Dissertations / Theses on the topic 'Schechner'

'Reading Richard Schechner' explores the theatre, theory, and academic leadership of a key figure in American theatre studies, engaging critically with Schechner's contributions, in order to assess their value for future theatre research. Chapter One considers how Schechner's theatre participated in social change and situates Schechner's analogy of theatre to ritual within an avant-garde theatrical tradition. Chapter Two models Schechner's career in terms of a singular performance project which moves from its early focus on theatre production, through performance theory, leading finally to his leadership of Performance Studies as an institutionally validated area. I examine the interplay between Schechner's theatre and his growing interest in anthropology, identifying the ways in which anthropological discourse supported his authority as a theatrical auteur. These chapters include case studies of his productions Dionysus in 69 and The Tooth of Crime. Chapter Three develops the relation between creative authorship and academic authority by introducing two key concepts. Sociologist Pierre Bourdieu's concept of symbolic capital characterises the rewards for successful and authoritative authorship which, I argue, Schechner has pursued. Allegory articulates the historical relation between creative authorship and socially empowered authority. The logic of Schechner's performance paradigm is analysed as an allegorical structure, following Joel Fineman's definition. Chapter Four concentrates on the ways in which, over time, Schechner has repositioned theatre as subordinate to the broad spectrum he defines as performance. I give grounds for rejecting Schechnerian performance as a viable paradigm for theatre's study. Furthermore, I reinterpret it as an enterprising intermedia arts project aiming to disrupt the institution from within. To deauthorise Schechnerian performance in this way is also to reauthorise it, by returning its ostensibly objective structures to their origin in creative acts. To this end, I conclude by sketching a portrait of Richard Schechner as an author of avant-garde theatre and theory.

Attraverso un excursus storico, teorico e metodologico, questa tesi di dottorato analizza la nascita, gli sviluppi e l’attuale dimensione costitutivo-identitaria dei Performance Studies, un ambito di ricerca accademica che, nato negli Stati Uniti alla fine degli anni Settanta, ha sempre palesato una natura restia nei confronti di qualunque tentativo definitorio. Se i Performance Studies concepiscono la performance sia come oggetto d’analisi sia come lente metodologica, e se, come evidenziato da Richard Schechner, praticamente tutto può essere “elevato a performance” e quindi indagato secondo le categorie analitiche di questa disciplina, ecco allora che, con uno slittamento transitivo e “meta-metodologico”, questa ricerca dottorale ha scelto come proprio oggetto di studio i Performance Studies stessi, osservandoli “as performance” e avvalendosi degli strumenti metodologici suggeriti dal suo stesso oggetto d’analisi. Questo lavoro indaga come l’oggetto di studio dei Performance Studies sia, seguendo la teoria schechneriana, il “behaved behavior”, e dunque come di conseguenza, il repertorio, prima ancora che l’archivio, possa essere considerato il fedele custode delle “pratiche incorporate”. Soffermandosi su esempi di “reenactment” performativo come quelli messi in atto da Marina Abramović e Clifford Owens, così come sui tentativi condotti dalla sezione dell’Intangible Cultural Heritage dell’UNESCO, suggerisce validi esempi di “archiviazione” della performance. L’elaborato prende poi in esame casi che esemplificano la proficua identificazione tra “studiare performance” e “fare performance”, sottolinea il ruolo cruciale e imprenscindibile determinato dal lavoro di ricerca sul campo inteso come “osservazione partecipante”, ed evidenzia il costante coinvolgimento sociale e politico assunto dai Performance Studies. Questa dissertazione affronta e supporta l’efficacia dei Performance Studies nel proporsi come uno strumento innovativo in grado di analizzare un mondo sempre più performativo nelle sue dinamiche. La loro natura tanto interdisciplinare quanto interculturale sembra farne una lente adeguata attraverso cui promuovere livelli diversi di performance dialogica tra culture localmente distinte ma globalmente assimilabili.
Through a historical, theoretical and methodological excursus, this thesis analyzes the birth, development and current identity of Performance Studies, an academic research field that, born in the United States at the end of the Seventies, has always been reluctant towards any attempt to be defined. If Performance Studies conceives performance both as an object of analysis and as a methodological lens, and if, as pointed out by Richard Schechner, everything can be studied "as" performance and so investigated according to the analytical categories of this discipline, then, with a transitive and "meta- methodological" shift, this doctoral research takes Performance Studies as its object of study, observing it "as performance" and using the same methodological tools suggested by its object of analysis. This work investigates how the object of study of Performance Studies is, following Schechner’s theory, the "behaved behavior", and thus how, as a result, the repertoire, even before the archive can be regarded as the true custodian of "embodied practices". Focusing on examples of performative "reenactment" such as those by Marina Abramović and Clifford Owens, as well as on the efforts undertaken by the UNESCO’s Intangible Cultural Heritage section, it suggests valid examples of "archiving performance". The paper then examines cases that exemplify the successful identification of "studying performance" and "doing performance", it underlines the crucial and inescapable role played by the on-field research, understood as "participant observation", and highlights the constant social and political commitment of Performance Studies. This dissertation addresses and supports the effectiveness of Performance Studies in itself as an innovative tool able to analyze a world increasingly performative in its dynamics. Thanks to its both interdisciplinary and intercultural nature, Performance Studies seems to be a proper lens through which to promote different levels of performance dialogue among cultures which are locally different but globally comparable.

Through a historical, theoretical and methodological excursus, this thesis analyzes the birth, development and current identity of Performance Studies, an academic research field that, born in the United States at the end of the Seventies, has always been reluctant towards any attempt to be defined. If Performance Studies conceives performance both as an object of analysis and as a methodological lens, and if, as pointed out by Richard Schechner, everything can be studied "as" performance and so investigated according to the analytical categories of this discipline, then, with a transitive and "meta-methodological" shift, this doctoral research takes Performance Studies as its object of study, observing it "as performance" and using the same methodological tools suggested by its object of analysis. This work investigates how the object of study of Performance Studies is, following Schechner’s theory, the "behaved behavior", and thus how, as a result, the repertoire, even before the archive can be regarded as the true custodian of "embodied practices". Focusing on examples of performative "reenactment" such as those by Marina Abramović and Clifford Owens, as well as on the efforts undertaken by the UNESCO’s Intangible Cultural Heritage section, it suggests valid examples of "archiving performance". The paper then examines cases that exemplify the successful identification of "studying performance" and "doing performance", it underlines the crucial and inescapable role played by the on-field research, understood as "participant observation", and highlights the constant social and political commitment of Performance Studies. This dissertation addresses and supports the effectiveness of Performance Studies in itself as an innovative tool able to analyze a world increasingly performative in its dynamics. Thanks to its both interdisciplinary and intercultural nature, Performance Studies seems to be a proper lens through which to promote different levels of performance dialogue among cultures which are locally different but globally comparable.

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This work aims to analyze the concepts of ritual developed by Richard Schechner and Victor Turner. This is realized through the definition, analysis and discussion of the concepts looking for the dialog between Schechner and Turner. The research was developed by reading and analysing the major volumes published by these authors, what is Schism and Continuity; Forest of Symbols; The Ritual Process; Dramas, Fields and Metaphors and From Ritual to Theater by Turner and made by Schechner Environmental Theater; Essays on Performance Theory; Between Theater and Anthropology; The Future of Ritual and Performance Studies. Was not found any work like this. It is an inedited and presented an important review on Schechner‟s and Turner‟s written. The ritual concept needs this multiplicity look to take a new breath and look up different sea-lines. This job has a methodological richness because points out precisely the fact that the research belongs analyse the field "between" the theatre and anthropology. It is not remand to any discipline and the same time belongs to all of them. This is a bibliographic study what can provide theoretical support for various research fields.
Este trabalho visa à análise do diálogo interdisciplinar e liminar estabelecido entre Richard Schechner e Victor Turner através da definição, análise e discussão do conceito de ritual em suas obras. A pesquisa foi desenvolvida através da leitura e fichamento dos principais volumes publicados destes autores, sendo eles Schism and Continuity; Forest of Symbols; The Ritual Process; Dramas, Fields and Metaphors e From Ritual to Theater de Turner e de Schechner Environmental Theater; Essays on Performance Theory; Between Theater and Anthropology; The Future of Ritual e Performance Studies. Não foram encontrados registros de trabalhos semelhantes. Sendo esse um trabalho inédito e que oferece uma revisão dos escritos destes dois autores. Discutir o ritual por esta perspectiva multifacetada é abrir o leque de novas possibilidades de discussão de um conceito tão importante e que tendo sido já tão discutido necessita de novo fôlego para ganhar novos horizontes. Trata-se de um trabalho considerado liminar, pois sua riqueza metodológica está justamente no fato de a pesquisa localizar-se no "entre" o teatro e a antropologia. Não se prende a nenhuma disciplina e ao mesmo tempo pertence a muitas. Trata-se de um estudo bibliográfico que poderá servir de aporte teórico para os mais variados campos de pesquisa.

I have examined the conditions for participation in an opera masquerade. Theoretical support has been found in Michail Bachtin, Richard Schechner and Judith Butler. The main study object has been a masquerade organised by the workers of The Royal Opera of Stockholm in 1925. The masquerade is examined as a social practise with distinct aesthetic framing. The analysis shows that the opera masquerade share some characteristics with the medieval carnival culture as described by Bachtin, but differ in many ways as well. It is easy to place the opera masquerade within the concept performance as discussed by Schechner, since it is framed in time, space and make use of certain social agreements. A look at the architecture shows that physical and social border between the stage and the auditorium had to be dissolved to let opera viewers become opera masquerade participants. Using Butler I discuss how the masquerade could challenge as well as preserve traditional gender structures.

O objetivo desta pesquisa é analisar de que modos a performance artística do balé, que compreende uma série de práticas e significados que lhe conferem sentido, converte-se em performance de gênero, ou seja, estiliza o corpo, repercute na aparência e no comportamento de quem dança, produzindo e reproduzindo maneiras específicas de se viver a masculinidade e a feminilidade. O material empírico foi constituído a partir de entrevistas realizadas com dois grupos de crianças que participam de aulas desse estilo de dança em Porto Alegre. Para a realização da análise, foram utilizados como referenciais teóricos o conceito de performance de Richard Schechner, entre outras contribuições dos Estudos da Performance, bem como alguns referenciais dos Estudos de Gênero e de autores que tratam da história, cultura e pedagogia do balé clássico. As análises foram organizadas em quatro eixos que dizem respeito: 1) à performance do balé e aos seus aspectos técnicos e pedagógicos; 2) à infância performatizada, a partir das rotinas e dos interesses das crianças entrevistadas; 3) às performances do feminino na dança clássica; 4) às discussões deflagradas por intermédio da observação de imagens relativas ao universo da dança e ao universo infantil estereotipado. A partir dos relatos das crianças, verificou-se que dançar balé (pode) significa(r) dar-se a ver bela e feminina, e que o aprendizado da dança se caracteriza como aprendizado de ser menina. Dessa forma, a rigidez na delimitação de um modo de se viver a masculinidade e a feminilidade pode tanto afastar os meninos da dança, quanto aproximar as meninas ao balé.
The aim of this research is to analyse in which ways the artistic performance of the ballet dance, which comprehends a branch of practices and meanings that give its sense, converts in genre performance, i. e., stilize the body, has effects on physical appearance and in the behaviour of the ones that dance, producing and reproducing specific ways of living masculinity and feminility. The empiric material was constituted from interviews performed with two different groups of kids that take ballet classes in Porto Alegre. In order to make this analysis we used the concept of the word performance from Richard Schechner as a theoretical referencial, among some other contributions from the Performance Studies, as well as some referentials from Genre Studies and from authors that treat ballet history, culture and pedagogy: 1) to the ballet performance and to its technical and pedagogycal aspects; 2) to the performatized childhood, from the routines and interests of the children that were interviewed; 3) to the female performances ind classic dance; 4) to the discussions led through the observation of images related to the dance universe and to the childlike universe. From the analysis of what children said about dancing ballet, we verify that dancing ballet can mean putting each dancer in a condition of showing herself beautiful and female-like and that dance learning means learning to be a girl. Thus, the difficulty of setting a way of living masculinity and feminility can either put boys away from dance or put girls even closer to the art of ballet.

This work explores persuasive performances, or performances which are wrought in order to affect changes in the thoughts, attitudes, emotions, ideas, beliefs, and opinions of others. Such performances are located in a space between the disciplines of performance studies and rhetoric. This work offers one way in which such performances might be better understood by proposing a model of negotiation comprised of the techniques of rhetorical dramatism and performance studies. A political debate and parts of Shakespeare's The Tempest are analyzed as examples using the model. This work represents an invitation to scholars of the disciplines of rhetoric and performance studies to act together -- to consubstantiate-- in order to better explore the space between their disciplines.

While taking into account the field of study of performing arts, I assume that the category called „performing arts“ underwent many reforms in the 20th century, making it almost impossible to set clear boundaries between theatre, dance and performance art. Therefore I deal with their common ground that I call the zero point and that allows me to explore means of expression of human body and also time – space dimension of live action. The zero point is located in the pelvic region of the body and it is the center of stability, balance and life enegry. In my dissertation I focus on the analysis of physical trainings that work with the zero point in theater, dance and performance arts. Primary output of this work is then analysis of physicality as culturally encoded construct and the practical part of disseration is focused on the realisation of the point zero symposium.

After briefly examining the history of trade marks and establishing the theoretical framework of trade mark functions, an analysis from the perspective of semiotics is conducted, viewing the trade mark as a sign. This analysis serves as a tool for the suggestions and conclusions drawn in relation to the role of trade mark law today. The issues of trade mark registration, use and protection are examined, as main facets of the trade mark functions. An analysis of the legal provisions, legal doctrine and case law on trade mark registration and use in Greece, before and after the entry into force of the First Council Directive on the Harmonisation of trade mark laws in Europe 89/104/EEC is undertaken, so as to denote the effect of the European harmonisation on these issues. The Court of Justice case law is examined, in juxtaposition to the Greek case law on the respective implementing provisions. The similarities and differences are noted and analysed. Throughout, examples from a common law jurisdiction, namely the UK, are taken into account. The issues of risk of confusion and dilution are analytically examined at a national (Greek) and European level. In comparison to the Court of Justice jurisprudence, the national legal framework and case law of Greece on these issues is analysed. Examples from other European jurisdictions are taken into account. The theory of dilution in the context of the European trade mark framework is further analysed against developments in the USA. The controversial doctrine of trade mark dilution, introduced by Fr. I. Schechter, is of primary interest in the course of the thesis and suggestions are made for a new perspective of the theory. The controversial doctrine of Schechter is seen, in view of the above, under a new light.

In this essay I have studied wedding services in the Church of Sweden, as they are actually performed. I do this from a liturgical-theological perspective, a performance- perspective and from the perspective of ritual studies. According to the performance- perspective the wedding service can be seen as consisting of different scripts, for example, the normative script of the handbook, the script of the wedding-couple and the script of the minister. The main question is: What is constructed when these three scripts meet in a wedding service? I first study each script. I give an account for the script of the handbook and analyse it by placing it in a historical, liturgical and theological context. The script of the wedding couple and the minister I uncover by participant observations of three wedding services and interviews with the couples and ministers acting in these services. Thereafter I analyse the scripts of the couples and the minsters looking at themes that appear to be important in these scripts and in the handbook. Such themes are the wedding service as a service of blessing, the legal aspect of the service, the construction of family through marriage, love, the service as a ritual, the setting of the wedding, the role of the minister, the importance of participation and the role of the music. I conclude that the three scripts are indeed three very different scripts, but when they are juxtaposed a new meaning is constructed. This can occur even if the script are not correlating or even to some extent collides. One important factor for meaning to be constructed is the ritualization, acts that make the service a ritual. This seems to be more important than the fact that the scripts correlate. Another important factor for meaning to be constructed is that the scripts actually meet, that they actually are juxtaposed together. For this to happen the minister has to clarify his/her own script and be responsive to the couple’s script. Then the minister can relate their script to blessing, prayer and scripture. Normatively, I conclude that the wedding service becomes a meaningful wedding service when the couple’s scripts are related to the greater, transcendent Script

L’art performance est un art contemporain difficile à définir. Néanmoins il peut se décrire par l’action d’un artiste de performance qui, à la différence du théâtre traditionnel, se présente lui-même devant un public, s’infligeant parfois de véritable blessure. Cet art questionne le « pour de vrai » et le « vrai ». En le comparant au théâtre il semble moins fictif car les blessures est le sang sont « vrais », et sa trace (captations vidéos, captations sonores, photographies, objets, croquis, écrits, etc.) le prouve. La fiction et la trace paraissent opposées, là où la première est une invention (le « pour de vrai ») l’autre est un élément pérenne d’une action vécue (le « vrai »), l’art performance permettrait alors de penser ces deux notions non plus comme opposés mais comme corrélatives. L’art performance présente sa trace comme un élément pérenne d’une action plus ou moins inventée : le « vrai » dont la frontière avec le « pour de vrai » peut être questionné. Cette thèse argumente ces hypothèses à travers une première partie comparative entre l’art performance et l’art théâtral, avec comme problématique la fiction qui semble opposée au « vrai ». Et une seconde partie corrélative sur le possible « pour de vrai » de la trace, qui permet l’étude de trois traces épistémologiques : la mémoire, l’écriture et l’indice à travers des exemples respectifs d’artistes de performance
Performance art is a contemporary art is hard to define but which can be described as an action made an audience by a performance artist who, in contrast to the traditional theater, is the artist himself is inflicting sometimes real physical injuries. This art questions the 'like true' and the 'true' and seems less fictitious than traditional theater because blood’s physical injuries is 'true' and that he uses his trace as evidence (video recordings, sound recordings, photographs, objects, sketches, written, etc.). If the fiction and the trace seem opposed, because the first is an invention (the "like true") the other is a sustainable living action (the ' true') element, performance art then would think these two concepts not as opposites but as Horn related. As performance art, object of study here, presents his trail as a perennial element of a more or less invented action: as the 'true' including the border with the "like true" can be questioned. This thesis argues its assumptions through a comparative part between performance art and theatrical art, with as problematic fiction that seems opposite to 'true'. And a second consequential part on the possible "like true" of the trace, which allows the study of three epistemological traces : memory, writing, and trifle through respective examples of performance artists

Sri Lanka is the theatre of a three decade-long armed ethnic conflict between the predominantly Sinhala government and the Liberation Tigers of Tamil Eel am - the militant group fighting for a separate state for the island's Tamil speaking people. This contemporary conflict is rooted in a perceived historical crisis between Tamil and Sinhala ethnic groups which spans more than two millennia. This study examines the perceived historical crisis between the two lingua ethnic nations from a postmodern perspective, to better understand the contemporary interpretation which has led to a militant and at times terrorist conflict. It also focuses on the fusion of contemporary and historical narratives used by the L TTE to further their strategic goals. The study defines the notion of terrorism as a politico-military strategy stripped of its populist pejorative interpretations, to understand the strategy of terrorism as part of a communication process designed to terrorise a target audience and demand its political compliance by harnessing terror as a psychological weapon. The study further discusses the role of traditional mainstream media in this communication process and the result of state imposed media censorships set in place to prevent terrorist news voices from reaching the media consumer. This thesis argues media censorship creates a news media vacuum ideally suited to terrorist-backed alternative cyber media, such as Tamilnet, which are resistant to state imposed media censorship. This results in the alternative media being the only significant source of news from the conflict zone, creating a media monopoly which allows terrorist narratives and politically loaded reports to filter into mainstream media copy. Based on an analysis of Tamilnet, this study outlines the role of terrorist-backed cyber media and its relationship with traditional and contemporary sources of news in the current media landscape.

In 1518, Martin Luther is reputed to have nailed his 95 theses to the door of the Castle Church at Wittenberg, an act that sparked the Protestant Reformation. Luther sought change in the Catholic Church: a return to an unmediated relationship with God based on a closer understanding of the Word. Since then, Protestant evangelism has been a force for social change: and this is particularly true in New Zealand, where evangelism has gone hand in hand with the colonisation of the country. This thesis proposes that it is not, in fact, the literal understanding of the Word that gives these services meaning, and that such an understanding is problematic and perhaps even impossible: the Word is always a translation. Instead, it is through what is not said - the performative aspects of evangelistic services, including the use of space, the actions of the evangelist, and pre-existing cultural “horizons of expectation” - that meanings are produced. Taking as material Samuel Marsden’s first service in New Zealand in 1814, in which the Word was preached in English to a congregation who primarily spoke only Maori, the more contemporary example of televangelist Benny Hinn, who performs miracles to television cameras, and the religious and political performances of Destiny Church’s Brian Tamaki, this thesis uses the tools of performance studies to undertake an ethnographic study of evangelistic services. This brings into focus the ways in which evangelists may create congregations and produce meanings in their services through different modes of performance and the ways in which these ulterior meanings impact, and have impacted, on New Zealand society.

Per lo sviluppo di un modello realistico di formazione ed evoluzione delle galassie è necessario un confronto sistematico con le osservazioni in modo da verificare che i dati vengano ben riprodotti. Lo scopo che si prefigge questo lavoro di Tesi è un confronto tra le caratteristiche delle galassie presenti nei cataloghi simulati (mock), costruiti sulla base di alcuni modelli, e quelle evinte dai dati osservativi di campioni di galassie (surveys) con l'obbiettivo di far luce su quali siano le maggiori discrepanze e quindi sulla direzione in cui i modelli andrebbero perfezionati. Per far questo, si è scelto di far uso della funzione di massa stellare delle galassie (MF), in quanto strumento statistico più indicativo di una popolazione di galassie, considerando sia la totalità delle galassie, sia separatamente le star-forming e le quiescenti. Questo lavoro di Tesi attua un confronto tra le MF a 0