To see the other types of publications on this topic, follow the link: Theater and society Theater.
Dissertations / Theses on the topic 'Theater and society Theater'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Theater and society Theater.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Turnbull, Olivia. "Bringing down the house : the inevitable crisis in England's regional theatres, 1979-1997 /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2004.
Find full textAbstract:
Thesis (Ph.D.)--Tufts University, 2004.Adviser: Barbara Grossman. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 385-393). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
2
Deal, Claire Elizabeth. "Collaborative theater of testimony performance as critical performance pedagogy implications for theater artists, community members, audiences, and performance studies scholars /." Fairfax, VA : George Mason University, 2008. http://hdl.handle.net/1920/3356.
Full textAbstract:
Thesis (Ph.D.)--George Mason University, 2008.Vita: p. 244. Thesis director: Lorraine A. Brown. Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Studies. Title from PDF t.p. (viewed Jan. 11, 2009). Includes bibliographical references (p. 228-243). Also issued in print.
3
Taub, Lora E. "Enterprising drama : the rise of commercial theater in early modern London /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9835408.
Full text
4
Graham, Catherine (Catherine Elizabeth). "Dramaturgy and community-building in Canadian popular theatre : English Canadian, Québécois, and native approaches." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42044.
Full textAbstract:
The Canadian popular theatre movement's refusal to accept one of the key binary oppositions that organizes Euroamerican theatre practice, the split between community-based and professional theatre, makes it a particularly interesting subject of inquiry for theatre scholars. This dissertation develops a methodology for analyzing this movement by approaching theatre, not as a unified institution or a series of texts, but as a mode of cognition that can overcome another of the basic binary oppositions of modern Euroamerican thought, the opposition between mind and body. Following an introductory chapter that situates the Canadian popular theatre movement in the context of recent Canadian theatre history and of other popular theatre movements around the world, a theoretical chapter lays the foundation for this methodology by exploring such key terms as "community," "professional," and "theatrical." It suggests that theatre is a particularly appropriate cognitive tool for building participatory community in heterogeneous social milieus. Chapters 3, 4, and 5 analyze three stages in the popular theatre process in these terms. Chapter 3 looks at how methods of organizing community workshops put in place particular forms of community. Chapter 4 explores the ways in which the dramaturgic structures of plays created by Headlines Theatre, the Theatre Parminou, and Red Roots Community Theatre are formed both by their creation processes and by their analyses of the problems in the dominant public spheres of the larger society. Chapter 5 looks at the specific contribution professional theatre workers make in focusing audience attention on key elements in community participants' stories. The dissertation concludes by suggesting that popular theatre events can be most fairly evaluated by looking at their contribution to the creation of new categories of thought through which we might publicly discuss and enact truly participatory communities.
5
Melo, Carla Beatriz. "Squatting dystopia performative invasions of real and imagined spaces in contemporary Brazil /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467889861&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
6
Toure, Jean-Marie. "Théâtre et liberté en Afrique noire francophone de 1930-1985." Villeneuve d'Ascq : Presses universitaires du Septentrion, 1999. http://books.google.com/books?id=2l1cAAAAMAAJ.
Full text
7
Young, Clinton David. "Zarzuela or lyric theatre as consumer nationalism in Spain, 1874-1930 /." 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?p3211378.
Full textAbstract:
Thesis (Ph. D.)--University of California, San Diego, 2006.Title from first page of PDF file (viewed June 14, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 392-417).
8
Bastani, Nava Corinne. "A project proposal for the formation of People's Theatre : a community drama project for the moral development and empowerment of the youth in Hout Bay /." Link to the online version, 2007. http://hdl.handle.net/10019/1670.
Full text
9
Amato, Danielle Anna. "Collage corporeality : body and technology in contemporary American performance /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099913.
Full text
10
Regele, Thomas R. "Constructing the present by recasting the past : perceptions and expressions of las dos Españas in the refundición /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181123.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 191-197). Also available for download via the World Wide Web; free to University of Oregon users.
11
Tasker, Elizabeth. "Low brows and high profiles rhetoric and gender in the Restoration and early eighteenth century theater /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04232007-012327/.
Full textAbstract:
Thesis (Ph. D.)--Georgia State University, 2007.Title from file title page. Lynee Lewis Gaillet, committee chair; Beth Burmester,Tanya Caldwell, committee members. Electronic text (189 p. : ill.) : digital, PDF file. Description based on contents viewed Oct. 15, 2007. Includes bibliographical references.
12
Tener, John V. "Exhibiting the Victorians: Melodrama and Modernity in Post Civil War American Show Prints." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149259715322474.
Full text
13
Tampalini, Serge. "Affective space (looking back) /." Access via Murdoch University Digital Theses Project, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20071116.144247.
Full text
14
Garlick, Barbara. "Australian travelling theatre 1890-1935 : a study in popular entertainment and national ideology /." Online version, 1994. http://bibpurl.oclc.org/web/19943.
Full text
15
Underiner, Tamara L. "Cultures enacted/cultures in action : (intercultural) theatre in Mayan Mexico /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/10218.
Full text
16
Glenn, Antonia Nakano. "Racing and e-racing the stage : the politics of mixed race performance /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3149286.
Full text
17
Collins, Jennifer Rebecca. "Essential Functions: American Delsartism and Its Influence on Women’s Roles in Society." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492699298734188.
Full text
18
Gibbs, Jenna Marie. "Performing the temple of liberty slavery, rights, and revolution in transatlantic theatricality (1760s-1830s) /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1554940031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
19
Readman, Geoffrey. "What does the Applied Theatre Director do? : directorial intervention in theatre-making for social change." Thesis, University of Northampton, 2013. http://nectar.northampton.ac.uk/7848/.
Full textAbstract:
This thesis critically interrogates the practice of artistic directors within applied theatre companies in the United Kingdom. ‘Applied theatre’ describes the process of theatre-making in which commitment to ethical, pedagogical, philosophical and social priorities are integral dimensions of theatre-making designed for specified participants, communities and locations. The research views the term director as encompassing any individuals with designated responsibility for the artistic coherence of theatre in both community and rehearsal room contexts. It argues that directorial processes in applied theatre have rarely been the focus of systematic research and that a theoretical framework to conceptualise practise will contribute new knowledge. The research design gathers evidence of directorial contributions, examining ‘why’ and ‘how’ interventions are constructed. The various theories, techniques and methods used by directors to shape and effect positive interventions are observed and interrogated, through a systematic research approach, in five director case studies. The case studies reflect discrete areas of theatre practice. Published research is sparse and literary evidence is occasionally drawn from historical, cultural and mainstream theatre contexts, from developments in Alternative and Political theatre and from Drama in Education praxis. The thesis concludes with a theoretical framework that articulates applied theatre directing as a process that shares some common ground with mainstream theatre directing, but which retains discrete alternative practices and philosophies that define an alternative directorial model.
20
House, Melanie J. "Their Place on the South African Stage:The Peninsula Dramatic Society and the Trafalgar Players." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1291211511.
Full text
21
Bosnak, Judith Ernestine. "Shaping the Javanese play improvisation of the script in theatre performance /." [S.l. : s.n.], 2006. http://catalog.hathitrust.org/api/volumes/oclc/150381068.html.
Full text
22
Walsh, Alwyn Mae. "Performing (for) survival : performance tactics of incarcerated women." Thesis, University of Northampton, 2014. http://nectar.northampton.ac.uk/8889/.
Full textAbstract:
In an era characterised by impacts of cuts and austerity in the UK, this study is positioned at the interface between two socio-cultural institutions against which societies are judged: the arts and criminal justice. Within this field, the thesis investigates the ways women in prison are positioned in a carceral performance that is cyclical and inevitably ‘tragic’. The argument considers the tactics women use in order to firstly, survive their incarceration, and sometimes, resist, the institution. The theoretical frame is drawn from feminist criminology and Bourdieu’s ‘habitus’ to examine everyday performances as well as theatrical works by and about incarcerated women. This project adds to the field by locating performance practices in and of prison within wider social contexts of the politics of carceral spaces. The main questions posed by this project were ‘what does theatre/ performance offer to challenge stereotypes of ‘the cage’?; and to what extent and in what ways does performance in (and of) prison challenge/ subvert/ augment/ transform the site itself’? The research sought to understand to what extent women’s articulations of subjectivity could be a radical alternative to the logocentric and discursive prisons of sentences and prison records. The study was developed as an ethnographic examination of performance in and of prison, alongside exploring how contemporary performance modes are implicated in defining, containing, and correcting (criminal) women’s everyday performances. The thesis is primarily concerned with a critical reflection on theatre practices in prison, with particular emphasis on the political implications of the effects of prison as/and performance. The study makes claims for a radical practice in and about prisons that is distanced from current applied theatre practices, and as such points towards a more troubled rehearsal of how punishment is performed.
23
Mda, Zanemvula K. G. "The utilization of theatre as a medium for development communication : an examination of the Lesotho experience." Doctoral thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/15862.
Full textAbstract:
Includes bibliography.This thesis undertakes to investigate the nature and function of theatre-for-development. The objectives are to place theatre-for-development in the context of development communication theory, and to examine how theatre functions as communication. In the process of this examination a new model of theatrical communication in theatre-for-development, and a new paradigm of intervention, are evolved. The thesis begins by exploring the reasons for the failure of existing media systems to serve the needs of development in Africa. The failures are mostly due to the fact that the majority of the people have minimal or no participation in information generation and dissemination. Theatre is identified as one medium that could be utilized towards the realization of democratizing communication systems, and of giving the periphery access to the production and distribution of messages. The thesis then proceeds to review crucial literature in theatre-for-development and on development communication. The literature that has been selected has particular relevance in that while it treats current perspectives in these disciplines, it gives an historical account of theatre in Africa, and an account of the various perspectives and orthodoxies in the history of mass communication in general, and development communication in particular. The major case study of the thesis is a theatre-for-development cooperative society in Lesotho called Marotholi Travelling Theatre. The thesis therefore discusses the problems of underdevelopment in Lesotho. Since this study deals with-development communication, and attempts a structural examination of the context of theatre-for-development, the reader is introduced to the conditions that engender the theatre that is analyzed in the study. An account of the communication environment is also given. Because the communication environment of the rural areas in Lesotho is characterized by the predominant use of oral and traditional methods, popular and traditional media in Lesotho are also examined. After setting a theoretical framework by examining theatrical communication in theatre-for-development, and the rules underlying it, the thesis proceeds to analyze five plays created by Marotholi Travelling Theatre. First, a brief history of each play is given, and this is followed by an analysis of how the play functions as a vehicle for conscientization, and as communication. The plays are discussed in the context of five different methodologies of theatre-for-development: agitprop, participatory agitprop, simultaneous dramaturgy, forum theatre, and comgen theatre. It is in the process of this analysis that a new model of theatrical communication in theatre-for-development is evolved. The new paradigm of intervention that is posited also emanates from the analysis of the plays. It illustrates the extent to which the various methodologies of theatre-for-development can be utilized either for development (and, therefore, liberation), or for dissemination. The thesis concludes by focussing on the salient points that have emerged in the analysis. Crucial points are summarized, and recommendations for an effective utilization of theatre as a medium for development communication are posited.
24
Brand, Amelda. "Gemeenskapsgebaseerde teater : 'n Suid-Afrikaans georienteerde ondersoek." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52858.
Full textAbstract:
Thesis (MDram)--University of Stellenbosch, 2002.ENGLISH ABSTRACT: Creative expression is influenced by social structures and the political climate of the day. Therefore theatre as a social structure has been directly influenced by colonialism and apartheid. Restricting legislation had a limiting influence on cultural activities and freedom of creative expression. The following terms all refer to community based theatre activities: Community Theatre, Popular Theatre, Theatre for Development, People's Theatre and sometimes Workshop Theatre. Community theatre in post-colonial African countries take place in locations easily accessible to the communities it serves. These activities make use of creative techniques that the target communities can identify with. The subject-matter is generally relevant and is therefore accessible. The conscientisation- and mobilisation-potential of community theatre become evident in post-colonial African countries. The uses of this term in South Africa is closely connected with the above, but the applications in practice are more diverse because of a longer period of Western influence. Popular Theatre encapsulates theatre activities focussing on mass-appeal and popular entertainment as well as theatre activities by and for marginalised communities. "Popular Theatre" activities that take place within marginalised communities make use of collective creative approaches that are aimed at community conscientisation and mobilisation. Like Community Theate and Popular Theatre, Theatre for Development is theatre for, by and of the people (marginalised people, ordinary workers and the unemployed). Certain Theatre for Development projects approach the target communities with pre-planned agendas and creative subject-matter. Theatre for Development, like other community based theatre forms, are aimed at conscientisation, mobilisation and organisation to encourage political liberation and promote a higher standard ofliving. Workshop Theatre encourages people to express themselves by using a democratic and collective creative approach. These characteristics are also present in the previously mentioned theatre forms. Community Theatre, Popular Theatre and Theatre for Development can all be categorised as community based theatre and the terms are interchangable in pracitce.
AFRIKAANSE OPSOMMING: Politieke omstandighede en daaglikse gebeure beïnvloed die keuse van uitdrukkingsvorme. Kolonialisme en veral die apartheidsbeleid in Suid-Afrika het sosiale strukture, waaronder teater, beïnvloed. Wetgewing en beperkte infrastruktuur het kulturele aktiwiteite, kreatiewe uitdrukking en kulturele vloei beperk. Gemeenskapsgebaseerde teateraktiwiteite in Suid-Afrika word meestal benoem met die volgende terme: Gemeenskapsteater, Populêre Teater, Teater vir Ontwikkeling, "People's Theatre", asook Werkswinkelteater wat in Suid-Afrika soms sosio-polities van aard is. Gemeenskapsteater in post-koloniale Afrika-lande is ten opsigte van vorm en inhoud vir die teikengemeenskap toeganklik en vind plaas in maklik bereikbare ruimtes. Die bewusmakings- en mobiliseringspotensiaal van Gemeenskapsteater kom sterk na vore in post-koloniale Afrika-lande. Die gebruike van die term "Gemeenskapsteater" in Suid- Afrika sluit by bogenoemde aan, maar het ook meer diverse toepassings wat by ontwikkelde lande se beskouings aansluit. Populêre Teater ondervang teateraktiwiteite wat fokus op massa-aanhang, sowel as teateraktiwiteite wat gemik is op gemarginaliseerdes. In laasgenoemde konteks is dit gerig op bemagtiging en word 'n kollektiewe skeppingsproses gebruik. Teater vir Ontwikkeling is soos Gemeenskapsteater en Populêre Teater, teater vir, deur en van "die mense" (gemarginaliseerdes, massa gewone werkers en werkloses). Anders as Gemeenskapsteater kan daar 'n voorafopgestelde agenda of gekose onderwerp wees. Soos ander gemeenskapsgebaseerde teater strewe dit na bewusmaking, mobilisasie en organisasie ter wille van bevryding en verhoogde lewensstandaarde in gemarginaliseerde gemeenskappe. Werkswinkelteater het 'n demokratiese en kollektiewe skeppingsproses wat selfvertroue en die vermoë tot uitdrukking aanmoedig. Dit is 'n eienskap wat ook teenwoordig is in die voorafgenoemde teatervorme. Teateraktiwiteite wat met die terme Gemeenskapsteater, Populêre Teater en Teater vir Ontwikkeling benoem word, kan gekatagoriseer word as gemeenskapsgebaseerde teater en is dikwels in die praktyk omruilbaar.
25
Kinser, Amber E. "Gendered and Feminist Performances in the Social ‘Theater of Food’." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1253.
Full text
26
Batchelder, Xela. "The world's largest arts festival, The Edinburgh Festival Fringe: mechanics, myth and management." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1149104422.
Full text
27
Dlamini, Betty Sibongile. "Women and theatre for development in Swaziland." Thesis, SOAS, University of London, 2008. http://eprints.soas.ac.uk/28833/.
Full textAbstract:
This thesis explores women and theatre for development in Swaziland. It focuses on how theatre for development is used as a tool in the development of women. Firstly, I examine the key concepts used throughout the thesis and I pay special attention to Theatre for Development. In the second chapter, I give an account of the country's history and pay special attention to the social status of women. In chapter 3, I examine the various forms of performance found in Swaziland and how they impact on the development of Swazi women. In the fourth chapter, I consider the evolution of literary practice in Swaziland and discuss two play-texts in English by H.I.E Dhlomo, a key literary figure and pioneer playwright of modem black drama in South Africa. I explore A Witch in My Heart by Hilda Kuper, a white anthropologist who lived in Swaziland in the mid twentieth century, and lastly. The Paper Bride by Zodwa Motsa, a contemporary Swazi writer. Next, in chapter 5, 1 investigate the first phase of Theatre for Development in Swaziland where non-governmental organizations, the Swazi Government and independent individuals worked together using Theatre for Development in Swazi communities. I consider first the workshops initiated by the youth. In chapter 6, I give an account of workshops involving whole communities and the kudliwa inhloko ebandla, a workshop that involved men only. In all these workshops 1 examine how they impacted on the development of women. I then conclude with a discussion of the findings of the study and their implications for the development of women.
28
De, Vos Ricardo George. "Imagination, realisation and the performing of Australia." De Vos, Ricardo George (2003) Imagination, realisation and the performing of Australia. PhD thesis, Murdoch University, 2003. http://researchrepository.murdoch.edu.au/37/.
Full textAbstract:
This thesis argues that performance can be seen to constitute both a critical discipline and a set of activities entailing an engagement with spatial, temporal, physical and material relations, rather than as a product of linguistic, textual and discursive relations. As such, performance is able to critique the functioning of language, text and discourse in assuming space, time, bodies and matter. Performance also suggests ways of working on and informing writing practices. The social relations of performance pertain to times and spaces which are temporary and processual, to activities which imagine other times, spaces and people, and seek to realise them for a specific time in a specific space for a specific group of people. The social relations realised in this process of contingent realities are able to inform writing, that is, to produce writing which connects theatre with other discourses, and which connects words with bodies in time and space.
It is argued that theatre and performance's process of imagination and realisation and its engagement with spatial, temporal, physical and material relations provides a valuable site for critically examining the ways in which Australia privileges and remembers specific configurations of space, time, bodies and matter, while marginalising others, in producing official representations of the Australian nation. Such representations, reflected ingovernmental programmes such as those concerning citizenship and national security, have a bearing on how Australians view their national past, present and future, and how they perceive their social connections with each other.
Just as specific performances are made subject to the textual and discursive categories of literature and social theory, official enactments of the Australian nation are able to 'contain' Australians who spatially, temporally and physically transgress national boundaries. As a material practice, performance is able to engage with official enactments of the nation in order to 're-open' the spaces, times and encounters concealed within these sites.
29
Albertyn, Maria Adriana. "“Griekeland” to “Platteland”: appropriating the Euripidean Medea for the contemporary Afrikaans stage." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96747.
Full textAbstract:
Thesis (MA)--Stellenbosch University, 2015.ENGLISH ABSTRACT: Euripides’s Medea have been staged a number of times in the new South Africa. This study’s purpose is to provide a practical example of a rewritten Medea set in a contemporary Afrikaner community. The political climate and gender views employed in the Euripidean Medea are analysed and compared to that of the new text. The themes in the Euripidean Medea are analysed as well as possible themes in the Afrikaner community to provide the new text with contemporary social trends in the white Afrikaner community. The style of the Euripidean Medea is analysed and adapted in the new play to create a style that can be accommodated in contemporary South African theatre. Appropriating Medea in an Afrikaner community will hopefully provide future theatre-makers with a narrative of the practical process of appropriation from which more universal principles on the practice can be derived as the play has never been fully rewritten in Afrikaans to create an authentic play.
AFRIKAANSE OPSOMMING: ’n Aantal produksies van Euripides se Medea is in die nuwe Suid-Afrika gedoen. Die doel van hierdie studie is om ’n praktiese voorbeeld te skep van ’n nuutgeskrewe Medea wat verplaas is na ’n kontemporêre Afrikaner gemeenskap. Die politieke klimaat en geslagsrolle in die Euripidese Medea word ontleed en vergelyk met dié van die nuwe teks. Die temas in die Euripedese Medea word ontleed, asook moontlike temas in die Afrikaner gemeenskap om kontemporêre sosiale tendense vir die nuwe teks te vind. Die styl van die Euripedese Medea is ontleed en in die nuwe teks aangepas tot ’n styl wat in die kontemporêre Suid Afrikaanse teater haalbaar is. Deur Medea te verplaas na ’n Afrikaner gemeenskap, kan ʼn moontlike voorbeeld geskep word wat as narratief vir toekomstige teatermakers kan dien vir die praktiese proses van verplasing waaruit universele beginsels gevorm kan word aangesien die drama nog nie vantevore volkome herskryf is tot ’n outentieke drama in Afrikaans nie.
30
Odhiambo, Christopher. "Theatre for development in Kenya : in search of an effective procedure and methodology." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/20919.
Full textAbstract:
Thesis (DPhil)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: This is a study of Theatre for Development (TfD) in Kenya. It is an attempt to map out and describe different manifestations of the practice which would, in a way, act as a critical model for practitioners and other stakeholders. However, this is in no way an attempt to provide a rigid all-purpose theoretical model, but nonetheless to offer ways, through a description of aspects of Theatre for Development, within which and through which social and behavioural transformations in this eclectic field may take place. To this end, case studies of a few indicative and contrasting examples of Theatre for Development will be used to provide a mirror which will enable its practitioners to reflect upon and critique their own practices as a way of achieving optimum effectiveness. The works of Paulo Freire and Augusto Boal provide the study with a theoretical model in which its basic assumptions and arguments are tested and developed. These two authors, whose works are related in many ways, privilege the use of participatory approaches in the process of creating critical consciousness and promoting change in the individual and in society; these are fundamental requirements in any meaningful practice of Theatre for Development. The findings of this study reveal the discursive and eclectic state of the practice of Theatre for Development in Kenya as originating from a multiplicity of factors such as the skills (or lack thereof) of the practitioners, government interference and the prescriptive agenda and demands of the project funding bodies, institutions and agencies as well as the proliferation of NGOs using Theatre for Development but lacking its foundational philosophy and methodology. This study therefore suggests that, for the enterprise to be more effective and efficient there is a serious need to reflect critically on its procedures and methodology in order to improve and guide its operation. These fundamental aspects include collaborative research, codification, interactive participation, and facilitation and intervention, and are not prescriptive matters but descriptive, arrived at through a critical analysis of a number of Theatre for Development activities in Kenya. Ultimately the research process has thus highlighted a number of weaknesses and strengths in the practice of Theatre for Development in Kenya. Because Theatre for Development is a performance event, the study utilised both quantitative and qualitative research methods. This was necessary, because the study depended on a bibliographical review, unstructured interviews and action research, where the researcher participated in Theatre for Development projects, happenings and related activities
AFRIKAANSE OPSOMMING: Hierdie is ‘n ondersoek na Teater vir Ontwikkelling in Kenya. Dit poog om die verskillende manifestasies van die praktyk te karteer en beskryf waardeur dit, tot ‘n mate, a kritiese model vir praktisyns en aandeelhouers kan dien. Die onderneming is egter op geen wyse ‘n soeke na ‘n rigiede, allesomvattende teoretiese model nie, maar bied tog ‘n beskrywing van aspekte van Teater vir Ontwikkelling waarbinne en waardeur transformasie van sosiale optrede en handeling in hierdie eklektiese veld kan plaasvind. Met dit in gedagte word na ‘n aantal toepaslike en kontrasterende gevallestudies van Teater vir Ontwikkelling gekyk om ‘n perspektief te ontwikkel wat praktisyns in staat sal stel om hulle eie praktyke krities en effektief te kan evalueer. Die werk en geskrifte van Paulo Freire en Augusto Boal verskaf die teoretiese model vir hierdie ondersoek, wat die basiese beginsels en uitgangspunte daarvan in die Afrika-konteks uittoets en ontwikkel. Hierdie skrywers, wie se werke nou verband hou met mekaar, gee voorkeur aan ‘n interaktiewe, deelnemende benaderings tot die ontwikkelling van ‘n kritiese bewussyn en die stimulering van verandering by die individu en in die gemeenskap. Dié benaderings is fundamenteel tot enige sinvolle aanwending van Teater vir Ontwikkelling. Daar is bevind dat die beoefening van Teater vir Ontwikkelling in Kenia uiters eklekties en uiteenlopend van aard is en dat hierdie stand van sake toegeskryf kan word aan ‘n verskeidenheid faktore, insluitend die vaardighede (of tekort aan vaardighede) van praktisyns, inmenging deur die regering, voorskriftelike agendas en vereistes gestel deur borge en befondsingsagentskappe, edm. ‘n Ander faktor is die geweldige toename in nie-regeringsorganisasies (NGO’s) wat van Teater vir Ontwikkelling gebruik maak terwyl hulle nie oor die basiese filosofiese en metodologiese kennis en opleiding beskik nie. Die bevinding is dus dat sodanige programme slegs meer effektief en doeltreffend bedryf kan word indien daar ernstig besin word oor fundamentele prosedures en metodologieë, om aan die verdere bedryf van die program(me) rigting te kan gee en uitkomste te verbeter. Fundamentele aspekte hierby betrek sou insluit spannavorsing, samewerking, kodifisering, interaktiewe deelname, fasilitering en intervensie, wat nie voorskriftelik is nie, maar beskrywend en rigtinggewend van aard, afgelei uit ‘n kritiese ontleding van ‘n aantal Teater vir Ontwikkelling aktiwiteite in Kenia. Die navorsing het dus uiteindelik ‘n aantal sterk- en swakpunte in die praktyk van Teater vir Ontwikkelling in Kenia belig. Omdat Teater vir Ontwikkelling ‘n aanbiedings-gebeurtenis (“performance event”) is, het die ondersoek beide kwantitatiewe en kwalitatiewe navorsingsmetodes gebruik. Dit was nodig omdat die ondersoek gebruik gemaak het van formele literatuurstudie, sowel as ongestruktureerde onderhoude en aksienavorsing, waartydens die navorser self deelgeneem het aan van die Teater vir Ontwikkelling projekte, gebeure en aktiwiteite.
31
Bell, Caehlin O'Malley. "Being Ireland Lady Gregory in Cathleen Ni Houlihan /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211912530.
Full text
32
Nadeau, Martin. "Theatre et esprit public : le role du Theatre-Italien dans la culture politique parisienne a l'ere des revolutions (1770-1799)." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37795.
Full textAbstract:
Taking as a case study the Theatre-Italien, here considered both as a particular theatrical practice and as a specific stage in Paris---one of the most popular at the time---this dissertation asks what role this theatre played in the novel competition of discourses which characterized political culture in the era of Revolutions. All too often, historians have overestimated print culture as the main medium through which discourses were produced in the eighteenth century, and this despite the fact that theatre played a fundamental role in the public life of this period. Furthermore, when theatre is studied, historians emphasize too often the written form of the plays.The dissertation's structure seeks to underline the specificity of the cultural practice represented by the theatre. The discrepancies between the meaning of a play written by a particular author and the same play as it is performed on stage are emphasized. Political messages emerge out of the language of the actors and actresses without any possibility to control them, so that the players become, in effect, co-authors of the play. Similarly, the variety of the nature of the audience and the way in which it becomes at once judge, co-author and co-actor make the public, neither intangible nor invisible, but simply gathered, a crucial feature of this cultural practice which allows us to argue that theatre was actually a very bad instrument of propaganda. Instead, theatre can be seen at the time to be a public scene of immediate political debate. The conflicting opinions expressed there turn theatre not into the minor of political reality intended by various regimes confronted to the diversity of the polity---what some people have called "a school for the people"---but rather as the mirror of the reality experienced by a large number of Parisians at the time. It is in this sense that we relate the theatrical practices studied with the concept of public spirit, expressing the people's understanding of the general interest, instead of that of public opinion, expressing the unified message imposed by a dominant political group.
33
Lucas, Ashley Elizabeth. "Performing the (un)imagined nation : the emergence of ethnographic theatre in the late twentieth century /." Diss., Connect to a 24 p. preview or request complete full text in PDF formate. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236642.
Full text
34
Froese, Michelle Mazza. ""We seem to belong nowhere" : locating Missouri Repertory Theatre's identity in the field of cultural production of Kansas City, Missouri /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9712800.
Full text
35
Jang, Ren-Hui. "Traditional Chinese theatre for modernized society a study of one "new" Chinese opera script in Taiwan /." online access from Digital Dissertation Consortium access full-text, 1989. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?8913981.
Full text
36
Barclay, Julia Lee. "Apocryphal theatre : practicing philosophies." Thesis, University of Northampton, 2009. http://nectar.northampton.ac.uk/3597/.
Full textAbstract:
Apocryphal Theatre: Practising Philosophies is a practice-based research project that consists of examples of my theatre practice (as research) and a written thesis. In this thesis, I argue that theatre can be seen to be an act of philosophy, by tessellating Maurice Merleau-Ponty's definition of philosophy as consisting of relearning to look at the world and Gilles Deleuze and Felix Guattari's proposition that philosophy is the creation of concepts, and pointing to post-WWII theatre artists whose work both fulfill this definition of philosophy and have informed Apocryphal Theatre's work. Included is an analysis of interviews with three contemporary theatre artists, Richard Foreman, Chris Goode and Ivana Muller, which explore their relationship with philosophical ideas in their work and how that informs their ability to create acts of philosophy. In practice, the research questions that underpin Apocryphal Theatre's research in labs, rehearsals and performance, are philosophical and create the potential for collective acts of philosophy. Apocryphal's practice as research as manifest in its ongoing lab and in the two productions included as part of this thesis, The Jesus Guy and Besides, you lose your soul or The History of Western Civilisation, will be analysed for the historical and philosophical bases of the primary concepts we have created through our research and the tools with which we embody them. The concepts and tools, which are used to address the research questions, are the witness, the grid, cutting up, levels of address and levels of presence. This thesis concludes that theatre and philosophy whilst separate disciplines can overlap in such a way that acts of philosophy can occur in the theatre, and that Apocryphal's theatrical project, which is collaborative, polyvocal and in performance invites the audience to be active witness/participants in the creation of the event, can be viewed as a collective act of philosophy.
37
Gourlay, Jennifer Eowyn. "Negotiating spaces : women and agency in English Renaissance society, plays and masques." Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/3465/.
Full textAbstract:
This thesis provides new and alternative readings of women’s opportunities for agency in sixteenth and early seventeenth century society, and of the ways in which this was represented in plays and masques of the time. The relationship between history and theatre is a two-way process. In light of this, the depiction of proactive female characters in public plays is examined alongside the appearance of proactive women in society and on stage in Jacobean court masques, through the different but complementary lenses of marriage and female alliances. After the Introduction (Chapter One), Part One (Chapters Two and Three) looks at female agency in marriage and the ways in which this was depicted in drama, from the perspective of two neglected social practices, spousals and wife sales. The spousal law offered women as well as men an opportunity to regulate their marriage without recourse to the church or parents and is a common, but under-studied, plot in Renaissance drama. Three of the most interesting and complex uses appear in George Chapman’s The Gentlemen Usher (1602-4), John Webster’s The Duchess of Malfi (1612-14) and Thomas Middleton’s The Widow (c. 1616). The spousal plot provides an alternative angle for the playwrights to explore and endorse female characters’ decision to rebel against male family members and marry men of their choice. Part Two (Chapters Four, Five and Six) analyses the opportunities for female agency at the Jacobean court from the perspective of female homosocial bonding, looking at Anna of Denmark (Queen consort of James I), her court women, and the masques in which they danced. Anna’s women were, like the Queen, trying to control their lives. Chapter Four shows that the Queen’s retinue provided a separate space for these women to gather, interact and create alliances and further, that this mutual support facilitated their agency at the Jacobean court, agency which often involved opposing the king.
38
Lee, William James. "Genroku kabuki : cultural production and ideology in early modern Japan." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119316.
Full textAbstract:
Note:Scholars are in agreement that the kabuki theatre did not attain its first flowering as a complex dramatic art until the Genroku period (16881704). The Genroku period is also the earliest for which detailed study of the plays has been possible, due to the large number of playbooks that have survived. For these reasons, Genroku kabuki has long been an object of scholarly attention among Japanese theatre historians. This scholarship, however, has for the most part been shaped by the same ideological concerns that underlie other forms of Japanese intellectual discourse in the modern period. In the Meiji period (1868-1912), for example, efforts were made to find in kabuki a Japanese equivalent to the Western theatre; while in the postwar era, in light of the critique of feudalism following the national defeat, the trend has been to see kabuki as an example of popular culture, one with roots in older indigenous cultural traditions and which not only enjoyed a special relationship with the urban commoner class, but which functioned as a form of resistance to feudal authority.[...]
Ne au debut du dix-septieme siecle, Ie theAtre kabuki n'a connu sa premiere floraison comme art dramatique complexe que pendant I'epoque Genroku(1688-1704). Grace a la survivance de nombreux textes-scenarios, l'epoque Genroku est aussi la premiere periode dans l'histoire du kabuki dont l'analyse detaillee est possible. Pour ces raisons, le Genroku kabuki est depuis toujours un objet d'etude prefere parmis les specialistes de l'histoire du theAtre au Japon. Mais ces etudes, quoiqu'elles soient souvent basees sur des recherches historiques considerables, ont ete, pour la plupart, determinees par les mames projets ideologiques qui ont soutenu les autres formes du discours intellectuel dans le Japon moderne.[...]
39
Cameron, Nicholas W. "Reclaimed territory : the plays of John McGrath and the 7:84 theatre company considered as a continuum of twentieth-century theories concerning theatrical form." Doctoral thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/15983.
Full textAbstract:
Bibliography: pages 617-630.This dissertation proposes to examine the work of John McGrath and the 7:84 Theatre Company as part of a continuum of theatrical experimentation culminating in postmodernism. To clarify the relationship between aesthetic form and social praxis the inquiry proceeds in two salient lines of direction: the first tracing the withdrawal from "realism" of major theorists of modernist ideology, the second defining the political and social milieu which provided the matrix for the development and staging of McGrath's plays. Recognising the partisan disposition of the 7:84 Theatre Company, the focus is on not only the division between political commitment and aesthetic experimentation, but also their potential for conciliation. At stake here is the socio-political nature of dramatic form itself and the contradictions implicit in political theatre's inherent structure. Tested against actual modes of procedure in the staging of McGrath's plays, and against the plays themselves, are the modernist propositions on aesthetics and politics argued within the context of German Marxism by Bloch, Lukacs, Benjamin, Adorno, and Brecht. The inquiry into problematising representational modes is then extended to include the postmodernist resistance to both realism and modernism, seeking precisely where and how McGrath's theatre supports this opposition. Following a critical dissection of representative texts, the conclusion attempts to establish their validity as postmodernist art, wordlessly disclosing within the parameters of their own language structure what cannot be asserted effectively by the practice of politics itself.
40
Sawada, Keiji. "From The floating world to The 7 stages of grieving the presentation of contemporary Australian plays in Japan /." Phd thesis, Australia : Macquarie University, 2005. http://hdl.handle.net/1959.14/13213.
Full textAbstract:
Thesis (PhD)--Macquarie University, Division of Society, Culture, Media & Philosophy, Department of Critical and Cultural Studies, 2005.Bibliography: p. 274-291.
Introduction -- The emergence of "honyakugeki" -- Shôgekijô and the quest for national identity -- "Honyakugeki" after the rise of Shôgekijô -- The presentation of Australian plays as "honyakugeki" -- Representations of Aborigines in Japan -- Minorities in Japan and theatre -- The Japanese productions of translated Aboriginal plays -- Significance of the productions of Aboriginal plays in Japan -- Conclusion.
Many Australian plays have been presented in Japan since the middle of the 1990s. This thesis demonstrates that in presenting Australian plays the Japanese Theatre has not only attempted to represent an aspect of Australian culture, but has also necessarily revealed aspects of Japanese culture. This thesis demonstrates that understanding this process is only fully possible when the particular cultural function of 'translated plays' in the Japanese cultural context is established. In order to demonstrate this point the thesis surveys the history of so-called 'honyakugeki' (translated plays) in the Japanese Theatre and relates them to the production of Western plays to ideas and processes of modernisation in Japan. -- Part one of the thesis demonstrates in particular that it was the alternative Theatre movement of the 1960s and 1970s which liberated 'honyakugeki' from the issue of 'authenticity'. The thesis also demonstrates that in this respect the Japanese alternative theatre and the Australian alternative theatre of the same period have important connections to the quest for 'national identity'. Part one of the thesis also demonstrates that the Japanese productions of Australian plays such as The Floating World, Diving for Pearls and Honour reflected in specific ways this history and controversy over 'honyakugeki'. Furthermore, these productions can be analysed to reveal peculiarly Japanese issues especially concerning the lack of understanding of Australian culture in Japan and the absence of politics from the Japanese contemporary theatre. -- Part two of the thesis concentrates on the production of translations of the Australian Aboriginal plays Stolen and The 7 Stages of Grieving. 'This part of the thesis demonstrates that the presentation of these texts opened a new chapter in the history of presenting 'honyakugeki' in Japan. It demonstrates that the Japanese theatre had to confront the issue of 'authenticity' once more, but in a radically new way. The thesis also demonstrates that the impact of these productions in Japan had a particular Japanese cultural and social impact, reflecting large issues about the issue of minorities and indigenous people in Japan and about the possibilities of theatre for minorities. In particular the thesis demonstrates that these representations of Aborigines introduced a new image of Australian Aborigines to that which was dominant amongst Japanese anthropologists.
Mode of access: World Wide Web.
291 p
41
Silva, Anita Cione Tavares Ferreira da. "Educação não formal e gestus social: teatro em comunidade com o grupo Na Boca de Cena." Escola de Teatro, 2014. http://repositorio.ufba.br/ri/handle/ri/27523.
Full textAbstract:
Submitted by Glauber de Assunção Moreira (glauber.moreira@ufba.br) on 2018-09-25T19:21:51Z
No. of bitstreams: 1
Dissertação_de_Anita_Cione versão final mesmo (1).pdf: 9099224 bytes, checksum: 38b4804f8d0179c79a7d1e12cdd2ffa2 (MD5)Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-09-26T16:11:42Z (GMT) No. of bitstreams: 1 Dissertação_de_Anita_Cione versão final mesmo (1).pdf: 9099224 bytes, checksum: 38b4804f8d0179c79a7d1e12cdd2ffa2 (MD5)
Made available in DSpace on 2018-09-26T16:11:42Z (GMT). No. of bitstreams: 1 Dissertação_de_Anita_Cione versão final mesmo (1).pdf: 9099224 bytes, checksum: 38b4804f8d0179c79a7d1e12cdd2ffa2 (MD5)
Esta dissertação trata de um estudo de caso envolvendo a condução e análise de oficinas de teatro produzidas e ministradas pela pesquisadora com um grupo de teatro de uma comunidade socialmente vulnerável na área do parque de Pituaçu em Salvador, Bahia, a companhia teatral Na Boca de Cena. Procurou-se compreender os potenciais emancipatórios do método de investigação, como processo de conscientização e aprimoramento da linguagem teatral do grupo pela via da Educação Não Formal. O trabalho é vinculado à linha de pesquisa de Processos Educacionais em Artes Cênicas, fundamentado em pedagogias críticas e dialógicas como a Peça didática de Brecht, a Poética do oprimido de Boal e a obra do educador Paulo Freire. Foi também abordado o Teatro em Comunidades, eixo específico do campo da Pedagogia do Teatro. Na prática de campo foram utilizados jogos, improvisações e debates para o aprofundamento em questões sociais da comunidade. Concluiu-se que a metodologia empregada, além de ser de extrema utilidade em um teatro que vise estimular o desenvolvimento do artista de comunidades menos favorecidas, permite a provocação de problematizações políticas e sociais por meio do teatro como ferramenta popular para a discussão social coletiva.
This dissertation is about a study of case which deals with the performance and analyses of theater workshops produced and conducted by the researcher with a theater group of a socially vulnerable community in the area of Pituaçu Park in Salvador, Bahia state, named Na Boca de Cena. The goal was trying to understand the emancipatory potentials of the investigation method as a process of consciousness and improvement of the group via nonformal education. The work is linked to the line of research of Educational Processes in Performing Arts and based upon dialogical and critical pedagogies like the Learning play of Brecht, the Poetics of the oppressed of Boal and the work of the educator Paulo Freire. It was also addressed the Theater in Communities, an specific axis of study in the field of Pedagogy of Theater. In the field practice, games improvisations and debates were utilized to deepen the social issues of the community. It was concluded that the methodology employed, besides being extremelly useful in a theater method which aims to stimulate the development of the artist in underprivileged communities, allowing the raising up of political and social problematizations through theater as a tool used by the people to debate social and collective issues.
42
May, Theresa J. "Earth matters : ecology and American theatre /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/10223.
Full text
43
Rowley, Ben. "Festival or carnival? : the 2002 Adelaide Festival of the Arts and cultural activism /." Title page/ table of contents only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arr8838.pdf.
Full text
44
Curiel, Sandra Y. "El Teatro Dominicano: Instrumento Político y Voz de una Identidad." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849781/.
Full textAbstract:
Throughout the history of the Dominican Republic, theater has played an instrumental role in the cultural life its people, one which transcends purely artistic and cultural dimensions extending its influence into the political and social fabric of the nation. In spite of Spanish colonization and later Haitian occupation, a nascent national identity began forming early on. The staging of certain plays exposed latent conflicts and revealed sectorial, class interests. Theater provided a means of expression for popular sentiments, thus revealing an urge by the people to manifest their concerns, usually under the heavy weight of censorship. This thesis focuses on key moments of the first 140 years of Dominican Republic theater. It is organized into three chapters: "Historical Antecedents", "Theater of the Dictatorship" and "Theater of the Post-Dictatorship." The first chapter deals with the struggle for independence through 1844; the next focuses on the theatrical plays and political climate of bloody Rafael Leonidas Trujillo dictatorship which spanned from 1930 to his assassination in 1961, and the third presents the theater that appeared in the subsequent years of the equally repressive Joaquin Balaguer presidency (1966-1978). The analysis of these key historical moments, in conjunction with the dramaturgy of playwrights such as Franklin Domínguez, Marcio Veloz Maggiolo and Héctor Incháustegui Cabral, maps the function of theater as a tool of raising awareness, transmitting ideologies, and unifying a nation, in spite of despotism and oppression often disguised as democracy. As such, it documents the role that theatre played during a nation-building process that stages the history of political repression, lack of freedom of expression as well as social and political injustice.
45
Smith, Alison. "Raising environmental awareness through performance art." Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession86-10MES/Smith_A%20MESThesis%202007.pdf.
Full text
46
Rups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual /." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031222.160235/index.html.
Full textAbstract:
Thesis (Ph.D.) -- University of Western Sydney, 2002.A thesis submitted in full requirements for the degree of Doctor of Philosophy, School of Social Ecology and Lifelong Learning, University of Western Sydney, May 2002. Bibliography : p. [369]- 395.
47
Campos, Hillary Jarvis. "Marina Carr's Hauntings: Liminality and the Addictive Society On and Off the Stage." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2418.pdf.
Full text
48
Patrick, Holly. "Challenging legitimacy in cultural fields : the case of Dundee Rep." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4111.
Full textAbstract:
This thesis argues for a dualistic, epistemological, framework for the study of legitimacy which recognises the different ways it might be understood to exist, and as such be managed, within organisations. It is based on an ethnography of a Scottish professional theatre, Dundee Rep, undertaken over a 30 month period. The research adopts a social constructionist ontology and an epistemological framework based on the knowing that / knowing how framework of Gilbert Ryle to present three accounts of the legitimacy of the theatre – as belonging, becoming and integrated- and to challenge the notion implicit in the organisation studies literature that legitimacy is treated (and should be treated) as a belonging by organisations. The proposed integrated epistemological framing of legitimacy explains how notions of legitimacy as an emergent, negotiated perception and as a competitive resource possessed are both crucial to developing an integrated understanding of how legitimacy is produced at the organisational level.
49
Calló, Beatriz Georgopoulos 1990. "O arsenal político-estético-pedagógico do teatro épico-dialético na práxis da Brava Companhia /." São Paulo, 2018. http://hdl.handle.net/11449/154751.
Full textAbstract:
Orientador(a): Alexandre Luiz MateBanca: Maria Silvia Betti
Banca: Fernando César Kinas
Resumo: O teatro de grupo de São Paulo é responsável pela maior parte da produção teatral da cidade. Decorrente de processos de luta da categoria, esse sujeito histórico foi o grande ator social no que tange a descentralização e a democratização dos espetáculos de teatro. A partir dessa reunião de artistas e pensadores de teatro, é formulada e promulgada a Lei de Fomento ao Teatro Para a Cidade de São Paulo, que prevê a destinação de recursos públicos para a manutenção dos coletivos. Circunscrita nessa esfera está a Brava Companhia, grupo da periferia da Zona Sul da cidade de São Paulo, que realiza seu trabalho militante, transitando com os expedientes brechtianos, que estão presentes em grande parte da pesquisa estética dos grupos paulistanos. O trabalho analisa essa influência de Bertolt Brecht no trabalho da Companhia, tendo a peça Este lado para cima - isto não é um espetáculo como objeto dessa análise
Abstract: The group theater of Sao Paulo is responsible for most of the city's theatrical production. Due to the struggle processes of the category, this historical subject was the great social actor in what concerns the decentralization and democratization of theater plays. From this organization of artists and theater thinkers, the Law for the Promotion of Theater for the City of São Paulo, which implicates the destination of public resources for the maintenance of the collectives, is formulated and promulgated. Circumscribed in this sphere is the Brava Companhia, a group on the outskirts of the South Zone of the city of São Paulo, which carries out its militant work, transiting with the Brechtian expedients, which are present in most of the aesthetic research of the groups from Sao Paulo. The work analyzes this influence of Bertolt Brecht on the work of the Company, having the piece Este lado para cima - isto não é um espetáculo [This side up - this is not a spectacle] as object of this analysis
Mestre
50
Ryner, Bradley David. "Staging economics drama and mercantile writing, 1600-1642 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.50 Mb., 192 p, 2006. http://proquest.umi.com/pqdlink?did=1176547011&Fmt=7&clientId=8331&RQT=309&VName=PQD.
Full text