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Relevant bibliographies by topics / Sacred Theatre / Dissertations / Theses

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Dissertations / Theses on the topic 'Sacred Theatre'

Author: Grafiati

Published: 9 September 2021

Last updated: 29 July 2025

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1

Williams, Robert Hunter. "Directing For the Small Professional Theatre: Directing "Nothing Sacred"." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/763.

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The challenges of producing and directing small professional theatre in any metropolitan area are many. This thesis is concerned with the process of finding a producing theatre, casting, rehearsal and staging the play, "Nothing Sacred" by George F. Walker, in the Washington D.C. metropolitan area. Unlike many thesis projects this one was conducted completely outside of the university setting and is thus a true reflection of the small professional theatre community.

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2

Groves, Peter A. "Sacred tragedy : an exploration into the spiritual dimension of the theatre of Howard Barker." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/72932/.

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Although Barker began in the early 1970s as a Marxist satirical playwright, by 2005 his approach had shifted in focus to such an extent that he felt able to define his theatre as having ‘many of the characteristics of a religion.’ This study investigates the relationship between Barker’s theatre and religious and spiritual ideas, focusing on two key influences: the medieval Christian mystical theologian Meister Eckhart and religious and mythic elements of ancient Greek tragedy. Barker’s dramatic engagement with Abrahamic monotheism reveals his interest in early biblical portrayals of God and h

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3

Perrin, Daniel K. "The Zealot a musical-theatre presentation by Crossroads Bible Church of Bellevue, Washington /." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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4

Lewis, Heidi Diane. "Speaking Out of the Dust: Religious Reenactments with the Specific Iconic Identity of Place." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/505.

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Sometimes, the place where a play is performed is as important as or more important than the play itself. The first known theatrical rituals were performed in spaces which came to hold deep religious significance. Many religious traditions regard certain places as sacred because of spiritually significant events which took place there, sometimes involving the presence of Deity. In an effort to build on that sacrality, sometimes religious cultures bring theatre to these spaces, which, in turn, tend to alter the nature of the theatrical event. This seems especially true in regards to theatre whi

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5

Lao, Oliveros. "Ritual and the sacred in Peter Shaffer's theatre : a study of The Royal Hunt of the Sun, Equus and The Gift of the Gorgon." Thesis, University of Macau, 2007. http://umaclib3.umac.mo/record=b1781053.

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6

Ritter, Christina. "On hallowed ground the significance of geographic location and architectural space in the indenties [sic] of the Royal Shakespeare Company and Shakespeare's Globe /." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1188510799.

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7

Chuliá, Jordán Alejandra. "Fernando Arrabal et le théâtre panique en France : modèles artistiques et devenir scénique." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA117.

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Cette approche de recherche sur Fernando Arrabal et le théâtre panique pointe une période circonscrite à l’œuvre théâtrale du dramaturge dite « panique ».L’objet de cette thèse cherche donc à essayer de comprendre la théorie panique (la mémoire, le hasard et la confusion) ainsi qu’une thématisation sur les différents modèles artistiques de ses pièces paniques et l’influence arrabalienne dans le devenir scénique d’aujourd’hui. L’étude part d’une nouvelle esthétique théâtrale baroque allant du texte à la scène ainsi que de la stratégie utilisée par l’écrivain dramaturge dans ces pièces appelée l

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8

Madden, Jennifer. "Divine comedy : sacred play and subversion in contemporary neo-Pagan festival." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319108.

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9

Lamothe, Virginia Christy Carter Tim. "The theater of piety sacred operas for the Barberini family Rome, 1632-1643 /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2295.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2009.<br>Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music." Discipline: Music; Department/School: Music.

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10

Combes, Emilie. "Le théâtre panique de Fernando Arrabal, « Science de l’essence de la confusion »." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040059.

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Notre approche du théâtre panique d’Arrabal a été dirigée par la perception d’une esthétique paradoxale, d’une dimension éthique et cathartique au cœur d’une théâtralité qui restitue sur scène la confusion de la vie et l’humain dans sa totalité. Cette thèse s’interroge sur les moyens par lesquels Arrabal a créé l’univers panique ainsi que sur les piliers d’une esthétique a priori fondée sur la dérision et l’altération de la réalité, dans une perpétuelle oscillation entre l’outrancier et le fascinant. Il s’agit de comprendre le fonctionnement du dispositif de la cruauté, à la fois dramaturgique

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11

Bates, Whitney. "Le sacre du printemps: The First Rite (An Exploration of Modern and Aerial Dance as Storytelling)." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/380.

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Le sacre du printemps, a ballet choreographed in 1913 by Vaslav Nijinsky, played an important part in changing the way the world thought about choreography. Since, modern choreographers such as Graham and Taylor have followed in the tradition of creating their own versions of Le sacre. This thesis outlines the significance of Le sacre. It also describes how Bates created a choreographic project using Nijinsky, Taylor, and Graham influences, and also combining modern dance floor techniques with aerial choreography.

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12

Boll, Julia. "Unlisted character : on the representation of war and conflict on the contemporary stage." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/7987.

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The focus of this dissertation is the theatrical representation of both the individual and war in a time of disintegrating national states and the dramatisation of destruction versus survival as the driving forces on stage. In a study on the future of empire it has been observed that instead of progressing into a peaceful future, the 21st century has slipped back in time into the nightmare of perpetual and indeterminate state of warfare: ceasing to be the exceptional state, war has become 'the primary organising principle of society', thus echoing Giorgio Agamben's declaration that the state o

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13

LIPANI, Domenico Giuseppe. ""Con sanctissima pompa". Lo spettacolo sacro a Ferrara nel XV secolo (1429-1505)." Doctoral thesis, Università degli studi di Ferrara, 2010. http://hdl.handle.net/11392/2389184.

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The thesis investigates the birth and development of religious theater in Ferrara in the Fifteenth Century. Starting from the Chronicles of the period and the payment records of Camera Ducale Estense, held at the State Archives in Modena, it reconstructs the material culture of theater. The performances are analyzed in the dialectics between the various cultures in Ferrara: religious, literary and courteous. It shows a variety of styles, shapes and structures that reveals the theater as the place of cultural contamination.

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14

Rieu, Sophie. "la beauté limite ou le réveil du sublime sur les scènes contemporaines." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30042.

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Après une première phase de réflexion portant sur les traces d’un sacré bataillien chez Jan Fabre, tout en élargissant le corpus à d’autres artistes contemporains (Abattoir fermé, Romeo Castellucci, Pippo Delbono, Yves-Noël Genod, Alain Platel, Gisèle Vienne et quelques autres), cette thèse propose de mettre en lumière les manifestations, sur les scènes contemporaines, d’une beauté atypique, amorale, parfois obscène, que nous avons choisi de nommer « beauté-limite ».La première partie de la thèse tente de définir ce concept en parcourant les multiples définitions qu’a pu revêtir la beauté à tr

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15

Obney, David M. "The Actor in the Space: The Influence of Space on the Construction and Creation of the Role of Macbeth." Akron, OH : University of Akron, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1191335507.

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Thesis (M.A.)--University of Akron, School of Dance, Theatre and Arts Administration, 2007.<br>"December, 2007." Title from electronic thesis title page (viewed 02/22/2008) Advisor, James Slowiak; Committee member, Chris Hariasz; School Director, Neil Sapienza; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

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16

Pühler, Simon. "Funny games." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2014. http://dx.doi.org/10.18452/17063.

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"FUNNY GAMES. Spielräume des Sadomasochismus in Film und Medien" ist der Versuch, eine Geschichte medialer Schmerzlust zu rekonstruieren – in etwa von 1789 bis heute. Neben klassischer SM-Literatur sind es Spielfilme wie VIDEODROME (1983), FALSCHER BEKENNER (2005), THE HURT LOCKER (2008) oder SHORTBUS (2006), in denen modernes Schmerzlust-Empfinden und -Begehren offenbar wird. Die Untersuchung richtet sich dabei auf Konzepte technoimaginärer Wunsch- und Höllenmaschinen, dynamisierte Ich-Apparate, wie sie Donatien-Alphonse-François de Sade, Leopold und Wanda von Sacher-Masoch, Ernst Kapp, Sigmu

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17

Pooley, Jay. "Theatre as a Ritual Place: Redefining the Theatre as a House of Storytelling." 2011. http://hdl.handle.net/10222/14270.

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This project presents the design of a theatre. The theatre site is located in Halifax, Nova Scotia and will serve as the home for the Legacy Centre for the Performing arts. A selection of theatre spaces and ritual spaces, including temples and churches are analyzed, with attention paid to performance theory research in order to interpret the shared activities within these two building types. Architectural connections between these spaces are made as well as a building language common to both. A collection of theatre buildings, including the design for the Legacy Centre, is produced. Each desi

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18

Silva, Nelson Rodrigues da. "O Teatro Sagrado de Peter Brook." Master's thesis, 2016. http://hdl.handle.net/10362/18412.

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O Teatro Sagrado de Peter Brook é uma incisiva reflexão e investigação sobre o conceito de Teatro Sagrado criado por este encenador, e é também a explanação de um processo peculiar de criação, essencialmente de expressão teatral. A presente dissertação de mestrado é um trabalho que explora e aborda estudos, filosofias, entrevistas e a espiritualidade na vida e obra de um dos maiores mestres teatrais do século XX, destacando duas das suas principais obras, Mahabharata (1985) e A Tragédia de Hamlet (2000). Trata-se de um mergulho, por assim dizer, no Teatro Sagrado de Peter Brook, um teatro sing

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19

Montgomery, Geraldine F. ""Nuptials for a lone woman": The feminine, the sacred, and desire in the work of Albert Camus." 1996. https://scholarworks.umass.edu/dissertations/AAI9709632.

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Two paradoxical elements in Camus's work, both kept at a distance by the author, are the feminine and the sacred. The feminine is paradoxical in its patterns of speech and silence, and of partial or aspectual absence and presence. Whereas feminine speech and presence are abundant in Camus's theatre, absence, silence and fragmentation of the feminine characterize his narrative works, with the exception of the short story, "La femme adultere." The sense of the sacred, which permeates Camus's work, represents a philosophical paradox. Indeed, how to reconcile Camus's agnosticism and his philosophy

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20

Buatois, Isabelle. "Le sacré et la représentation de la femme dans le théâtre et la peinture symbolistes." Thèse, 2012. http://hdl.handle.net/1866/8453.

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L’art symboliste pictural ou théâtral qui s’est développé à la fin du dix-neuvième siècle est habité par le sacré, que celui-ci se manifeste sous la forme du spirituel, du religieux ou sous toute autre forme (spiritisme, occultisme, mysticisme). Quelle que soit sa forme, le sacré est pour tous les symbolistes lié à l’art. Leurs recherches formelles, multiples et variées, tendent toutes à faire surgir l’invisible du visible. Or toutes voient l’émergence, dans les œuvres, de la représentation de la femme, qui dès lors devient intimement liée au «symbolisme». En véhiculant le sacré, la femme devi

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