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Relevant bibliographies by topics / Shakespeare, William, 1564-1616 Dramatic production / Dissertations / Theses

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Dissertations / Theses on the topic 'Shakespeare, William, 1564-1616 Dramatic production'

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Published: 4 June 2021

Last updated: 29 July 2024

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1

Edelman, Charles. "The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare." Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phe21.pdf.

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2

Wong, Dorothy Wai Yi. "Shakespeare in Hong Kong : transplantation and transposition." HKBU Institutional Repository, 1995. http://repository.hkbu.edu.hk/etd_ra/33.

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3

Lambert, Pamela Faye. "Acting in Shakespeare: Singular sensations in Shakespeare and song." CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1443.

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The purpose of this project was to determine if it was possible to take Shakespeare's text and, preserving the language, present it in a way which would make it more accessible to a modern audience. It was also important to maintain the appropriate acting style and technique that distinguishes classical acting.

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4

Barrus, David W. "Hamlet : the design as process." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Theatre and Dramatic Arts, c2012, 2012. http://hdl.handle.net/10133/3389.

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This thesis represents the written portion of the Degree Requirements of the Master of Fine Arts in Theatre Design. The Thesis production of HAMLET, by Wm. Shakespeare (edited by Brian C. Parkinson), was the University of Lethbridge Department of Theatre and Dramatic Arts third show of the 2011 – 2012 Mainstage Theatre season, running February 14 – 18, 2012, performed at the University Theatre in the University of Lethbridge Centre for the Arts, Lethbridge, Alberta. HAMLET was directed by Brian C. Parkinson, with the assistant direction of L. Jay Whitehead and Yvonne Mandel. Contained within t

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5

McPherson, Leith. "Shakespeare's verse and the training actor." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2009. https://ro.ecu.edu.au/theses/163.

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A focus on the clarity of the verse in the preparation and performance of Shakespeare's plays has been seen by some modem directors and teachers as an impediment to effective storytelling. Contemporary directors and actors in both film and theatre are focussing more on making the text sound 'natural', rather than formally structured, in order to improve the accessibility of the text for a modern audience that is more familiar with interpreting a visual world than an aural one, and more appreciative of a naturalistic acting technique rather than the heightened commitment required for Elizabetha

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6

Tuffin, Zoe. "Claiming Shakespeare for our own: An investigation into directing Shakespeare in Australia in the 21st century." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1285.

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Shakespeare has been performed on Australian stages for over two hundred years, yet despite this fact, in Australia we still treat Shakespeare as a revered idol. It seems that, as a nation of second-class convicts, consciously or not, we regard Shakespeare as a product of our aristocratic founders. However deeply buried the belief may be, we still think that the British perform Shakespeare ‘the right way’. As a result, when staging his plays today, our productions suffer from a cultural cringe. This research sought to combat these inhibiting ideologies and endeavoured to find a way in which Au

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7

Burnett, Linda Avril. "The argument against tragedy in feminist dramatic re-vision of the plays of Euripides and Shakespeare /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35857.

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This dissertation examines the arguments against tragedy offered by feminist playwrights in their "re-visions" of the plays of Euripides and Shakespeare.<br>In the first part, I maintain that feminist dramatic re-vision is one manifestation of an unrecognized tradition of women's writing in which criticism is expressed through fiction. I also argue that the project of feminist dramatic re-vision embodies a feminist "new poetics."<br>In the second part, I examine the aesthetics and politics of tragedy from a feminist perspective. Feminist arguments against tragedy are, in effect arguments again

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8

Green, Bryony Rose Humphries. "A book history study of Michael Radford's filmic production William Shakespeare's The Merchant of Venice." Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1710/.

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9

Coston, Micah Keith. "The dramatic role of astronomy in early modern drama." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:09da8bf1-cf3e-4df6-816b-be7fb13f1753.

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By examining five types of astronomical and celestial phenomenaâcomets, constellations, the zodiac, planets, and the music of the spheresâthis thesis posits not only that early modern dramatists were influenced by established and emerging natural philosophy as habits of thought that manifested in their writing, but also that astronomical phenomena operate within the drama, performance, and in the theatre as elements for creating and developing a distinctly spatial dramaturgy. Using theories from the spatial turn, this thesis maps the positions, edges, disturbances, and motions of celesti

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10

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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11

Marie, Laurence. "L'acteur peintre de la nature. Esthétique du tableau et premières théories du jeu théâtral au XVIIIème siècle (France, Angleterre, Allemagne)." Thesis, Paris 4, 2008. http://www.theses.fr/2008PA040147.

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Cette thèse entend montrer comment la naissance de la théorie du jeu théâtral au XVIIIe siècle contribue à la mise en cause du modèle mimétique classique au profit d'un nouveau modèle expressif. Considérant trois aires culturelles (la France, l'Angleterre et l'Allemagne), elle adopte une démarche chronologique, qui vise à souligner les changements dans la façon d’entendre le parallèle entre l'acteur, le peintre et l’orateur. Il apparaît ainsi que la théorie du jeu tire sa légitimité d'une réhabilitation du spectacle visuel, qui donne lieu à une esthétique du tableau scénique mettant en lumière

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12

Rivier, Estelle. "L'espace scénographique dans les mises en scène des pièces de William Shakespeare en France et en Angleterre au vingtième siècle." Orléans, 2003. http://www.theses.fr/2003ORLE1049.

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Afin de déceler les sens divers que transmettent les pièces de Shakespeare, ce travail propose de décoder les constructions scénographiques bâties par les metteurs en scène français et britanniques du vingtième siècle. Comprendre les motivations artistiques de ces derniers suppose nécessairement une relecture pointue de la lettre, de même que, à la lumière de la gestuelle, de l'architecture théâtrale, de l'occupation de l'aire de jeu, des décors, des costumes, des couleurs, des éclairages et des matières, d'autres interprétations des drames shakespeariens se font jour. Ainsi, ce qui est vu est

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13

Benson, Fiona. "The Ophelia versions : representations of a dramatic type, 1600-1633." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/478.

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14

Khamphommala, Vanasay. "Spectres de Shakespeare dans l’œuvre de Howard Barker." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040190.

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Howard Barker fait ses armes de dramaturge en composant en 1971 une pochade sur Henry V de Shakespeare et signe trente ans plus tard l’un de ses textes les plus aboutis avec Gertrude – The Cry, variation sur le thème d’Hamlet. À la faveur de ces réécritures et de quelques autres (notamment Seven Lears en 1989), décrire le dramaturge contemporain comme le « Shakespeare de notre époque », expression attribuée à Sarah Kane, s’est rapidement imposé comme un lieu commun, relayé tant par la presse que par la critique. Pourtant, en dépit de certaines caractéristiques communes, leurs œuvres apparaisse

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15

Magsam, Joshua. "“The Undiscovered Country”: Theater and the Mind in Early Modern England." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12150.

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ix, 203 p. : ill.<br>As critic Jonathan Gottschall notes, "The literary scholar's subject is ultimately the human mind - the mind that is the creator, subject, and auditor of literary works." The primary aim of this dissertation is to use modern cognitive science to better understand the early modern mind. I apply a framework rooted in cognitive science--the interdisciplinary study of how the human brain generates first-person consciousness and relates to external objects through that conscious framework--to reveal the role of consciousness and memory in subject formation and creative interpre

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16

Monah, Dana. "La réécriture théâtrale à la fin du XXe siècle. Le texte et la scène." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030138.

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Cette thèse se propose d’interroger les enjeux esthétiques et culturels de la réécriture théâtrale contemporaine à partir de trois questions fondamentales : Qu’est-ce que l’on réécrit ? Comment est-ce que l’on réécrit ? A quelles fins/ pourquoi est-ce que l’on réécrit ? Les différentes étapes de notre recherche seront traversées par un souci permanent de re-définir la réécriture en tant que pratique hybride, située à la croisée d’une pratique scripturale et d’une pratique scénique. Après avoir défini la réécriture à la lumière des relations qu’elle entretient avec des pratiques liminaires, nou

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17

Berger, Laurent. "L’atelier du metteur en scène shakespearien et la fabrication du spectacle en Europe occidentale depuis 1945." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100174/document.

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Ce travail s’attache à identifier et à décrire les principaux processus, outils et concepts de la mise en scène théâtrale shakespearienne à partir de l’étude d’environ 200 spectacles créés en France, Angleterre, Allemagne, Italie ou Espagne après 1945. Un premier mouvement présente le contexte historique de la mise en scène de Shakespeare et les filiations et influences artistiques qui s’y développent, pour voir en quoi elles conditionnent les créations individuelles. Le deuxième mouvement décrit différents aspects de la notion de matériau shakespearien pour en montrer la richesse et la pertin

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18

Edelman, Charles. "The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare / Charles Edelman." Thesis, 1988. http://hdl.handle.net/2440/18714.

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19

"Aspects of music in Shakespearean drama." 2004. http://library.cuhk.edu.hk/record=b5896377.

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Wong Ka-ki, Katrine Wong.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2004.<br>Includes bibliographical references (leaves 123-132).<br>Abstracts in English and Chinese.<br>Acknowledgements --- p.vi<br>Chapter Chapter One --- Introduction --- p.2<br>Chapter Chapter Two --- Medical Aspects in Shakespearean Drama --- p.11<br>Chapter Chapter Three --- """If music be the food of love ´ؤ´ح：： Music as an Indicator of a Person's Attitude toward and Position in Love" --- p.47<br>Chapter Chapter Four --- "Music: ""The patroness of heavenly harmony´ح" --- p.81<br>Chapter Chapter Five ---

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20

Kruger, Alet. "Lexical cohesion register variation in transition : "The merchants of Venice" in afrikaans." Thesis, 2000. http://hdl.handle.net/10500/2988.

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On the assumption that different registers of translated drama have different functions and that they therefore present information differently, the aim of the present study is to identify textual features that distinguish an Afrikaans stage translation from a page translation of Shakespeare's The Merchant of Venice. The first issue addressed concerns the nature and extent of lexical cohesion in these two registers. The second issue concerns my contention that the dialogue of a stage translation is more "involved". (Biber 1988) than that of a page translation. The research was conducted

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