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Dissertations / Theses on the topic 'Plays, English'

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Published: 4 June 2021
Last updated: 4 February 2022

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1

Millington, Peter Thomas. "The origins and development of English folk plays." Thesis, University of Sheffield, 2002. http://etheses.whiterose.ac.uk/13/.

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This thesis concerns those English folk plays whose plots are centred on the quack doctor character. Earlier researchers proposed three possible origins for these plays: a non-specific mystery play from the time of the crusades, some pre- Christian fertility ritual, and primitive shamanism. All three proposals were based on over-general comparisons, and relied on the key assumption that a continuous history can be traced back from before modern plays to the relevant era. However, in contrast with other customs, no evidence can be found for these plays before the 18th century, despite diligent
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2

Chiang, Y. C. "Renaissance queenship in William Shakespeare's English history plays." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1344188/.

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This thesis explores how queens in Shakespeare’s English history plays manipulate virtues, space, and memory to embody a specific demeanour in the contexts of early modern England. In the late 1990s, Jean E. Howard’s and Phyllis Rackin’s Engendering a Nation established a feminist study of Shakespeare’s English history plays, focusing on how women support or undermine patriarchal authorities. Yet analysing women’s words and actions in the light of nationalism, New Historicism, and women’s traditional roles as daughters, wives, and mothers within feminism restricts potential readings of women i
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3

Kingsley-Smith, Jane Elizabeth. "Banishment in Shakespeare's plays." Thesis, University of Birmingham, 1999. http://etheses.bham.ac.uk//id/eprint/4461/.

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'Banished' - the word resounds in many Elizabethan and Jacobean plays, particularly in those of Shakespeare. This thesis examines the drama of banishment, that is, the sentence, lamentation, displacement, and metamorphosis of the exile in Romeo and Juliet, Richard II, Henry IV, As You Like It, King Lear, Coriolanus and The Tempest. To appreciate the rich and polysemous nature of 'banished' in Shakespeare's society I have considered a number of legal, historical and literary sources which reveal certain tropes of exile. The poet of Ovid's Tristia and Plato's Republic, the beast/god of Aristotle
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4

Williams, Justine Isabella. "The Irish plays of James Shirley, 1636-1640." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/3933/.

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Although he was a prominent and influential playwright during his theatrical career, the work of James Shirley (1596-1666) has been neglected since Dryden's description of him in 'MacFlecknoe' as a mere 'type...of tautology'. Shirley holds a unique place amongst Caroline dramatists as, at the height of his career, he left London to become resident playwright of the first purpose-built theatre in Ireland, the Werburgh Street Theatre. This seminal event has received fairly little attention from scholars, and the plays of this Irish period (The Royal Master, The Doubtful Heir, The Gentleman of Ve
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5

Robinson, Arabella Mary Milbank. "Love and drede : religious fear in Middle English." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/280671.

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Several earlier generations of historians described the later Middle Ages as an 'age of fear'. This account was especially applied to accounts of the presumed mentality of the later medieval layperson, seen as at the mercy of the currents of plague, violence and dramatic social, economic and political change and, above all, a religiosity characterised as primitive or even pathological. This 'great fear theory' remains influential in public perception. However, recent scholarship has done much to restitute a more positive, affective, incarnational and even soteriologically optimistic late-medie
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6

Buchman, Katherine Joan. "The early impact of Ibsen's plays on the English theatre." Thesis, Boston University, 2003. https://hdl.handle.net/2144/27608.

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Boston University. University Professors Program Senior theses.<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>2031-01-02
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7

Triplett, Janis Luzene. "Tennessee Williams' treatment of women in his major plays." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1988. http://digitalcommons.auctr.edu/dissertations/1435.

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This thesis was undertaken to determine the Impact that the females In Tennessee Williams' family had on his portrayal of female characters n his major plays and to determine the extent that these characters were actually reflections of Williams himself. Williams' female characters fall Into three categories: the Southern genteel lady, female aggressor/mother-figure, and the survivors of corrupt societies. Williams' depiction of the women In each of these categories reflected his association with the females in his family. Rose, his sister, represented the fragile* sexually repressed Southern
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8

Thomas, Alun Deian. "The making and remaking of history in Shakespeare's History Plays." Thesis, Cardiff University, 2012. http://orca.cf.ac.uk/42105/.

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History is a problem for the history plays. The weight of ‘true’ history, of fact, puts pressure on the dramatic presentation of history. Not fiction and not fact, the plays occupy the interstitial space between these opposites, the space of drama. Their position between the binary opposites of fact and fiction allows the history plays to play with history. They view history as a problem to be solved, and the different ways in which each play approaches the problem of history gives us a glimpse of how they attempt to engage and deal with the problem of creating dramatic history. Each history p
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9

Farrar, Ryan D. ""A Better Where to Find"| Utopian Politics in Shakespeare's Plays." Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3687677.

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<p> Utopias often elicit visions of full-fledged societies that operate more successfully in contrast to a society of the present based on a principle of cognitive estrangement where the daily routines of a new civilization strike readers as strange and advantageous. While William Shakespeare's drama rarely portrays radical societies that speak directly to the fantastic nature of utopia, it does feature moments that draw attention to desires for social change, presenting glimmers of the utopian impulse throughout his work. In this dissertation, I use utopia as critical approach for analyzing S
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10

Sokolowski, Mary E. ""For God of Jewes is crop and roote" : the cyclic performance of Judaism and Jewish-Christian intimacy in the Chester mystery plays /." Online version via UMI:, 1999.

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11

Oberer, Karen. "The arc of character: medieval stock types in Shakespeare's English history plays." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106396.

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This dissertation focuses on practices of stock characterisation as they are represented in literature and drama of the fourteenth to sixteenth centuries in England, with particular emphasis on the transformations of social types from medieval literature to early modern drama, specifically Shakespeare's English history plays. Its wider focus is on the social context in which medieval authors created their characters, and on the conventional construction of medieval characters from what Elizabeth Fowler defines as "social persons." I argue that stock characters allow for permeability between pa
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12

Sarzin, Anne. "Athol Fugard : his dramatic work with special reference to his later plays." Doctoral thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/22466.

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Bibliography: pages 366-380.<br>In the introduction, the writer highlights Fugard's regional artistry, his authentic reflection and recreation of a nation's tormented soul. The first chapter deals with Fugard's early plays, revealing the embryonic playwright and those characteristics of imagery, construction, language and content to be developed and refined in later plays. Briefly examined within this context are No-Good Friday, Nongogo and Tsotsi, the playwright's only novel. A chapter on the Port Elizabeth plays written in Fugard's apprenticeship years, The Blood Knot, Hello and Goodbye and
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13

Lindsey, Robert. "I ha't from the play-bookes : historical authenticity and the Victorian reading of Shakespeare's English history plays." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270110.

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14

Tong, Wai Fong. "Lies of the mind in Sam Shepard's family plays." Thesis, University of Macau, 2008. http://umaclib3.umac.mo/record=b1943960.

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15

Ploix, Cedric. "A study of prosody in modern English translations of Molière's plays." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:d044b00c-5993-4f7d-9891-8244678f3c77.

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My thesis discusses prosody, in the narrow sense of verse, meter and rhyme, used by modern English translators to revitalise Molière's comedies in order to make them successful on the modern English-speaking stage. The thesis first discusses the problems and paradoxes of verse translations, and questions the aesthetic equivalence between the alexandrine and blank verse, rhyming couplets and the English dodecasyllable. It points to different cultural associations, and the different reception they have enjoyed on stage. My thesis moves away from the usual criticisms of English verse forms and c
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16

Shea, Jennifer. "The juggler in Shakespeare: con-artistry, illusionism, and popular magic in three plays." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=96851.

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This dissertation argues that Shakespeare's plays Othello, The Taming of the Shrew, and The Winter's Tale engage deeply with representations of, and associations with, that early modern social person known as the juggler, a type of popular entertainer who specialized in legerdemain, feats of agility, and more. Iago, Petruchio, Katherina, Autolycus, and Paulina reflect this figure and recall other con artists and tricksters who were compared to jugglers in Shakespeare's England. Based on perceptions of street magicians and of what were considered their cultural and professional forerunners—gyps
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17

Rolinson, Dave. "Authorship, form and narrative in the television plays of Alan Clarke, 1967-89." Thesis, University of Hull, 2004. http://hydra.hull.ac.uk/resources/hull:5833.

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This thesis places the themes and approaches of the British director Alan Clarke within various contexts: the institutional contexts in which he worked, critical and theoretical debates on television form, and the methodological problems which are inherent in attributing authorship to a director working within the highly collaborative medium of television. This thesis constitutes the first full-length critical study of a director working within British television drama. Chapter 1 covers Clarke's background, his early theatre work, and several early television plays from his first, Shelter (196
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18

Colette, Gordon. "Moving passions: theories of affect in Renaissance love discourse and Shakespeare's Elizabethan plays." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/28268.

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The 1998 film, Shakespeare in Love, sets Will Shakespeare (and itself) the challenge to "show the nature and truth of love ... to make it [love] true" - with an ideal presentation of Romeo and Juliet. The film finally achieves this by ensuring that Will and Viola end on stage as Romeo and Juliet, playing the parts they respectively inspire. The film, and the play within the film, can achieve the satisfactory embodiment of true love only, it seems, through the replacement of stage lover/player with 'real' lovers. The film attempts to unite love and art, but finds stage representation naturally
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19

Forest-Hill, Lynn Elizabeth. "Transgressive language in medieval English drama : signs of challenge and change." Thesis, University of Southampton, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242389.

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20

利幗勤 and Kwok-kan Gloria Lee. "Chinese translations of Wilde's plays and fairy tales: a reappraisal." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31222961.

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21

Lee, Kwok-kan Gloria. "Chinese translations of Wilde's plays and fairy tales : a reappraisal /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21510246.

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22

Pfeiffer, Kerstin. "Passionate encounters : emotion in early English Biblical drama." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3575.

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This thesis seeks to investigate the ways in which late medieval English drama produces and theorises emotions, in order to engage with the complex nexus of ideas about the links between sensation, emotion, and cognition in contemporary philosophical and theologial thought. It contributes to broader considerations of the cultural work that religious drama performed in fifteenth- and early sixteenth-century England in the context of the ongoing debates concerning its theological and social relevance. Drawing on recent research in the cognitive sciences and the history of emotion, this thesis co
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23

Gourlay, Jennifer Eowyn. "Negotiating spaces : women and agency in English Renaissance society, plays and masques." Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/3465/.

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This thesis provides new and alternative readings of women’s opportunities for agency in sixteenth and early seventeenth century society, and of the ways in which this was represented in plays and masques of the time. The relationship between history and theatre is a two-way process. In light of this, the depiction of proactive female characters in public plays is examined alongside the appearance of proactive women in society and on stage in Jacobean court masques, through the different but complementary lenses of marriage and female alliances. After the Introduction (Chapter One), Part One (
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24

Weiss, Katherine. "Water, Waste, and Words in Beckett’s Plays." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2251.

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25

Weiss, Katherine. "The Plays of Samuel Beckett." Digital Commons @ East Tennessee State University, 2013. http://amzn.com/140814557X.

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Beckett remains one of the most important writers of the twentieth century whose radical experimentations in form and content won him the Nobel Prize for Literature in 1969. This Critical Companion encompasses his plays for the stage, radio and television, and will be indispensable to students of his work. Challenging and at times perplexing, Beckett's work is represented on almost every literature, theatre and Irish studies curriculum in universities in North America, Europe and Australia. Katherine Weiss' admirably clear study of his work provides the perfect companion, illuminating each pla
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26

Orford, Peter Robert. "Rewriting history : exploring the individuality of Shakespeare's history plays." Thesis, University of Birmingham, 2006. http://etheses.bham.ac.uk//id/eprint/1779/.

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‘Rewriting History’ is a reappraisal of Shakespeare’s history cycle, exploring its origins, its popularity and its effects before challenging its dominance on critical and theatrical perceptions of the history plays. A critical history of the cycle shows how external factors such as patriotism, bardolatory, character-focused criticism and the editorial decision of the First Folio are responsible for the cycle, more so than any inherent aspects of the plays. The performance history of the cycle charts the initial innovations made in the twentieth century which have affected our perception of ch
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27

Mukherji, Subha. "Issues of evidence, interpretation and judgement in Renaissance English drama, c. 1580-1640." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275396.

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28

Grochala, Sarah Louise. "Seriousness, structure and the dramaturgy of social life : the politics of dramatic structure in contemporary British playwriting 1997-2011." Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8620.

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Contemporary British plays are commonly thought of as political if they address an issue that is already seen as political (Kritzer, 2008). This thesis explores the idea that the political stance of a play is articulated at the level of its structure, as well as in its content. Contemporary playwriting practices in British theatre are dominated by ‘serious drama’. Serious drama yokes together politics, dialectical structure and a realist dramaturgy and the resultant form is held up as an ideal against which the political efficacy of a play can be judged. Through an application of the concept o
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29

Wride, Elizabeth Sarah Gillian. "Light and sound in the darkness : exploring theatrical and radiophonic medium-specifics in the double dramatisation of the Smalls Lighthouse incident of 1780." Thesis, Swansea University, 2013. https://cronfa.swan.ac.uk/Record/cronfa43172.

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The aim of this thesis was to develop two dramatic pieces (a radio drama and a stage play) from the Smalls Lighthouse incident of 1780. The resulting dramas are intended to be separate, but complementary, so that a consecutive immersion gives an all-encompassing sense of the characters, narrative and historical context. The purpose of these dramatic pieces - Hearts of Oak and Timbre - is more than a mere attempt to reanimate history for a twenty-first century audience. My main objective was to examine the distinct opportunities offered by radio drama and the stage, and to explore the essence o
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30

Hunt-Logan, Cameron. "The influence of the "Book of Job" on the Middle English morality plays." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001794.

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31

Sheppard, Philippa. "Tongues of war : studies in the military rhetoric of Shakespeare's English history plays." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240387.

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32

Wright, Dawn L. "An examination of English speaking rhythmic games and plays of African American children." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1996. http://digitalcommons.auctr.edu/dissertations/661.

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This study examines the oral traditions of African American children through their games and play activities. It is comprised of a thorough analysis of the historical literature on African American folk song and dance for a solid background into contemporary African American expressions of music and movement. The thesis is based on the assumption that African Americans' oral traditions, although definitely affected by experiences of acculturation and enslavement, are still rich with their African heritage and are uniquely theirs. The bulk of the thesis is dedicated to examining the collected g
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33

Khalaf, Elias Mustafa. "Identity, fame and solace in Shakespeare's English history plays excluding the second tetralogy." Thesis, University of Liverpool, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316152.

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34

Turner, Irene. "Farce on the borderline with special reference to plays by Oscar Wilde, Joe Orton and Tom Stoppard." [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12367898.

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35

Wiedemann, Hunt Margaret. "'The dogma is the drama' : participation and sacramentality in the plays of Dorothy L. Sayers." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/39530/.

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Dorothy L. Sayers’s first festival play, The Zeal of Thy House (1937), was written at a time when it was widely believed among Christian drama practitioners that drama itself has a sacramental significance. This conviction took on a new urgency for Sayers as theologians and church people sought ways of establishing Christianity as a basis on which to rebuild society after the Second World War. Sayers’s The Mind of the Maker (1941), a study in theological aesthetics intended as a contribution to public debate about post-war reconstruction, outlined a trinitarian and sacramental model for human
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36

Barker, Jill. "Characterizations of otherness in the sixteenth century moral plays and their morality antecedents." Thesis, University of Warwick, 1992. http://wrap.warwick.ac.uk/55812/.

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Beginning with an analysis of the nature of the Morality play and its near relative, the moral play, this thesis finds both forms to be founded on an adversarial view of the world (Chapter One). The nature of the adversary is variable, and that variation is, in turn, revealing about the plays' philosophical position. The theories of Jacques Lacan suggest a reading of Mundus & Infan s, The Castle of Perseveraunce, and Youth as descriptions of selfhood via language- acquisition (Chapter Two). Psychoanalytic theory also suggests that otherness may involve both the rule-making Other of authority a
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37

Richardson, C. "The medieval English and French Shepherds plays : A comparative study of the dramatic tradition." Thesis, University of York, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.381317.

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38

Weiss, Katherine. "Traces from a Forgotten Past: Beckett’s Last Plays." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/2255.

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39

Boguszak, Jakub. "Actors' parts in the plays of Ben Jonson." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:7732f887-5a9d-4fc6-afce-9bc4242265f9.

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The thesis continues the work undertaken in recent years by (in alphabetical order) James J. Marino, Scott McMillin, Paul Menzer, Simon Palfrey, Tiffany Stern, Evelyn Tribble, and others to put to use what is now known about the purpose, distribution, and usage of early modern actors' parts. The thesis applies the new methodology of reading 'in parts', or reconstituting early modern plays 'in parts', to the body of plays written by Ben Jonson. The aim of the project is to offer a reconsideration of Jonson as a man of theatre, interested not only in the presentation of his works in print, but a
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40

Turner, Irene. "Farce on the borderline with special reference to plays by OscarWilde, Joe Orton and Tom Stoppard." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949204.

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41

Kingston, Talya Anne. "The dramaturgy of dialect an examination of the sociolinguistic problems faced when producing contemporary British plays in the United States /." Connect to this title online, 2008. http://scholarworks.umass.edu/theses/105/.

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42

Turner, Rachael Lucy. "Myth, biography and the female role in the plays of Pam Gems." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/3062/.

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In this study, I give some attention to the themes and strategies occurring throughout Pam Gems’s career as a female playwright. However, my main interest lies in five of Gems’s plays that feature historical and mythical female figures: Queen Christina (1977), Piaf (1978), Camille (1984), Marlene (1997) and The Snow Palace (1998). My objective is not to ascertain whether or not the plays I consider capture on accurate image of female myth in history, nor even to determine whether or not there exists an accurate image of the female role in literary history. I am far more interested in the ideol
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43

Weiss, Katherine. "The Plays of Samuel Beckett: Author Meets the Critics." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/2254.

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Weiss, Katherine. "The (Dis)appearing Body in Samuel Beckett’s Stage Plays." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/2260.

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45

Beauchamp, Pauline. "The Corpus Christi plays as dramatizations of ritual : an examination of the decline of the medieval theatre." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63121.

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46

Bose, Sarika Priyadarshini. "Women as figures of disorder in the plays of Oscar Wilde." Thesis, University of Birmingham, 1999. http://etheses.bham.ac.uk//id/eprint/5081/.

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Oscar Wilde's plays on upper-class Victorian society are set apart from contemporary drama both by their wit and their reappraisal of conventions, particularly in dealing with transgressive women. The fallen woman's prominence in popular culture and the stage during a period of intense suffragism attests to woman's role as a touchstone of moral stability, contemporary plays viewing deviant women as threats to a man's world. Wilde mocks society's confinement of women, fallen or not, into prescribed roles and undercuts customary morality but fears self-determining women's disruptive power. A too
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47

Du, Toit Seugnet. "Of discourse and dialogue : the representation of power relationships in selected plays by Shakespeare." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/53758.

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Thesis (MA)--University of Stellenbosch, 2004.<br>ENGLISH ABSTRACT: In this thesis I will look at the way in which power relationships are presented in Shakespeare's dramas, with specific reference to the so-called ''Henriad'', Measure for Measure and The Tempest. Each play consists of a network of power relationships in which different forms of power interact on different levels. Different characters in the above-mentioned plays have access to different forms of power according to their position within these networks. The way in which the characters interact could also cause or be infl
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48

Matchett, Grace. "The relationship of parents and children in the English domestic plays of George Bernard Shaw." Thesis, University of Glasgow, 1990. http://theses.gla.ac.uk/1851/.

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The aim of this thesis is to bring a new critical perspective to the English domestic plays of George Bernard Shaw by analysing them in the light of Shaw's treatment of parent-child relationships. A domestic play is one in which the plot or problem centres around a family and in which the setting is that family's permanent or temporary home. The period 1890 and 1914 has been chosen for three reasons: first, it was during this time that Shaw began and succeeded in his career as a dramatist; secondly, this period saw the growth of the `new drama' movement, which considered a discussion of sociol
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49

Murdoch, Christina. "'A large and passionate humanity plays about her' : women and moral agency in the late Victorian social problem novel." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3703/.

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This thesis examines responses to the idea of a specific female moral agency in depictions of women’s philanthropic work by late nineteenthcentury female novelists. Focusing on depictions of romantic and sexual female experience in the late nineteenth-century campaign against poverty, I explore the role of gender and sexuality in the making of the female moral self in novels by Mrs. Humphry Ward, Iota, Margaret Harkness, Jane Hume Clapperton, Gertrude Dix. I demonstrate the manner in which altruism was linked to romantic love and sexual desire, and show how this idea surfaced in the love-plot
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50

McQueen, Alexandria C. "Innocent Until Proven Guilty: Shakespeare's Use of Source Material in Three Plays." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/309.

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In my thesis, I discuss and analyze William Shakespeare’s utilization and adaptation of source texts within three of his dramas: Henry IV, Part I, a history; Twelfth Night, a comedy; and Julius Caesar, a tragedy. By comparing Shakespeare’s adaption of sources to the contemporary United Kingdom intellectual property policies, it becomes possible for me to determine whether Shakespeare’s extensive and popular dramas would violate modern copyright law. The first chapter, “Printing and Writing in the Early Modern Period,” discusses the development of proprietary interests among the Elizabethan peo
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