dans les journaux, sa frequentation des milieux dramatiques n'aboutissent de facon efficace (malgre quelques creations dont il ne reste quasi rien) qu'a une serie de feuilletons dramatiques (le feuilleton des debats qu'il tient de facon active en 1814) ; il y apparait resolument classique, encore qu'il reconnaisse tous droits au genie. - sa carriere proprement dramatique couvre les annees 1820- 1828 ; il est l'auteur (en collaboration) de cinq pieces, qui posse- dent quelques caracteres originaux : l'inspiration frenetique, la forme mi-populaire mi-litteraire, a mi-chemin du melodrame et du drame romantique, le fait d'etre tirees du theatre etranger, dont il se montre par ailleurs, dans les journaux, le defenseur convaincu et actif. - mais la cinquantaine marque un tournant deci- sif : nodier ne va plus au theatre ; sa creation se modifie : au drame, se substitue le conte ; la comedienne y reparait, promue au rang de mythe ; la critique fait place au temoignage de l'experience vecue. A- pres un bref essai de la pantomine, nodier redecouvre les vertus des marionnettes, qu'il considere desormais comme le theatre essen- tiel, incarnant les valeurs eminentes de liberte et d'esprit d'en- fance, satisfaisant imagination et sensibilite
The world where nodier lived in during his child hood and his youth put the theatre on the top of his preoccupations, making him an enthusiastic spectator, a pertinent critic and a fertile author, though rarely performed. His admiration for the great classics and shakespeare, who he praises in his dole's litterature conferences and in the newspapers, his frequentation of the theatre world, lead with a certain efficiency only to a whole series of dramatic feuilletons in the journal des debats (1814) (except some creations of which there is very few left); his ideas are classic although he accepts the rights of the genius. - his theatrical carreer covers the 1820-1828 period ; he is the author (jointly) of five plays which show some original characteristics : the frenetic inspiration, the genre -half popular, half litterary- between the melodrama and the romantic drama, the subjects coming from the foreign theatre which he defends actively and with conviction in the newspapers. - however, in his fifties, nodier shows a significant turning point : he doesn't go to the theatre anymore, his creation changes, the tale replaces the drama ; the actress reappears, as a myth ; the criticism hands o- ver to the account of real-life experience ; after having tried the pantomime for a while, nodier rediscovers the qualities of the pup- pets, which he considers now as the essential theatre, incarnating the eminent worths liberty and childhood spirit, satisfying the ima- gination and the sensitiveness

Greta Bourke and Henry Fowler, co-founders of the Little Theatre Movement of Jamaica, initiated the L TM Pantomime tradition in 1941 to raise funds for an experimental theatre, which would both house contemporary trends from Europe and America and carve out a creative space for the indigenous culture of an emergent New Jamaica. The LTM actively developed the Pantomime audience at the Ward Theatre to reflect a cross-section of society. Coachloads of adults and children from country districts joined the established middle-class theatregoers as well as representatives of the inner city 'people of the yard'. Gradually, the original English-pantomime style production metamorphosed into a different entity. Topical reference, proverbial wisdom, song, dance and vibrant colour were mixed and expressed in language, which zigzagged along the continuum between Jamaican Standard English and Patwa. Over six decades, Jamaican Pantomime has created a prestigious performative space for the retelling of many episodes from the life story of an old island. Intrinsic to this context is a system of shared beliefs which operates on a number of levels: the value of received wisdom, the redemptive nature of Christian faith, Anancyism as a strategy of survival, and national aspirations for unity based on the principle of mutual respect. The Little Theatre complex, which opened in 1961, housed the national schools of drama and dance before they became part of an integrated Visual and Performing Arts College for the island. Furthermore, a catalogue of the thousands of people who have been involved in LTM productions over six decades reads as a Who's Who of Jamaican cultural development in the twentieth century. Instead of merely mimicking the English model. the L TM Pantomime evolved into a distinct form of indigenous theatre and rekindled the folk tradition as an expression of national identity within the context of contemporary popular culture.

Analyser les spectacles romains du théâtre, de l'amphithéâtre et du cirque dans une démarche d'histoire sociale permet de les appréhender comme un élément structurant de la culture et de la société romaine et comme un espace-temps de la vie publique à travers lequel il est possible d'observer de manière privilégiée cette société, les différents groupes qui la composent et les relations qui se nouent entre eux. Ces performances spectaculaires avaient lieu dans le cadre de grandes célébrations publiques (les ludi et les munera) et occupaient une place ambiguë dans la société romaine. Malgré leur succès croissant et leur rôle majeur dans la vie publique, elles étaient moralement dénigrées. Strictement séparées de la sphère civique, elles étaient par conséquent accessibles aux femmes. Celles-ci pouvaient non seulement y assister mais également s'y produire, ce qui leur conférait une visibilité exceptionnelle dans l'espace public. Les pratiques d'exhibition dans les spectacles, attestées aussi bien par les sources littéraires qu'épigraphiques, sont révélatrices des contradictions de la société romaine : malgré leur discrédit, elles fournissaient aux individus, en fonction de leur statut, une source de revenus non négligeable et un outil médiatique majeur. L'exhibition des femmes dans les spectacles romains donne ainsi un aperçu de leur place dans cette société. Dans la continuité des études sur les femmes et le genre, il ne s'agit pas de déconnecter l'histoire des femmes de celle des hommes et du reste de la société, mais d'étudier des pratiques sociales mixtes en précisant la place qu'y occupaient les femmes et la signification de leur intégration à ces pratiques
Analyzing the Roman performances of theatre, amphitheatre and circus in a social history approach makes it possible to understand them as a structuring element of Roman culture and society and as a time-space of public life through which it is possible to observe in a privileged way this society, the different groups that compose it and the relations that are formed between them. These spectacular performances took place within the framework of large public celebrations (the ludi and munera) and occupied an ambiguous place in Roman society. Despite their growing success and major role in public life, they were morally denigrated. They were therefore accessible to women because strictly separated from the civic sphere. Women could not only attend but also perform, giving them exceptional visibility in the public space. The practices of exhibition in perfonnances, attested by both literary and epigraphic sources, reveal the contradictions of Roman society: despite their discredit, they provided individuals, according to their status, with a significant source of income and a major media tool. The exhibition of women in Roman shows gives a glimpse of their place in this society. In the continuity of studies on women and gender, it is not a question of disconnecting women's history from that of men and the rest of society, but of studying mixed social practices by specifying the place that women occupied in them and the significance of their integration into these practices

The subject of this thesis is Slovak mime theatre. It begins with the connections to the period of its foundation and introduces topic about founder of Slovak mime theatre - Milan Sládek. The next part of the thesis focuses on Slovak amateur theatre artists and their work at the time when professional mime theatre didn't exist in Slovakia. These artists used to experiment with different kinds of theatre technics, including mime theatre. Last part is based on analysis work and performances of the modern authors - Miroslav Kasprzyk, Štefan Capko, Juraj Benčík, Tomáš Kasprzyk, Valéria Daňhová, Barbora Debnárová, Pavol Seriš and modern theatre companies - Puppet Thetare Žilina, Debris Company, Teatro Tatro and Theatre Silent Sparks. It describes how the character of Slovak mime theatre has changed within more than fifty years of existence.

The aim of this diploma thesis is to employ a theatrological approach to the work of one of the most original and influential Czech pantomime troupes of all time, entitled Pantomima Alfreda Jarryho (the Alfred Jarry Pantomime, AJP). The company was established in 1966 in Prague by two young mime artists Boris Hybner and Ctibor Turba and existed as late as the political liquidation of the troupe in 1972 that came due to the process of the so-called normalization period in the former Czechoslovakia. The thesis consists of four major parts that are divided into several subsections. The first part deals with the historical contexts of the art of mime, both international and domestic. The AJP troupe represents the second generation of Czech pantomime that refused the style of the so-called modern pantomime expressed in the international context by Marcel Marceau and in the Czech context by Ladislav Fialka at the Theatre Na zábradlí (Theatre on the Balustrade). Since there is no monograph strictly based on this theatre, although it played a major role among the newly established small theatres in the sixties (and had an important influence on the poetics of the AJP troupe), we briefly introduce the poetics of both the pantomime company led by Fialka and the drama company led by the director Jan Grossman,...