Dissertations / Theses on the topic 'Theater|Theater History'
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Cooperman, Robert Russell. "Nisei Theater: history, context, and perspective /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487933648648913.
Full textCrawley, James J. "The history of the Wichita Community Theater." Thesis, Wichita State University, 2009. http://hdl.handle.net/10057/2516.
Full textThesis (M.A.) -- Wichita State University, College of Liberal Arts and Sciences, Dept. of History
Schneider, Ulrich Johannes. "Theater in den Innenräumen des Denkens." Universitätsbibliothek Leipzig, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-149076.
Full textGarcia, Javier A. "Re-remembering the Royal Theater: Public History, Place, and Urban History." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/148542.
Full textM.A.
The Royal Theater was a public space which happened to be located in the path of the proposed Crosstown Expressway. From preliminary research, including interviews, it is clear the community feared displacement. During the early twentieth-century, before the invention of television, the theater existed as a place of entertainment for the entire community. Children as well as adults attended the theater as a form of escapism and during the days of segregation, The Royal Theater provided an entertainment space for African Americans which could not be found at White theaters. This thesis will attempt to explore what role The Royal Theater, a significant public space in the heart of this community, played in the tumultuous time of the proposed Crosstown Expressway.
Temple University--Theses
Kahoa, Erin. "From Fact to FarceThe Reality Behind Bulgakov's Black Snow." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1447719301.
Full textLasik, Franklin James. "Documentary theatre: dramatizing history and historicizing dram." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407236436.
Full textJakes, Dhruti Paleja. "The theater as an instrument of memory." Thesis, Georgia Institute of Technology, 1995. http://hdl.handle.net/1853/23207.
Full textRo, Sung-Woo. "Space machine : the evolution of theater and its development." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/21751.
Full textHenne, Meredith Margaret. ""Miraculously Saved": Richmond and the 1811 Theater Fire." W&M ScholarWorks, 2007. https://scholarworks.wm.edu/etd/1539626537.
Full textKarr, Kasi. "Indoctrinated Spheres: Intergenerational Education and Gender Constructs in Githa Sowerbys Rutherford and Son." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1450101317.
Full textSchlueter, Jennifer Elissa. ""This is what it is to be human": the drama and history of Charles L. Mee Jr." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1400147660.
Full textGossett, Neeley. "Puppets, politics, and postmodernity : Paula Vogel speaks through theater history /." Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/gossettn/neeleygossett.html.
Full textSnyders, Theresa Lynne. "History of the University of Iowa Opera Theater 1938-1998." Diss., University of Iowa, 1998. https://ir.uiowa.edu/etd/5362.
Full textKremer, Johanna. "Die Geschichte des deutschsprachigen Theaters in Montreal von seinen Anfängen 1953 bis 1997." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0005/MQ43898.pdf.
Full textBillings-Blankenship, Alexandra. "The moment before, the moment before." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523258.
Full textThe actor's journey of self to character from the dressing room to the stage will be analyzed by way of Constantine Stanislavsky's Event Analysis and the Process of Evaluation, using Richard Schechner's Liminal Space as the foundation. Stanislavsky breaks down the mechanics of what happens to an actor as they go from one event to the next, and Dr. Schechner invites the actor's infinite imagination to live truthfully in the middle of that transition.
This process consists of constant practice, and the ability to dream. By crossing a threshold from one event to the next and by examining the space in between events, the actor learns the mechanics, the equations, and then, most importantly, to "un- think" them.
Lishner, Benjamin C. "A scenic design for Adam Rapp's Red Light Winter| Creating two universes on a small stage." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591633.
Full textAdam Rapp's Red Light Winter, produced by the University Players at California State University, Long Beach is a play that explores the difference between memory, nostalgia, and reality. The creation of an effective scenic design involves zeroing in on the central meaning of the piece and formulating through metaphoric and poetic associations a stage design that effectively communicates these associations and meanings to the audience. Red Light Winter is ultimately about how people struggle to reconcile their memories, the reality of the present, and strong feelings of nostalgia and how these three things can become intertwined, sometimes to disastrous effect. This visual and poetic association allows for the creation of a room space on stage that forces the audience to look metaphorically through the walls of the room into a confined and claustrophobic memory space. The creation of this room by definition also creates a space outside this room. Just as the audience is peering through the walls of the room and into the memories of the characters, all three characters at some point must see beyond their own memories and catch a glimpse of the harsh reality - the "outside" - of their lives.
Miller, Lorin. "From monody to modernity| An examination of the connection between early Baroque opera and contemporary musical theatre." Thesis, California State University, Dominguez Hills, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1525619.
Full textMonody in musical dramatic presentations emanates from an early Baroque opera genesis and exists in multiple forms in the musical theater of today. By examining the Baroque characteristics of monody within the opera genre, a direct comparison between Monteverdi's opera Orfeo (1607) and Schönberg's musical Les Miserables (1985) can be established. This correlation becomes pronounced upon the exploration of four specific examples: through the implementation of recitative and aria, the interdependent use of duet and chorus with the solo voice, the innovative incorporation of atypical tonalities within the melodic line, and the inventive application of instrumentation to enhance vocal expression in each work. Just as Monteverdi designed his recitative to express the emotion of the libretto, so Schönberg composes dynamic, emotional songs to enhance the epic story of Les Miserables. Though composed centuries apart, both works employ similar melodic, rhythmic, harmonic and orchestral constructs, confirming a similar genesis.
Brewster, Shelby Elizabeth. "Resisting the Body Invasion: Critical Art Ensemble, Tactical Media, and the Audience." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437149634.
Full textGray, Stephen C. "A history of the Chicago off-loop theatre explosion: 1969 to 1989 /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487946103567829.
Full textBélanger, Louis. "Le jeune théâtre dans la champ théâtral québécois, évolution idéologique, 1950-1985." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26374.pdf.
Full textSpedalieri, Francesca. "Innovation and Tradition: Kantor, Grotowski, and the Sicilian School in the Theatre of Emma Dante." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1310143871.
Full textPieschel, Alex. "Character in the cue space| An analysis of part scripts in Shakespeare's "Coriolanus" and "Julius Caesar"." Thesis, The University of Alabama, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1584499.
Full textThis paper aspires to perform an analysis of Early Modern character by thinking of character as a formative process, spanning playwriting to part-learning to dramatic performance. My analysis, which will focus on Shakespeare's Coriolanus and Julius Caesar, dismisses any notion of the Shakespeare play as holistic or complete text. I draw from Tiffany Stern and Simon Palfrey's Shakespeare in Parts, which establishes a methodology for the analysis of "part" or "cue" scripts, texts that feature a single character's lines amputated from the larger play.
In the Early Modern period, an actor's "part" or "side" would have included his own lines and the cues he needed to know to enter the scene or begin speaking. The part would have been learned in isolation, so the actor would have relied on cues to understand how his role fit into the larger play. I argue that the function of isolated parts and cues, or the last three to five words of any character's lines, is currently underestimated in critical analysis of Shakespeare texts, especially in literary close readings that focus on "character."
The textual space that Palfrey and Stern label the "cue space" continues to be underestimated, I imagine, because critics still view this space as an overly speculative construct. It is true that we cannot speak concretely about what an Early Modern actor would or would not have done, but we can highlight the implications of a potential performance decision. Cues, sites of stability surrounded by malleability, are ripe with potential performance decisions. By drawing from a methodology grounded in an understanding of parts and cues, we may more clearly contextualize the combative collaboration between actor and playwright through which character is formed.
Willmer, David. "Theatricality, mediation, and public space : the legacy of Parsi theatre in South Asian cultural history /." Online version, 1999. http://bibpurl.oclc.org/web/21701.
Full textWood, Jennifer Linhart. "Sounding Otherness in Early Modern Theater and Travel Writing." Thesis, The George Washington University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3587221.
Full textMy dissertation explores how sound informs the representation of cross-cultural interactions within early modern drama and travel writing. "Sounding" implies the process of producing music or noise, but it also suggests the attempt to make meaning of what one hears. "Otherness" in this study refers to a foreign presence outside of the listening body, as well as to an otherness that is already inherent within. Sounding otherness enacts a bi-directional exchange between a culturally different other and an embodied self; this exchange generates what I term the sonic uncanny, whereby the otherness interior to the self vibrates with sounds of otherness exterior to the body. The sonic uncanny describes how sounds that are perceived as foreign become familiar through the vibratory touch of the soundwave that attunes a body to its sonic environment or soundscape. Sounds of foreign Eastern and New World Indian otherness become part of English and European travelers; at the same time, these travelers sound their own otherness in Indian spaces. Sounding otherness occurs in the travel narratives of Jean de Lèry, Thomas Dallam, Thomas Coryate, and John Smith. Cultural otherness is also sounded by the English through their theatrical representations of New World and Oriental otherness in masques including The Masque of Flowers, and plays like Robert Greene's Alphonsus, respectively; Shakespeare's The Tempest combines elements of East and West into a new sound—"something rich and strange." These dramatic entertainments suggest that the theater, as much as a foreign land, can function as a sonic contact zone.
Heidt, Patsy Ruth. "The history of the theatre in Lake Charles, Louisiana from 1920 to 1950." Lake Charles, La. : McNeese State University, Frazar Memorial Library, Dept. of Archives and Special Collections, 2009. http://library.mcneese.edu/depts/archive/FTBooks/heidt.htm.
Full textOliver, Sarah Miranda Londré Felicia Hardison. "Kansas City's Community Children's Theatre a history /." Diss., UMK access, 2008.
Find full text"A thesis in theatre." Typescript. Advisor: Felicia Hardison Londreʹ Vita. Title from "catalog record" of the print edition Description based on contents viewed Sept. 12, 2008. Includes bibliographical references (leaves 118-120). Online version of the print edition.
Doe, Connor Bartlett. "Puppet Theater in the German-Speaking World." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/88.
Full textForaker, Robynn Marie. "Finding the Voice of Lady MacBeth ---- Voice and text work for the contemporary actor through the rehearsal and performance of Macbeth (from Shakespeare)." University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1363603299.
Full textRutsky, Joshua. "Classifying Gilbert and Sullivan." Oberlin College Honors Theses / OhioLINK, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1406035439.
Full textPolitte, Paul Edwin. "Contrapunteo: The Question of "National" Theater in Turn-of-the-Century Argentina and Mexico." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11196.
Full textRomance Languages and Literatures
Chu, Priscila Hiu Fong. "An investigation into new music theater in Hong Kong : thesis and composition portfolio." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/599.
Full textBishop, Mardia Joanna. "A history of Cincinnati theatre from 1938-1969 based on the criticism of E. B. Radcliffe." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1400075510.
Full textMerrifield-Beecher, Jane A. 1952. "The history of the Gaslight Theatre." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/292022.
Full textWoods, Douglas Ww. "The Floorshow: Origins of a Theatrical Art." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1396890099.
Full textMartin, Amanda L. "Infusing High Fashion Streetwear with Personal History| Creating the Costume Design for Polaroid Stories." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10751933.
Full textThe costume design for Naomi Iizuka’s Polaroid Stories focused on the adaptation of runway fashion to street clothes for the homeless characters in the play. The dichotomy between runway fashion and the homeless youth visually represents the nature of the play. It explores the societal oppression of youth living on the streets who are constantly striving for what they cannot achieve. The use of distressing on the costumes was crucial in portraying the extent of the character’s plight. The collaboration between scenic, lighting, sound, hair, and makeup design, created a successful visually new portrayal of Polaroid Stories.
Wai, Benny Lim Kok. "The human lefts series : postmodern self-reflexivity and post-independence Singaporean theater." Thesis, University of South Wales, 2012. https://pure.southwales.ac.uk/en/studentthesis/the-human-lefts-series-postmodern-selfreflexivity-and-post-independence-singaporean-theater(3fb839d9-511f-4735-abb5-b800165e0caf).html.
Full textCaplan, Debra Leah. "Staging Jewish Modernism: The Vilna Troupe and the Rise of a Transnational Yiddish Art Theater Movement." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10869.
Full textNear Eastern Languages and Civilizations
Glenfield, Mary Ross. "The growth of theatre in Edmonton, from the early 1920s to 1965." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60377.pdf.
Full textFarrell, Ryan. "Mentoring Canadian theatre, Paul Thompson's influence on the state of Canadian theatre through his work in collective creation during the 1970s and early 1980s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ60056.pdf.
Full textRankin, Roberta. "A historiographical study of William Dunlap's History of the American Theatre /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9821342.
Full textBall, Rachael I. "An Inn-Yard Empire: Theater and Hospitals in the Spanish Golden Age." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281290896.
Full textSwanson, Michael David. ""The Vehicle of Delight and Morality": Humor and Sentiment in the Plays of John O'Keeffe as a Reflection of Late Eighteenth-Century English Theatrical Comedy." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382014382.
Full textRodgers, Clinton Kyle. "Sin, Satan, and Sacrilege: Antitheatricality, Religion, and the Sensory Order in Elizabethan England." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1467128449.
Full textKerns, Nancy Jane. "Gretchen Cryer and Nancy Ford| Elevating the Female Voice in American Musical Theater." Thesis, University of Hawai'i at Manoa, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13421232.
Full textGretchen Cryer and Nancy Ford, along with most other female creators of musicals, remain in the shadows, in spite of an increased focus by the media on women’s contributions to society. The messages of Cryer and Ford’s dramatic themes and songs have not been fully understood by many critics and audience members. Scholarly and popular writings on women in theater remain scarce, and literature on Cryer and Ford contains errors and promotes misunderstandings.
In this thesis, I argue that Gretchen Cryer and Nancy Ford, a writer and composer of musical theater respectively, tackled contemporary issues in their Broadway and off Broadway musicals, introduced new theatrical forms and musical genres to the stage, and have built a distinguished collaborative career and earned a meritorious position in musical theater heritage by incorporating these issues, in particular, those which pertain to women or those which affect women, into their works. I seek to correct and build upon extant writings and information from media resources. My thesis is the first monograph to detail the lives and works of Cryer and Ford, and to assess their contributions to the musical theater genre. My detailed case studies dissect several Cryer and Ford musicals, which speak directly to prominent images and ideas of the time, and reveal how their works emphasize the importance of interpersonal communication, and endorse humanism and, in particular, feminism. Cryer and Ford are trailblazers for other female musical writers, for whom they have advocated, and for whom I provide a comprehensive overview.
Sousa, Ana Carolina Braga de. "Environmental education and the theater at history: an experiment in Balbino, Cascavel, Ceara." Universidade Federal do CearÃ, 2011. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=12946.
Full textThis research project as it finality develop a study about the experience of environmental education, that is find in process of construction, in the community called Balbino, what presents as district of Cascavel, located about 52 km from Fortaleza. Balbino is a coastal community marked by the fight to the possession of the territory and the resistance to the speculation of the territory, the exploration tourism, and to predatory fishing, those factors, that lead the consequent degradation of natural resources and the ecosystem of the community. The pedagogical proposition of this experience is founded in a interdisciplinary perspective, using as guiding elements the environmental education and the environmental history, propounding realize the consequences of exploration tourism in Balbino, using the research about relevant history facts to the community that refers to it social and environmental conflicts and the disordered utilization of their natural resources, and develop with the students reflections about this moment in the community, with the perspective of the implantation of a resort in their space, making questions about the transformations that can be realized in the environmental, and also the kind of development this achievement can bring to the community, reflecting about concepts like development, humans values, dissimilarity and environmental justice. We use the arts education, more specifically the theater as a methodology for enable the understanding of this context, making use of documental sources, interview with the area residents, identification of the representative places for the conservation of the community ecosystem and bibliography resources, providing the perception of the amplitude of the environmental question to the students, analyzing Balbino, and making the possibility, by that experience, the enlargement of their looks to the problem in a global proportion.
Esta dissertaÃÃo tem como principal finalidade desenvolver um estudo a partir da experiÃncia em educaÃÃo ambiental que se encontra em processo de construÃÃo na comunidade denominada Balbino, distrito do municÃpio de Cascavel, localizado acerca de 52 km de Fortaleza. Balbino à uma comunidade litorÃnea marcada pela luta da posse de terras e a resistÃncia à especulaÃÃo imobiliÃria, ao turismo de exploraÃÃo e a pesca predatÃria, fatores que levam à consequente degradaÃÃo dos recursos naturais e do ecossistema da comunidade. A proposta pedagÃgica dessa experiÃncia se fundamenta numa perspectiva interdisciplinar, utilizando como elementos norteadores a educaÃÃo ambiental e a histÃria ambiental. PropÃe perceber as consequÃncias do turismo de exploraÃÃo em Balbino, utilizando a pesquisa sobre fatos histÃricos relevantes para a comunidade e referentes a seus conflitos socioambientais e a utilizaÃÃo desordenada de seus recursos naturais. Como tambÃm desenvolver junto aos estudantes reflexÃes sobre o momento que a comunidade vivencia hoje, com a perspectiva de implantaÃÃo de um resort nos arredores de seu espaÃo, questionar que transformaÃÃes em seu meio ambiente podem ser realizadas e que tipo de desenvolvimento esse empreendimento pode trazer para a mesma, refletindo sobre conceitos como desenvolvimento, valores humanos, sustentabilidade, desigualdade e justiÃa ambiental. Utilizamos a arte-educaÃÃo1, mais especificamente o teatro, como metodologia para possibilitar o entendimento desse contexto, faz-se ainda uso de fontes documentais, entrevistas com os moradores, identificaÃÃo dos lugares representativos para a conservaÃÃo do ecossistema da comunidade e pesquisas bibliogrÃficas, proporcionando a percepÃÃo da amplitude da questÃo ambiental para os estudantes, e, atravÃs da anÃlise de Balbino, possibilitar a ampliaÃÃo de seus olhares para essa problemÃtica em proporÃÃes globais.
Schneider, Ulrich Johannes. "Theater in den Innenräumen des Denkens: Gilles Deleuze als Philosophiehistoriker." Fink, 1996. https://ul.qucosa.de/id/qucosa%3A12767.
Full textKim, Esther Songie. "Asian American Theatre History From the 1960s to 1990s: Actors, Playwrights, Communities, and Producers." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392814758.
Full textDecker, Pamela. "Theatrical Spectatorship in the United States and Soviet Union, 1921-1936: A Cognitive Approach to Comedy, Identity, and Nation." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371461287.
Full textPhillips, Chelsea L. "“Carrying All Before Her:” Pregnancy and Performance on the British Stage in the Long Eighteenth Century, 1689-1807." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1418649014.
Full textGroome, Margaret E. "Canada's Stratford Festival 1953--1967 : Hegemony, commodity, institution." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75704.
Full textIt will be shown that the Festival discourse privileged an aesthetic of spectacle and effect throughout these years, an aesthetic which implied a concept of cultural experiences as passive spectatorship and the easy consumption of effects; in short as commodity. In conjunction with this aesthetic, the discourse registered a concept of culture as affirmative--as an experience which affirms existing social relations in offering an apparent, if false, resolution or catharsis of conflict and of social inequality. When the Festival was identified as proof of Canada's cultural maturity and the focus of the nation's "life of the mind" these values were established as the nation's dominant cultural values. Moreover, this discursive portrayal of the Festival established it as Canada's foremost cultural commodity. And so the discourse simultaneously conveyed a concept of culture and of the Festival as commodities.
By the 1960's the Festival was being identified as not simply a leading voice in Canadian culture, but as the institution on which the development of Canadian culture depended, thereby positioning the Festival as hegemonic. The Festival discourse thus articulated the Festival's central duality, its capacity to function as both cultural commodity and authority. The position of the Festival and its discourse as cultural authority ensured that it was the Festival concept of affirmative culture, marked by the displacement of the political, philosophical and existential role of culture, which dominated the discourse on theatre and the wider discourse of Canadian culture. In this respect the Festival failed to offer an active-critical experience which would counter the tendency towards the ethos of spectatorship and passivity which followed from the developing mass media.