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Dissertations / Theses on the topic 'Shakespeare Performance'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Blasenak, Andrew Michael. "Six Companies in Search of Shakespeare: Rehearsal, Performance, and Management Practices by The Oregon Shakespeare Festival, The Stratford Shakespeare Festival, The Royal Shakespeare Company, Shakespeare and Company, Shakespeare’s Globe and The Ame." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354047834.

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2

Silverstone, Catherine Emma. "Spectres of Shakespeare : embodying Shakespeare in performance 1979-2002." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270327.

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3

Todão, Rosemeire. "Photography in Shakespeare and performance." reponame:Repositório Institucional da UFSC, 2013. http://repositorio.ufsc.br/handle/123456789/103314.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2010<br>Made available in DSpace on 2013-07-16T04:05:56Z (GMT). No. of bitstreams: 1 279018.pdf: 1370258 bytes, checksum: 16ed3502245b99d274a9c053fcbc2bff (MD5)<br>Since its advent, photography has been used as a process of registry of images, either for souvenirs or as a physical proof that something existed in the past. The use of photographs as historical documents serves several areas, for the static and i

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4

Suprenant, Susann E. "Shakespeare re-visions : representations of female characters in appropriations and radical performance adaptations of Shakespeare's plays /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978601.

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Thesis (Ph. D.)--University of Oregon, 2000.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 180-197). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9978601.

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5

Boxall, J. M. "Illuminating Shakespeare through performance 1997-2008." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590667.

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The twenty-first century has seen a marked change in approaches to understanding Shakespeare's texts through literary and theatrical criticism and also performance. This thesis argues that performances of Shakespeare in Britain between 1997 and 2008 staged by Shakespeare's Globe, the Royal National Theatre and the Royal Shakespeare Company enabled audiences to have increased physical and intellectual access to the plays and that as a result literary and theatrical critical readings of the texts became more productively complicated. It is argued that this increased access came as a response to

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6

Miller, Gemma Anne. "Childhood in contempoary performance of Shakespeare." Thesis, King's College London (University of London), 2018. https://kclpure.kcl.ac.uk/portal/en/theses/childhood-in-contempoary-performance-of-shakespeare(bcc4abba-c878-4cec-9890-3a591a6e3f9b).html.

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In this thesis I analyse the performance of childhood in contemporary staged and filmed productions of four Shakespearean plays. I adopt an interdisciplinary approach that ranges across the mediums of theatre, film, television and the livecast and primarily focuses upon the past three decades, with some analysis of seminal productions from the 1970s and 1980s as a point of comparison and departure. The four plays I have chosen span the three decades of Shakespeare’s writing career and include examples from the genres of tragedy, history and tragicomedy. Through a close analysis of the manifest

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7

Vadnais, Matthew W. "According to the Scrippe: Speeches, Speech Order, and Performance in Shakespeare's Early Printed Play Texts." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1342978643.

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8

Busler, Marcia L. "No Fear Here: The Authentic Performance of Shakespeare." Ohio Dominican University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=odu1544035305070553.

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9

Souza, Emiliano Daniel de. "Shakespeare, television, and painting." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/93787.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2010<br>Made available in DSpace on 2012-10-25T03:24:44Z (GMT). No. of bitstreams: 0<br>Este estudo trata da adaptação de peças de William Shakespeare à televisão. Abrange, em especial, duas produções da BBC Shakespeare Series, a saber, Antony and Cleopatra (1981), dirigida por Jonathan Miller, e Cymbeline (1983), dirigida por Elijah Moshinsky. Ambas foram filmadas numa época em que a maioria dos produtores e

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10

Bryne, Catherine. "The Pedagogy of Shakespeare & Company." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1398.

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The Pedagogy of Shakespeare & Company examines in several ways the principles and practices of actor training at Shakespeare & Company of Lenox, Massachusetts. Chapter 1 is a narrative of my personal experience at the Month-long Intensive in Lenox, elaborating its multiple components. Chapter 2 recounts the genesis of the company and looks at the influences that shaped its identity. Chapter 3 is a more specific attempt to define the pedagogy developed by Tina Packer, Kristin Linklater and the other founders of Shakespeare & Company and to provide some contextual analysis. The remainder of

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11

Hampton-Reeves, Stuart. "Henry VI in performance : history, culture and Shakespeare reproduced." Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/4201/.

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The long-neglected Henry VI plays have been 'rediscovered' by a number of post-war productions which have found new ways of bringing Shakespeare's civil war plays to modern audiences. The Wars of the Roses, directed by Peter Hall and adapted by Hall and John Barton, established the theatrical vitality of the plays and defined them for a generation as 'national' dramas. I argue that many of the most important and mythologised aspects of that production were contingent upon the difficult situation of the RSC in the early 1960s and that, in fact, the 'tradition' of playing the Henry VI plays as n

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12

Oliver, Emily Kate. "Shakespeare and German reunification : the interface of politics and performance." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4641/.

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The thesis examines the relationship between politics and Shakespeare performance in eastern Germany before, during, and after reunification in 1990. Distancing itself from the assumption that performance acts as a directly influential political tool, it situates theatre practitioners and institutions within their economic, political, and cultural contexts. By analysing a wide range of case studies from Berlin as well as more peripheral towns and cities, I argue that German Shakespeare performance’s capacity for political intervention, both before and after reunification, was limited by theatr

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13

Cook, Amy. "Shakespeare, the illusion of depth, and the science of parts an integration of cognitive science and performance studies /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3217529.

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Thesis (Ph. D.)--University of California, San Diego and University of California, Irvine, 2006.<br>Title from first page of PDF file (viewed September 5, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 253-272).

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14

Sun, Yanna. "Shakespeare in China." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2008. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1219421137948-00200.

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Since Shakespeare was introduced to China at the beginning of the 20th Century, the Chinese have translated the English playwright's plays and performed them on the Chinese stage either in the form of spoken drama or the traditional Chinese opera. No matter which approach is chosen to perform the dramatist, it is an intercultural form in introducing him to the Chinese.

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15

Parker, Herb. "Acting Shakespeare is Outrageous!: Playing the Bard for Beginners." Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/0415790972.

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Performing the work of William Shakespeare can be daunting to new actors. Author Herb Parker posits that his work is played easier if actors think of the plays as happening out of outrageous situations, and remember just how non-realistic and presentational Shakespeare’s plays were meant to be performed. The plays are driven by language and the spoken word, and the themes and plots are absolutely out of the ordinary and fantastic―the very definition of outrageous. With exercises, improvisations, and coaching points, Acting Shakespeare is Outrageous! helps actors use the words Shakespeare wrote

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16

Lyons, Lisa Lynn. "A performance in musical theatre: Singular sensations in Shakespeare and song." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1712.

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17

Rogers, Jami. "Shakespeare and the thirties : representations of the past in contemporary performance." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/2855/.

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This thesis examines the performance history of Shakespeare focusing on those productions performed as a period analogue of the nineteen-thirties. It engages with the material in two ways. It first attempts to locate influences that have led to the development of this style of performance, finding correlations with both theatrical and televisual drama. It then examines the productions as performed, focusing on the construction of scenography and actor performances. Throughout the analysis, this thesis engages with shifts in the representation of the historical past on both stage and screen.

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18

Hokama, Rhema. "Poetry, Desire, and Devotional Performance From Shakespeare to Milton, 1609-1667." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:23845451.

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Poetry, Desire, and Devotional Performance from Shakespeare to Milton, 1609-1667 documents and analyzes the ways post-Reformation devotional and worship practices inflected early modern English poetic conceptions of erotic desire and intimacy. My study focuses on two specific Reformation religious developments—the official Anglican ceremonialism of the state church and the popular Reformed predestinarianism—each of which enjoyed a widespread following during the roughly sixty years bracketed by the lives of Shakespeare and Milton. While religious historians often treat state-sanctioned worship

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19

Buntaine, Olivia G. "Howls on the Heath: Shakespeare Ensembles in American Prisons." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/714.

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This thesis discusses the process and value of theatrical and performance-based rehabilitation programming in prisons, specifically focusing on the non-profit organization Shakespeare Behind Bars (SBB). SBB has programs in two prisons in which they read, rehearse and produce a Shakespeare play annually. Using performance theories, theories of rehabilitation and personal interviews, this thesis aims to develop an understanding of the way culture functions in prisons, how the act of performance changes that functioning, and how these programs effect incarcerated people. This thesis includes anal

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20

Dixon, Luke. "The performance of gender with particular reference to the plays of Shakespeare." Thesis, Middlesex University, 1998. http://eprints.mdx.ac.uk/6384/.

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An analytical history of the representation of gender on the English stage from Shakespeare to modern times is followed by a detailed examination of the National Theatre of Great Britain's production of 'As You Like It' in 1967, the first production of a play by Shakespeare for over three hundred years in which the female parts were played by male actors. Subsequent cross-cast productions of Shakespeare's plays by Glasgow Citizen's Theatre, Prospect theatre Company, Lindsay Kemp, Theatre du Soleil and Goodman Theatre Chicago are discussed and the views of directors and critics of those product

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21

Betts, Lindsey N. "The Performance of Melancholy: Understanding the Humours through Burton, Jonson, and Shakespeare." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1368.

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This thesis aims to explore the relationships between dramatic texts and the Elizabethan topic of the humours. It covers Burton's Anatomy of Melancholy, Jonson's plays Every Man Out of His Humour and Every Man in His Humour, and Shakespeare's plays Hamlet and As You Like It. Each of these works provides a glimpse into society and its opinions specifically on melancholy, from its most basic and complex definitions to how it is perceived and addressed.

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22

Sachon, Sue. "Daggers of the mind : perceiving Shakespeare's theatre." Thesis, Royal Holloway, University of London, 2013. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589628.

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My research explores the intimate relationship between object, language and perception in Shakespeare's plays. Using an analytical approach inspired by basic principles of phenomenology, I consider how Shakespeare's language influences our perception of real and non-present stage properties and set: how he imbues imaginary objects with an almost palpable sense of presence, and engineers our perception of onstage objects, subtly shaping and augmenting visual stimuli with verbal imagery. Through close reading centred on five plays, I explore how Shakespeare's fusion of word and object is enginee

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23

Paul, Joseph Gavin. "The imprints of performance : editorial mediations of Shakespeare's drama." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2853.

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The Imprints of Performance is motivated by a longstanding interest in the fundamental interpretive challenges that face readers of printed plays. Reading a playtext is a means of dramatic realization that is absolutely unlike live performance, and it is not without good reason that theoretical formulations of page and stage tend to stress the incompatibility of the two modes. Without denying that printed plays distort and fragment performance practice, my dissertation negotiates an intractable debate by shifting attention to points of intersection in the rich printed and performance histories

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24

Martindale, Sarah. "An investigation of the status of 'Shakespeare', and the ways in which this is manifested in audience responses, with specific reference to three late-1990s Shakespearean films." Thesis, Aberystwyth University, 2011. http://hdl.handle.net/2160/24105360-4ba3-4b40-9dc0-43756756bc00.

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The status of ‘Shakespeare’ is an incredibly intricate cultural construct, which is influenced by circumstantially contingent hierarchies of value, academic discourses, institutional processes, educational curricula, and media techniques. Having explored the context in which Shakespeare currently stands as an icon through the review of existing scholarship, this thesis employs a combined methodology to facilitate an investigation of some of the ways in which the playwright and his works are significant in contemporary culture, by specifically examining three late-1990s Shakespearean films and

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25

Briggs, Terese C. "What You Will: An Endeavor in Adapting Shakespeare to New Media." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/778.

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These scripts are the attempt to take three of Shakespeare's plays, Coriolanus, All's Well that Ends Well, and Much Ado About Nothing, and adapt them to create a type of video game called a visual novel.

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26

Southall, Sally. "Pedagogy and Performing Shakespeare's Text: A Comparative Study." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1832.

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ABSTRACT PEDAGOGY AND PERFORMING SHAKESPEARE’S TEXT: A COMPARATIVE STUDY By Sally Parrish Southall A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University Virginia Commonwealth University, 2009 Director: Dr. Noreen C. Barnes Professor, Director of Graduate Studies School of the Arts In the Master of Fine Arts program in Theatre Pedagogy at Virginia Commonwealth University, and in a second program, the Master of Letters/Master of Fine Arts in Shakespeare and Renaissance Literature in Performance at Mary Baldwin Coll

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27

Pleiss, Morris Ann Marie. "Possess His Books: Shakespeare, New Audiences, and Twenty-First Century Performances of The Tempest." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/4897.

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This dissertation examines how actors and directors are adapting and reimagining Shakespeare's plays so as to address the social concerns of their audiences at the beginning of the twenty-first century. At the center of my study is this question: how and why do the 400-year-old plays of a British writer speak to issues of class, race, gender, transglobalism, violence, and isolation in contemporary America? My dissertation answers this question by shifting the focus from established Anglo-American Shakespearean companies to

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28

Rhinow, Daniela Ferreira Elyseu. "Visões de Otelo na cena e na literatura dramática nacional do século XIX." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-03122007-101354/.

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A tese \"Visões de Otelo na cena e na literatura dramática nacional do século XIX\" trata da chegada da personagem Otelo nos palcos do Rio de Janeiro no século XIX e de suas apropriações em obras de autores brasileiros do período. Propondo-se a elencar os textos encenados nos teatros cariocas, o trabalho trata de representações do original shakespeariano, em inglês ou em traduções italianas; de versões francesas de cunho classicista; de óperas italianas sobre o tema; e de traduções portuguesas trazidas por companhias estrangeiras. A recepção de tais encenações pela crítica nacional é contempla

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Scoville, Tamara Lynn. "The Play's the Thing: Investigating the Potential of Performance Pedagogy." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2157.pdf.

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30

Rossman, Paula. "MISTRESS QUICKLY IN THE MERRY WIVES OF WINDSOR: A PERFORMANCE MONOGRAPH." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3579.

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The subject of my Thesis and accompanying Monograph Document in partial fulfillment of the requirements for the Master of Fine Arts degree / Performance Track is my work in the role of Mistress Quickly from William Shakespeare's The Merry Wives of Windsor. In my research, I will be focusing on a number of issues, many of which will bear direct relevance to and undoubtedly, more fully inform, my interpretation in performance. A key element of the performance-related side of my research will be an exploration of the cultural, historical, political, economic, and religious attributes of Shakespea

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31

Thomas, Deborah. "Lessons of Vocal Coaching Shakespeare in Hollywood: A Production Analysis." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1075.

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This thesis is a personal narrative of my experience as vocal coach on a production of Ken Ludwig's Shakespeare in Hollywood directed by BT McNicholl and performed in the Raymond Hodges Theatre of Virginia Commonwealth University in November 2005. Chapter one covers my identification of the play's vocal and aural challenges; what I did to prepare for those challenges; the research I gathered on 1930s Hollywood prototypes for the play; an examination of Shakespearean verse, especially that in "A Midsummer Night's Dream" and how Ludwig synthesized Shakespeare's verse with that of his own.Chapter

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32

Harriman-Smith, James. "Twin stars : Shakespeare and the idea of the theatre in the eighteenth century." Thesis, University of Cambridge, 2016. https://www.repository.cam.ac.uk/handle/1810/253766.

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This thesis draws the line of a rise and a fall, an ironic pattern whereby the English stage of the long eighteenth century, in its relation to Shakespeare in particular, first acquired powerful influence, and then, through the very effects of that power, lost it. It also shows what contemporary literary criticism might learn from the activities that constitute this arc of evolution. My first chapter interrogates the relationship between text and performance in vernacular writings about acting and editing from the death of Betterton in 1710 to the rise of Garrick in the middle decades of the c

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Brasherfons, Lukas. "Unlimited passion: the opposing schools of stage violence in Shakespeare and Kane." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5424.

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William Shakespeare and Sarah Kane are playwrights who for drastically different reasons have left indelible impacts upon the theatrical world. A key factor in each of their plays is the presentation of violence. Shakespeare uses violence for observable, orthodox reasons of driving the plot forward, while Kane uses it for sensory effect, social commentary, and for subverting traditional narrative expectations. This study examines how violence and fighting work as dramaturgical tools in these playwrights’ work, by individual examination, juxtaposition, and the use of other pieces of drama to in

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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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Kilgore, Kelly. "Lavinia's Voice: Verbal and Nonverbal Expression in Shakespearean Performance." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5648.

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This performance thesis will investigate verbal and nonverbal expression as applied to Shakespearean text, through the lens of my experience rehearsing and performing the role of Lavinia in Titus Andronicus at the Orlando Shakespeare Theater. Lavinia is a Shakespearean character, and Shakespeare is immediately associated with language. However, Lavinia is interesting because the role's vocal work will require both verbal and non-verbal experimentation. My thesis role will be an exceptional opportunity to utilize the various language tools and techniques I have learned in my MFA coursewo

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Tuttle, Dean. "Re:framing : an investigation of performance at the intersection of spaces /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030912.104418/index.html.

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Paradis, Samantha Lynn. "Shakespeare, hip hop, and politics: stage managing Rome sweet Rome at the University of Iowa." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5594.

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Rome Sweet Rome, written, directed, composed, and choreographed by the Q Brothers Collective, is a hip-hop musical adaptation of William Shakespeare’s Julius Caesar. The University of Iowa Department of Theatre Arts produced Rome Sweet Rome in the fall of 2016 as part of the Mainstage season and the 2016-2017 Partnership in the Arts production. This thesis explores the unique production process of Rome Sweet Rome from the stage manager’s perspective. Since leadership, communication, and organization are essential attributes of stage managers, Samantha Paradis’ personal leadership, communicatio

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Ortega, Laura M. "The Commodification of Queer Virgins in Shakespeare, Spenser, and Keats." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1905.

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The purpose of this thesis was to explore selected works from William Shakespeare, Edmund Spenser, and John Keats, in order to expose textual instances of feminist thought. This analysis was aided with feminist theorists falling under the main strains of queer theory, materialism, and gender performance. Specifically, this thesis focused on the ways in which women, particularly virgin daughters, were viewed as property by their male kin. It also looked at how these women engaged in various symbolic masquerades and/or actual cross-dressing as a response to the aforementioned phenomenon. Finally

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Brinkman, Eric M. "Inclusive Shakespeare: An Intersectional Analysis of Contemporary Production." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595003420023716.

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Passini, Vanessa. ""Unsex Me Here...:" Looking at Gender in Nude Performance." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1794.

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"Unsex Me Here…" is an examination of our bodies, what they mean in terms of gender and power, and why they mean what they do. Plucked from Lady Macbeth’s infamous soliloquy, the title suggests the stripping away of something essential that transforms. Sex is not the right word, but gender is. Often, these two are mistaken and interchanged. Myths that support our social structure exist at the intersection of sex and gender. In this production, I collaborated with Pete Guither of the Living Canvas to challenge notions of gender in different textual mediums (via the written text of Shakespeare’s

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Johnson, Matthew. "DEVELOPING A MASTERS OF FINE ARTS IN CLASSICAL PERFORMANCE FOR CINCINNATI SHAKESPEARE COMPANY: THE TRANSFORMATION OF AN EDUCATION DEPARTMENT INTO AN EDUCATION." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3013.

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The thesis focuses on the development of a fully accredited Masters of Fine Arts in Classical Performance degree program for Cincinnati Shakespeare Company (CSC). Chapter 1 is a narrative of the author’s experience with CSC’s Young Company, the touring and teaching artist arm of the educational department. This chapter establishes culture of the company and the context of the program, the argument for the thesis. Chapter 2 is an exploration of existing and defunct MFA programs in Classical Performance or related fields of study, the steps toward NAST accreditation and curriculum development.

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Lee, Chelsea Megan. "The Walking Dead: Rhetorical Manipulations of Death in Early Modern Performance." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8604.

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Death's presence on the Renaissance stage, and in Renaissance life, has been noticed and remarked upon by scholars in the past. The role of death in the early modern period was in flux due to major changes in religious and social life. During this time, the relationship between the living and dead was put into question, and the way the culture handled preparing for death began to change in significant, if subtle, ways. Renaissance drama became a stage for exploring and confronting the presence of death in life. King Lear and Hamlet remain two of Shakespeare's most enduring meditations on death

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Blackwell, Anna. "The contemporary Shakespearean actor as the site of adaptive encounter." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/11079.

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This thesis investigates the cultural uses and implied signifying practices of the work of actors who are popularly and frequently described as 'Shakespearean.' Though ubiquitous figures within culture, there is a dearth of criticism which questions what qualities are invoked in the use of the term ‘Shakespearean’ and what implicit judgements of value or taste, class or cultural function are at work in its attribution. Although works such as Carol Chillington Rutter’s Clamorous Voices have analysed the figure of the female Shakespearean, moreover, the male Shakespearean remains largely an unex

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Burt, Elizabeth Marie. ""Such a deal of wonder" : structures of feeling and performances of The winter's tale from 1981 to 2002 /." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd920.7.

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Pedersen, Elizabeth B. "GOMDS - GRUMPY OLD MEN DOING SHAKESPEARE; THE COMEDY OF ERRORS AS METAPHOR FOR LIFE, AGING, AND BUILDING COMMUNITY." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4790.

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This thesis explores the process of building community over time, through collaboration, to rehearse and produce a portable production of Shakespeare's The Comedy of Errors, looking at the elements of time, trust and age with an ensemble of ten men, all actors over the age of 55. The building of trust over time was vital to the production process and the actors had the time to embody their roles and the language of the play. We look at the questions “why this play,” “why all men?” and “why theatre?” and investigate the physical nature of the play and its violence a la Three Stooges or Pun

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Robinson, Brooklyn D. "Playing the Fool: Feste and Twelfth Night." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/865.

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Twelfth Night does not end with the acceptance and consummation of these “alternative couples.” Instead, the reveal of the twins has a clarifying effect and the characters are returned to the partner who is considered socially acceptable. The final relationships are heterosexual matches that do not stray from class or any other societal confines. Indeed, the story serves to reinforce common standards equating alternative love with madness and proper love with lucidity. Standing outside of the couplings are only bachelor men: Antonio, Sir Andrew, Feste and Orsino’s pages. In effect, these men a

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Daniels, Jonelle. "The interaction of words and music in the Shakespeare settings of Peter Warlock (Philip Heseltine) : writer/composer; score/performance." Thesis, Royal Holloway, University of London, 2011. http://repository.royalholloway.ac.uk/items/c2e58a4a-6d1b-ed22-1e36-df364b5e756e/17/.

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Williams, Nora Jean. "Between performances, texts, and editions : The Changeling." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/22126.

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This thesis is about the ways in which Thomas Middleton and William Rowley’s play The Changeling has been edited, performed, and archived in the twentieth and twenty-first centuries. It proposes a more integrated way of looking at the histories of performances and texts than is usually employed by the institutions of Shakespeare and early modern studies. Crucially, it suggests that documented archival remains of performance should be admitted as textual witnesses of a play’s history, and given equal status with academic, scholarly editions. I argue that—despite at least a century of arguments

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Knapp, Richard John. "A consideration of the relationship between performance and criticism in the work of Shakespeare (from the Renaissance to the Restoration." Thesis, University of the West of England, Bristol, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416382.

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Ginder, Brittany. "Interpreting Invisibility: In Defense of Regan." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3431.

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Most scholarship regarding Shakespeare’s King Lear rests on the analysis of Lear and Cordelia, with the odd reference to the eldest daughter, Goneril, and brief homages to the Gloucester subplot. Lear’s middle daughter, Regan, is rarely mentioned at all, unless it is in conjunction with one of her more scholastically popular sisters. Within these marginalized moments of notice, Regan is routinely simplified as being just another sinful sister, fitting nicely into the accepted binaries of good and evil outlined within the play. Despite the fact that most binaries, like characters, are flawed, R

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