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Relevant bibliographies by topics / Performance; Theatre history / Dissertations / Theses

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Dissertations / Theses on the topic 'Performance; Theatre history'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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

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Bibliography: leaves 52-58.<br>The area of research for this written explication is defining a relationship between fragment and the assemblage of fragment in order to conceive new strategies for developing historical dramatic narrative. There were two significant methods with which the research occurred. One was a critical investigation into the work and writings of visual artists, historians, critics, writers and playwrights who all recognize the area of fragmentation in their specific field. The other was through writing and directing a play with UCT drama students called Lekker Faith (2003

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2

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

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3

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

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4

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

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5

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

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

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6

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

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7

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

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8

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

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This thesis explores major texts dealing with pedagogical theory and active learning in the context of a theatre history class. By comparing a class which is taught in the traditional, chronological format relying heavily on lectures to a class taught in a newer, thematic format utilizing active learning the thesis defines what student-centered learning means. Active learning, its benefits, and its implementation are explained and explored, along with the advantages and benefits of teaching thematically instead of chronologically. All of this is applied to a theatre history class in the result

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9

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

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The methods by which we collectively create, experience and remember history are complicated and fraught with holes and inconsistencies. All to often, the institutions that govern historical events are invested in eliminating those holes or reconciling those inconsistencies, or both. Our universities, as they purport to house knowledge and extend our experience of that knowledge, are highly implicated in this particular process of dealing with the historical hole. In response to that constructed reality, many scholars and theorists, both from within the walls of the academy and from their fiel

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10

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

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Current Utah State Core Standards for Theatre require that theatre history be taught at levels II (Standard 3 Objective C), III (Standard 4 Objective D), and IV (Standard 4 Objectives A and D) of high school drama classes. However, a 2011 survey of Utah high school theatre teachers indicates that only 54% include theatre history as an "important" or "very important" part of their curriculum, while another 36% say they "touch on it." This thesis is designed to be a resource for secondary drama teachers in integrating theatre history pedagogy into their drama classes, in an engaging and perfo

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11

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

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12

George, R. H. "Accommodation and coercion in comedy and tragedy : an analysis of the social and political implications of the development of classical Greek drama." Thesis, University of Essex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336945.

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13

Unwin, Charles. "Dramatization and philosophy of history in Orange Book explication of a site-responsive work and its research." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/10876.

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Includes bibliographical references.<br>The explication presents Orange Book as a piece of site-responsive public space performance, showing how similar patterns of thought and feeling emerging in both research and artwork led to elaborating the notion of an art methodology for the work. The explication further considers a process of research into drama and history in relation to contemporary performance: where narrative dramatic forms,whether organic or fragmented, show history as a fait accompli, an aesthetic orientation around open structures and non-narrative performance modes allows for a

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14

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

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This thesis argues that emotions and memories in a community are essential to shaping a common future. Furthermore, when performed on stage, these memories and emotions create a utopian experience that moves performers and audience members towards a brighter future. The foundation for this thesis is built upon the ideas of utopian performative theories combined with the Asian Ganzhi belief that every sixty years a new cycle of hope begins. This thesis also includes a practical work. I was invited to write and direct a cultural production for the 60th year anniversary celebration of The Church

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15

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

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The Memory and The Legacy: The Whittlin' Whistlin' Brigade - The Young Company 1974-2001, is a history of the children's theatre of Brigham Young University. The Whittlin' Whistlin' Brigade - The Young Company acts as a training ground for graduate students working in theatre for young audiences. Then directing a production for The Whittlin' Whistlin' Brigade - The Young Company, students are instructed to perform all functions required of a professional company. As the The Whittlin' Whistlin' Brigade - The Young Company (WWB-TYC) spends much of its performance time on tour, those responsibili

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16

Johnson, David Vivian. "The history, theatrical performance work and achievements of Talawa Theatre Company 1986-2001." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/3070/.

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The central aims of this thesis is to provide a work that may be used to start a serious archive that documents the contemporary theatrical work of Britain's individuals and companies that have an Afro-Caribbean cultural background. Such an archive will allow later writers on aspects of modern British theatre the opportunity to move ahead where past generations have had to spend time reinventing themselves as documented resources have been lacking. The thesis documents and discusses the history and achievements of Talawa Theatre Company. Prior to this discussion the main theories, original res

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17

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

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This thesis was written to provide an alternative teaching model for an undergraduate theatre history class. The course design, utilizing the Problem-Based Learning educational model, aims to create a student-centered, experiential theatre history class. The first section explores the history and evolution of the theatre discipline in academia. These chapters examine the expansion and transformation of the theatre curriculum within the discipline and higher education. The second part examines the history and the methodologies of Problem-Based Learning. Based on the philosophy of educator John

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18

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

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19

Lee, Melissa. "Staging the Actress: Dramatic Character and the Performance of Female Identity." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397823196.

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20

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

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21

Williams, Carl Glenwood. "No Sleep 'til Minsky's: A One-Man Tribute to Burlesque and Vaudeville." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2099.

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No Sleep '˜Til Minsky's is a one-man show paying tribute to early 20th century variety entertainment. The writing process began with research into the forms of vaudeville and burlesque, including films of period acts, study of autobiographies and biographies of burlesque performers, and study of historical scripts performed in the time period and stored at the Library of Congress. The format of the show consists of a one-hour core script in which Lou Drake speaks of his life and career in burlesque. In addition to the core script, the structure is designed to allow more actors to participate i

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22

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

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Cabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a two-woman cabaret show we will write, produce, and perform together. The show, Black Cats, Berlin, Broad

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23

Mayer, Rebecca F. "Speaking of, Talkin 'bout, Riffing on Tap." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4173.

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This paper examines the dialects of the language that is tap dance. Unlike more codified forms of dance such as ballet, which utilize a universally-accepted technique system, the evolution of tap dance has been largely rooted in oral tradition. During Broadway’s early years, entrepreneurs in the dance training business published manuals and dictionaries on tap, as did several self-styled experts in the 1990s; because many of these books are self-published, referring to them requires educated discrimination. Drawing on my own experience as a dance student, performer, choreographer, and educator

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24

Hahn, Miriam. "Playing Hippies and Indians: Acts of Cultural Colonization in the Theatre of the American Counterculture." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1400171772.

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25

Slagle, Judith Bailey. "The Rise and Fall of the New Edinburgh Theatre Royal, 1767-1859: Archival Documents and Performance History." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/718.

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Excerpt: In 1859, the Edinburgh house of Wood and Company published a Sketch of the History of the Edinburgh Th eatre-Royal in honor of its fi nal performance and closing, its author lamenting that “Th is House, which has been a scene of amusement to the citizens of Edinburgh for as long as most of them have lived, has at length come to the termination of its own existence” (3).

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26

Osborn, Adam Gardner. "Bill Hicks: A Study in National Character." W&M ScholarWorks, 2002. https://scholarworks.wm.edu/etd/1539626348.

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27

Seidl, Rodrigo. "O negócio do ócio: o teatro profissional londrino (1576-1603)." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/13187.

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Made available in DSpace on 2016-04-27T19:32:42Z (GMT). No. of bitstreams: 1 Rodrigo Seidl.pdf: 1488767 bytes, checksum: 0bd757518f92f78fba55bac5524e18fe (MD5) Previous issue date: 2009-11-10<br>The objective of this dissertation was to investigate the ways in which Elizabethan professional theatre practice was, at the same time, a product and a producer of historical changes. Following the construction of London s first purpose-built playhouse in 1576, theatre slowly became a lucrative business run by full-time professionals. Soon after this historical development, the professional companie

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28

Babaee, Tamirdash Mohamadreza. "Staging Belonging: Performance, Migration, and the Middle Eastern Diaspora in the United States." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1593024898855739.

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29

Young, Christine Margaret. ""ATTENTION MUST BE PAID," CRIED THE BALLADEER: THE CONCEPT MUSICAL DEFINED." Lexington, Ky. : [University of Kentucky Libraries], 2008. http://hdl.handle.net/10225/882.

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Thesis (M.A.)--University of Kentucky, 2008.<br>Title from document title page (viewed on October 30, 2008). Document formatted into pages; contains: xv, 59 p. Includes abstract and vita. Includes bibliographical references (p. 54-59).

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30

Stodard, Nicole Elizabeth. "Aphra Behn on the Contemporary Stage: Behn's Feminist Legacy and Woman-Directed Revivals of The Rover." Scholar Commons, 2017. https://scholarcommons.usf.edu/etd/7446.

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This study theorizes the origins and history of the professional female playwright and director from the Restoration period to the present day through the stage history of Behn's most popular play, The Rover. Part one is comprised of two chapters: the first in this section argues the importance of appreciating Behn's proto-directorial function in the Restoration theatre and her significance to the history of feminism and women in professional theatre; the second chapter in this section examines the implications of casting practices and venue changes to eighteenth-century revivals of Behn's can

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31

Squire, Emma M. "Reexamining American Vaudeville: Male Impersonation, Baby Jane Hudson, and The Large Butch Crooner." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1469017910.

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32

Savard, Shannon N. Savard. "Growing Tribes: Reality Theatre and Columbus' Gay and Lesbian Community." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524152632871631.

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33

Watt, Linda Ann. "One-Third of a Nation, the Second Amendment, a Living Newspaper Play." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5704.

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One-Third of a Nation, the Second Amendment, a Living Newspaper Play Thesis By Linda Ann Watt for a MFA Degree in Theatre Pedagogy Documentary theatre, including living newspapers and verbatim theatre, use socio-political commentary at critical moments in history to disseminate facts and offer ideological critique dramatizing the crisis through the lens of emotion, which can incite societal change. This thesis explores this didactic medium with a written play about the second Amendment and gun violence.

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34

Phipps, Amanda Dawn. "Learning through performance : theatre, education and the First World War at the beginning of the centenary moment." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/27763.

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This thesis explores representations of the First World War in English theatre, Theatre in Education (TIE), and Living History between 2014 and 2015. By employing an interdisciplinary approach it evaluates these performance genres in relation to responses sought from Key Stage 3 History pupils. The beginning of the centenary created a cultural outpouring and provided opportunities for secondary schools to include field trips and creative learning about the war. Examination of this commemorative period is contextualised by examining pupils’ interaction with cultural works since 1914, showing th

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35

Yip, Leo Shing Chi. "Reinventing China: cultural adaptation in medieval Japanese Nô Theatre." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1087569643.

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36

Mateer, Shelley Megan. "Living History as Peformance: An Analysis of the Manner in which Historical Narrative is Developed through Performance." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1136660752.

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37

Matthews, Laura S. "DIRECTING THROUGH ANCIENT MOVEMENT: An Experiment Exploring Ancient Greek Choral Structures on the Modern Stage." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5731.

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This thesis outlines my research and creative process of how to direct modern theatre under the structure of the Ancient Greek chorus, specifically through movement. I include a brief history of how the chorus functioned in Ancient Greek theatre; how movement shaped the chorus’ role as well as the story for the audience. Using the parameters of the chorus, I directed two theatrical productions, Jason Robert Brown’s Parade, and Sarah Ruhl’s adaptation of Virginia Woolf’s Orlando. Through exploration and analysis I conclude that using Ancient Greek choral movement in modern theatre helps to crea

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38

White, David Maurice. "Pedagogical Fusion." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/993.

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During the five semesters that I have been at VCU I have learned a great deal from the courses that I have been enrolled in but I have learned the most through my experiences as a Teaching Assistant. These experiences have been so valuable because of the wide range of subject areas in which I have been involved and the diverse instructors that I have assisted. Although I hesitate to use the word "problem" I feel that there is a tendency in teacher training for a student to latch onto one professor and model their teaching practices after that one mentor. While this is not always a bad thing

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39

Montecillo, Victoria. "The Naïve Ingénue, The Plucky Everyman's Hero, and the Ingénue Gone Awry: The Satirical Deconstruction of Theatrical Character Tropes in Urinetown: The Musical." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/868.

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This thesis looks to explore Urinetown: The Musical through a critical and theoretical framework, analyzing the show's presentation and deconstruction of theatrical character tropes through musical satire. Using the theories of theatre theorists such as Bertolt Brecht, Peter Brook, and Augusto Boal, this thesis discusses the use of theatre as a device for political and social commentary. Additionally, this thesis focuses more specifically on the show's character of Penelope Pennywise as a new kind of character in the theatre: an "ingénue gone awry," within the context of approaching a performa

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Sentilles, Renee M. "Performing Menken: Adah Isaacs Menken's American odyssey." W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539623901.

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This dissertation explores notions of self-invention and performance in mid-nineteenth century America by examining the life and writings of actress and poet, Adah Isaacs Menken, from roughly 1835 to 1868. During America's Civil War years, Menken became an international star in the controversial title role of Mazeppa, an equestrian play. at the climax, soldiers forcibly stripped Mazeppa (Menken) to reveal her body in a costume suggestive of nudity. The soldiers tied her to a horse and sent her careening up a steep mountain into the theatre rafters. This provocative "breeches part" allowed Menk

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41

Pukszta, Claire A. "Myrrha Now: Reimagining Classic Myth and Mary Zimmerman's Metamorphoses in the #metoo Era." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1374.

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This paper represents the final culmination of a theater senior project. The project consisted of an analytical research paper, performance in a mainstage department production, and supporting process documentation. I portrayed Myrrha, Hunger, Zeus, and others in a production of the play Metamorphoses. Through research on Mary Zimmerman’s 1998 play Metamorphoses, adapted from the works of Roman poet Ovid, this thesis grapples with the historical meaning of the myth of Myrrha. A polarizing figure, Myrrha was cursed to fall in lust with her father. By exploring of portrayals sexual assault o

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42

Clemson, Frances Vida Amy. "The theology of Dorothy L. Sayers' dramatic works : dramatic performance and the 'continual showing forth of God's act in history'." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/11123.

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This thesis explores the potential fruitfulness of drama for Christian theology through a close analysis of particular dramatic works by Dorothy L. Sayers (1893-1957). This project contends that to determine the extent to which drama can be more than a mere metaphor in theological writing, it is vitally important for theologians to attend to specific instances of dramatic performance. The approach of this project is, therefore, one of taking time over particular plays, examined with sensitivity to the circumstances of the original productions of these works. Through such close study of Sayers’

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43

Choate, Catie. "The Action to the Word, The Word to the Action: Teaching Shakespeare as Performance Litearture." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4234.

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This paper details a class taught in the Virginia Commonwealth Theatre Department in Fall of 2015 on the works of William Shakespeare. Within both the class and this paper, I attempted to form the beginnings of a pedagogy of Shakespearean literature that incorporated elements of literary criticism, historical context and performance theory. Dramatic literature, including Shakespeare, is a moving target, as the text is reimagine and reinterpreted on stage again and again. My goal with this paper is to examine both how dramatic literature can be taught and the special challenges present in teach

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Malone, Samuel C. III. "An Actor's Method to Building the Character of Hamlet in The Tragedy of Hamlet, Prince of Denmark." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2096.

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This thesis will set out to examine the process needed in order to deliver the character of Hamlet as a fully dimensional, complex human being who transcends time periods and class distinctions to connect with any audience of any background. This text will include biographical information about the author, William Shakespeare, as well as historical information about the circumstances and atmosphere surrounding the birth of this play. It will also include information about other performances, which will serve as references for comparison in terms of character development. Included in the scored

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Bloomfield, Jeremy Charles. ""I am Duchess of Malfi still" : the framing of Webster's "The Duchess of Malfi"." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3257.

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This thesis investigates the ways in which Webster’s Duchess of Malfi has been framed and interpreted, selecting various case studies from the four hundred years of the play’s history. It analyses the way in which a number of discourses have been brought to bear upon the play to delimit and shape its meanings, in the absence of a powerful determining author-figure such as Shakespeare. The investigation is organised around three “strands”, or elements which reappear in the commentary on the play. These are “pastness”, the sense that the play is framed as belonging to an earlier era and resistan

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46

Jordan, Richard. "The space between : representing 'youth' on the contemporary Australian stage." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16173/.

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Young characters throughout the history of Australian theatre have traditionally been represented as tragic, transient, and dangerous; discourses which have defined and limited their construction. 'Youth' itself is a concept which has been invented and perpetuated within Western Art and Media for much of the twentieth century and beyond, creating an exclusive 'space' for young people: a space between childhood and a standard human being. This thesis seeks to explore the implications of this space, as well as contextualise a new creative work - the stage play like, dead - within the canon of

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47

Haxton, Robert Peter. "Refusal and rupture as a postdramatic revolt : an analysis of selected South African contemporary devised performances with particular focus on works by First Physical Theatre Company and the Rhodes University Drama Department." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015671.

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This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questi

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48

Durst, Amanda. "An Archival Expedition: My Journey to Organize and Further Document the History of the Voice and Speech Trainers Association." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/165.

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I joined the Voice and Speech Trainers Association (VASTA) in the spring of 2004 and immediately assumed the position of VASTA Archive Cataloguist. I began to sort and file the history of the organization, as it existed. I worked on the archive project for almost a year before I stumbled onto a second project. In discovering something missing from the VASTA Archive, I began devising a plan to collect stories to flesh out the existing materials. They will be called the "VASTA Stories". In my two years of service to VASTA - as archive cataloguist, and now as archivist - I have worked to d

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Marcus, Reker Katherine B. ""Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The Musical." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/876.

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This thesis proposes a critical study of the theoretical framework of Urinetown, asking the question of whether or not the show is truly a “Brechtian musical,” utilizing the tenets and beliefs of Bertolt Brecht. Set in a quirky, Gotham-like town where you have “to pay to pee” due to a severe drought, Urinetown follows a cast of absurdist characters as they navigate a society plagued by the perils of big business, ecological devastation, and the inequalities of capitalism. While the show appears to make a relevant social commentary, supporting a righteous rebellion to overthrow the evil Urine G

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Seager, Cecchini Ashley. "“Maybe I’ll see you on the stage”: Spontaneous Audience Action in the Performance of the Plays of Victoria Nalani Kneubuhl." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1281283461.

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