Dissertations / Theses: 'Theater; Literatur'

1

Roßbach, Nikola [Verfasser]. "Theater über Theater. : Parodie und Moderne 1870-1914 / Nikola Roßbach." Bielefeld : Aisthesis Verlag, 2019. http://d-nb.info/1194433464/34.

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Jaeger, Dagmar [Verfasser]. "Theater im Medienzeitalter. : Das postdramatische Theater von Elfriede Jelinek und Heiner Müller / Dagmar Jaeger." Bielefeld : Aisthesis Verlag, 2019. http://d-nb.info/1194434282/34.

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3

Clemens, Gabriele. "Britische Kulturpolitik in Deutschland 1945-1949 : Literatur, Film, Musik und Theater /." Stuttgart : F. Steiner, 1997. http://catalogue.bnf.fr/ark:/12148/cb370585898.

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4

Jennicke, Skadi [Verfasser], Andrea Akademischer Betreuer] Jäger, Peter [Akademischer Betreuer] Reichel, and Wolfgang [Akademischer Betreuer] [Engler. "Theater als soziale Praxis : ostdeutsches Theater nach dem Systemumbruch / Skadi Jennicke. Betreuer: Andrea Jäger ; Peter Reichel ; Wolfgang Engler." Halle, Saale : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2009. http://d-nb.info/1024937615/34.

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5

Fricke, Thorsten [Verfasser]. "Arno Holz und das Theater. : Biografie - Werkgeschichte - Interpretation / Thorsten Fricke." Bielefeld : Aisthesis Verlag, 2019. http://d-nb.info/1194435548/34.

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6

Küpper, Ulrike [Verfasser]. "William Shakespeare’s A Midsummer Night’s Dream in the History of Music Theater / Ulrike Küpper." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2012. http://d-nb.info/1042406022/34.

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7

Goetz, Thomas. "Poetik des Nachrufs zur Kultur der Nekrologie und zur Nachrufszene auf dem Theater." Wien Köln Weimar Böhlau, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=3045130&prov=M&dok_var=1&dok_ext=htm.

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8

Bessenbacher, Veit Alexander [Verfasser]. "Die Commedia dell’arte im Theater des 20. Jahrhunderts / Veit Alexander Bessenbacher." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2015. http://d-nb.info/1080460780/34.

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9

brockerhoff, henni [Verfasser], Bernd [Akademischer Betreuer] Witte, and Sybille [Akademischer Betreuer] Schönborn. "Ideologische Instrumentalisierung von Theater am Beispiel Kleist / henni brockerhoff. Gutachter: Sybille Schönborn. Betreuer: Bernd Witte." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2015. http://d-nb.info/1064694063/34.

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10

Brockerhoff, Henni [Verfasser], Bernd [Akademischer Betreuer] Witte, and Sybille [Akademischer Betreuer] Schönborn. "Ideologische Instrumentalisierung von Theater am Beispiel Kleist / henni brockerhoff. Gutachter: Sybille Schönborn. Betreuer: Bernd Witte." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2015. http://d-nb.info/1064694063/34.

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11

Hussein, Abdelhamid [Verfasser]. "Griechische Mythologie im modernen arabischen Theater : Am Beispiel Ägyptens und Syriens / Abdelhamid Hussein." Aachen : Shaker, 2004. http://d-nb.info/1170545408/34.

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12

Füllner, Niklas [Verfasser]. "Theater ist eine Volkssauna Politisches Gegenwartstheater aus Finnland in der Tradition von Bertolt Brecht / Niklas Füllner." München : epodium Verlag A. Backoefer, 2014. http://d-nb.info/1058675222/34.

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13

Knoll, Karen [Verfasser], and Hans-Thies [Akademischer Betreuer] [Gutachter] Lehmann. "Unordnung im Sinnlichen : zum politischen Theater René Polleschs / Karen Knoll. Betreuer: Hans-Thies Lehmann. Gutachter: Hans-Thies Lehmann." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2013. http://d-nb.info/1107182824/34.

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14

Heuring, Denis [Verfasser], and Bernhard [Akademischer Betreuer] Teuber. "Verdrängen und Erinnern auf dem Theater : Bürgerkrieg und Diktatur im erinnerungskulturellen Theater Spaniens nach 1975 am Beispiel von José Sanchis Sinisterra, José Luis Alonso de Santos und Ignacio Amestoy Egiguren / Denis Heuring ; Betreuer: Bernhard Teuber." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2018. http://d-nb.info/1185979107/34.

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15

Paulun, Simone Friederike [Verfasser]. "Enacting Cultural Identity : Time and Memory in 20th-Century African-American Theater by Female Playwrights / Simone Friederike Paulun." Konstanz : Bibliothek der Universität Konstanz, 2015. http://d-nb.info/1080879714/34.

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16

Goetz, Thomas. "Poetik des Nachrufs : zur Kultur der Nekrologie und zur Nachrufszene auf dem Theater /." Wien [u.a.] : Böhlau, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3045130&prov=M&dok_var=1&dok_ext=htm.

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17

Flegel, Silke [Verfasser]. "Bühnenkämpfe : Autor-Dramaturgen in der frühen DDR: Brecht, Kipphardt, Hacks / Silke Flegel." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2017. http://d-nb.info/1136248374/34.

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18

Lau, Martin [Verfasser]. "Hanns von Gumppenberg (1866–1928) : Ein Münchner Schriftsteller zwischen Okkultismus, Kabarett und Kritik / Martin Lau." Göttingen : Böhlau Verlag Köln, 2019. http://www.v-r.de/.

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19

Brod, Anna [Verfasser]. "Opfer – TäterInnen – Theaterpublikum : Szenarien von Zeugenschaft in Theaterstücken zum NSU / Anna Brod." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2019. http://d-nb.info/1199774553/34.

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20

Buch, Marina-Rafaela [Verfasser]. "Le théâtre nippon dans le théâtre français du XXe siècle : D’un regard kaléidoscopique à une réception productive / Marina-Rafaela Buch." Göttingen : V&R Unipress, 2019. http://www.v-r.de/.

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21

Müller, Marion [Verfasser]. "Zwischen Intertextualität und Interpretation : Friedrich Schillers dramaturgische Arbeiten 1796 - 1805 / Marion Müller." Karlsruhe : Univ.-Verl. Karlsruhe, 2004. http://d-nb.info/973143991/34.

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22

de, Toro Alfonso. "Arte, literatura y Teatro menor postmoderno." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-159282.

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El teatro de Eduardo Pavlovsky, en el transcurso de toda su obra, ha sido simplemente un teatro que se ha ido y se va a las orillas, a la periferia, un teatro dentro de lo que podemos llamar –parafraseando a Deleuze/Guattari– "teatro menor" (vid. Deleuze/Guattari 1975), para poder allí, libre de condicionamientos externos, producir un teatro que llamaría orgánico, esto es, un teatro en el que la representación sea al final el logro natural de una búsqueda, de una transformación, de una acto de creación que actores mismos como en los espectadores o en los lectores de esta obra. De esta forma la obra de Pavlovsky se establece como una de las manifestaciones más exitosas de la producción teatral en el concierto internacional del teatro. Pavlovsky se encuentra en Argentina en muy buena compañía y tradición: no olvidemos que Borges fue un autor de las orillas por mucho tiempo y desde allí se impuso en el centro como lo estamos experimentando cada vez más claramente. Pero profundicemos un momento esta categoría de "lo menor" y esta relación discursiva, estética y de pensamiento entre Pavlovsky y Borges. Tanto Borges como Pavlovsky trabajaban en las "orillas" para descentrar los cánones establecidos en el pensamiento, en la cultura, en la literatura y el teatro en Buenos Aires y fundar así su propia concepción literaria o teatral, lo cual es algo prácticamente típico de ambos autores en Buenos Aires.

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23

Mur, Maria-Christina [Verfasser]. "The Physiognomical Discourse and European Theatre : Theory, Performance, Dramatic Text / Maria-Christina Mur." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2017. http://d-nb.info/1136247696/34.

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24

Smith, Amanda Emanuel [Verfasser], and Stefan [Akademischer Betreuer] Herbrechter. "Masculinism in Twentieth-Century Literature: Dissidence and Dissemblance in André Gide’s The Immoralist, Vladimir Nabokov’s Lolita, and Philip Roth’s Sabbath’s Theater / Amanda Emanuel Smith ; Betreuer: Stefan Herbrechter." Heidelberg : Universitätsbibliothek Heidelberg, 2020. http://d-nb.info/1215292252/34.

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25

Dürr, Christine. "Theater und sprachlich-kulturelle Identität Untersuchung zum Identitätsverständnis im Theaterwesen und in der dramatischen Literatur der schwedischsprachigen Minderheit in Finnland /." [S.l. : s.n.], 2001. http://deposit.ddb.de/cgi-bin/dokserv?idn=963264311.

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26

Münder, y. Estellés Christina [Verfasser]. "Las representaciones del actor en la narrativa española del siglo XX / Christina Münder y Estellés." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2018. http://d-nb.info/1173656553/34.

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27

Barnett, David. "'Literatur ist dazu da, dem theater widerstand zu leisten' : textual problems and theatrical realizations in the later plays of Heiner Mueller." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307561.

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28

Coffey, Alexandra. "Höllischer Ehrgeiz und himmlische Macht : Herrschafts- und Magiediskurse im Theater der englischen Renaissance /." München : Utz, 2009. http://d-nb.info/988230267/04.

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29

Berger, Peter [Verfasser]. "Das unrettbare Ich und die Bühne : Zur Produktivität der Subjekt-Semantik im Drama und Theater um 1900 / Peter Berger." Göttingen : V&R Unipress, 2020. http://www.v-r.de/.

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30

Choi, Eun-Nyoung [Verfasser], Bernd [Akademischer Betreuer] Witte, and Volkmar [Akademischer Betreuer] Hansen. "Die modifizierte Theorie der literarischen Unbestimmtheit. Eine vergleichende Untersuchung von Wolfgang Isers Wirkungsästhetik und Bertolt Brechts episch-dialektischem Theater am Beispiel der epischen Oper Aufstieg und Fall der Stadt Mahagonny / Eun-Nyoung Choi. Gutachter: Bernd Witte ; Volkmar Hansen." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2013. http://d-nb.info/1045345571/34.

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31

Laak, Lothar van. "Medien und Medialität des Epischen in Literatur und Film des 20. Jahrhunderts Bertolt Brecht - Uwe Johnson - Lars von Trier." Paderborn München Fink, 2007. http://d-nb.info/991577353/04.

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32

de, Toro Alfonso. "Arte, literatura y Teatro menor postmoderno: Borges y Pavlovsky." Vervuert, 2004. https://ul.qucosa.de/id/qucosa%3A13099.

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El teatro de Eduardo Pavlovsky, en el transcurso de toda su obra, ha sido simplemente un teatro que se ha ido y se va a las orillas, a la periferia, un teatro dentro de lo que podemos llamar –parafraseando a Deleuze/Guattari– "teatro menor" (vid. Deleuze/Guattari 1975), para poder allí, libre de condicionamientos externos, producir un teatro que llamaría orgánico, esto es, un teatro en el que la representación sea al final el logro natural de una búsqueda, de una transformación, de una acto de creación que actores mismos como en los espectadores o en los lectores de esta obra. De esta forma la obra de Pavlovsky se establece como una de las manifestaciones más exitosas de la producción teatral en el concierto internacional del teatro. Pavlovsky se encuentra en Argentina en muy buena compañía y tradición: no olvidemos que Borges fue un autor de las orillas por mucho tiempo y desde allí se impuso en el centro como lo estamos experimentando cada vez más claramente. Pero profundicemos un momento esta categoría de "lo menor" y esta relación discursiva, estética y de pensamiento entre Pavlovsky y Borges. Tanto Borges como Pavlovsky trabajaban en las "orillas" para descentrar los cánones establecidos en el pensamiento, en la cultura, en la literatura y el teatro en Buenos Aires y fundar así su propia concepción literaria o teatral, lo cual es algo prácticamente típico de ambos autores en Buenos Aires.:La producción periférical y el "teatro menor". - Resumen

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33

Klüssendorf, Ricarda. ""The great work begins" : Tony Kushner's theater for change in America /." Trier : Wissenschaftlicher Verlag, 2007. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783884769782.

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34

Rutherford, Cassandra. "Building theatres/theatre buildings : reinventing Mull Theatre." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5254/.

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Mull Theatre is a professional touring theatre company based on a small island off the west coast of Scotland. In 2008 the company relocated from a small converted cow byre which seated 42 people to a new purpose-built venue –Druimfin - on a different part of the island. The move was made possible through a grant from the Scottish Arts Council in 2006, which was awarded on the expectation that the new building would be a ‘production centre’ as opposed to a theatre. That is to say the emphasis in the design of the new space was to be placed on the production rather than the reception of the theatrical event. This stands in contrast to the expectation of many theatre attendees that the new space would continue as it had been – as a place to go and see a theatre production - but that it would do so out of a much larger, more comfortable and better equipped venue. Building Theatres/Theatre Buildings stems from a three year Collaborative Doctoral Award between Mull Theatre and the University of Glasgow, which was funded by the Arts and Humanities Research Council (AHRC). Using the partnership that emerged from this award, the thesis explores what was potentially lost and gained in the move in order to draw conclusions about the wider relationship between spaces of performance and the creation of theatrical meaning in relation to small and medium scale touring theatre. It also uses the company’s dual identity as a touring company with its own permanent building to extend the discussion and to examine the wide range of venues which currently form the rural touring circuit in Scotland. By bringing together primary fieldwork from a pivotal moment in the company’s identity alongside current dialogues regarding theatre space and touring theatre, this research provides new knowledge about this often overlooked theatre company, its buildings and its role within contemporary Scottish theatre and small scale rural touring.

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35

Rothe, Matthias. "Lesen und Zuschauen im 18. Jahrhundert die Erzeugung und Aufhebung von Abwesenheit." Würzburg Königshausen und Neumann, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2683383&prov=M&dok_var=1&dok_ext=htm.

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36

Lam, Teng Teng Teresa. "LITERATURE vs. THEATRE." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-364412.

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Tato práce zkoumá současnou praxi adaptace čínské literatury v divadelní tvorbě v Macau. Poukazuje na její možnosti a tvůrčí hodnoty, a podporuje tak akademickým zpracováním tématu umělecké směřování autorky v rámci tohoto žánru. Práce sestává ze dvou hlavních kapitol. První se zabývá minulostí a současností adaptací děl čínské literatury v Macau z hlediska obecných trendů v tamní divadelní dramaturgii. Na základě statistik divadelních inscenací z posledních let definuje jednotlivé žánry, aby mohla určit podíl adaptací čínské literatury na divadelní tvorbě a také hledat příčiny její absence. Zároveň je zde kladena otázka, proč se takové dramaturgické směřování objevilo. Druhá kapitola předkládá reflexi adaptací čínské literatury v divadelní tvorbě samotné autorky, se zřetelem na její umělecké cíle, výběr textů, proces jejich aplikace a s tím spojené obtíže. Poukazuje na režijní metodologii transformace literárního jazyka do jazyka divadelního, spočívající také v užití loutkových a objektových prvků, znakových systémů pro metafory či prolínání proxemického a imaginativního prostoru. Věnuje se soudobé interpretaci těchto prvků a novému vztahu se současným publikem. Také se zabývá možnostmi a perspektivami tohoto směru s ohledem na recepci takovýchto inscenací. Tato práce má za cíl pomoci autorce hledat systematické zachycení smyslu jejího uměleckého směřování, aby dále mohla cíleně rozvíjet své myšlenky při vědomí hledání své kulturní identity jako divadelní umělkyně ze Zvláštní správní oblasti ČLR Macao. Také se věnuje otázce spojení mezi její tvorbou a publikem v její další tvůrčí kariéře.

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37

Iball, Helen. "Mess en scene : theatres of excess as recognitions of the excesses of theatre." Thesis, Aberystwyth University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367036.

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38

Najar, Daronkolae Esmaeil. "Pam Gems: Rethinking Her Life and the Impact of Her Plays on British Stage." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523487108676837.

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39

Wilson, Timothy H. "The question of representation in Elizabethan literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0008/NQ38802.pdf.

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40

Caregaro, Raquel Arantes Toledo. "Uma aventura: o teatro de Marina Tsvetáieva. Tradução e apresentação." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-02102015-111508/.

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O trabalho discute uma faceta ainda pouco explorada da poeta Marina Tsvetáieva: seus textos dramáticos, em especial o ciclo Romantika (1916-1917). Para tanto, apresenta Uma aventura (1917), peça integrante do ciclo mencionado, em tradução não definitiva. Uma tentativa, ainda que distante, de recriar a voz que a poeta achou para si nos palcos da Rússia recém-soviética. Ao buscar localizar a produção para teatro ao lado da obra poética de Tsvetáieva, o presente trabalho comenta todas as peças teatrais escritas por ela, mas se detém especialmente em Uma aventura, na qual busca as motivações para construções dramáticas tão díspares em relação à realidade que Marina Tsvetáieva encontrava na sua cidadenatal. Lança-se mão de um breve comentário sobre a teoria do individualismo e da paródia para elucidar uma possível interpretação de Uma aventura.
This study discusses an underexplored side of Marina Tsvetáieva\'s work: her dramatic creations, specially the Romantika (1916-1917) cycle. In order to do so, it presents a non settled translation of Uma aventura (1917), a play from that cycle. It\'s an intent to recreate the voice that the poet developed for herself on the stages in Russia, during the beginning of the soviet regime. When comparing side by side Tsvetáieva\'s dramatic and poetic oeuvre, this study offers commentary on all her plays, while focusing specifically on Uma aventura, in which it searches for the reasons that would lead her to create theatrical inventions that were very different to those she would find in her homeland. In order to develop a possible interpretation of Uma aventura, a brief theory of individualism and parody is sketched.

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41

Torma, Frank Anthony. "A Character Type in the Plays of Edward Bond." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1290984556.

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42

Allen, Philip. "Estudio y edición de La más constante mujer de Juan Pérez de Montalbán." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5815.

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La más constante mujer is a Spanish Golden Age play written by Juan Pérez de Montalbán in 1631 and published for the first time in 1632. Although he was once one of the most famous playwrights in Madrid, known for running in the same literary and social circles as Lope de Vega and Calderón de la Barca, the bulk of the dramatist's work has been greatly ignored by scholars, or is referred to as being of second rate, and the author himself has nearly tragically been forgotten throughout the centuries following his short life. Although research has been conducted to chronicle the literature produced by Montalbán, his plays have been generally overlooked by modern scholars and very little of the dramatist's theatrical production has been analyzed within the last one hundred years. As a result, there are no modern editions of his plays. The intention of this thesis is to provide a regularized critical edition of La más constante mujer, together with an in-depth analysis of the life and times of its author, and the play's main themes, topics, influences, and characteristics.

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43

Mattos, Rogério Reis Carvalho. "O risco do século XVI: a corte manoelina e o teatro de Gil Vicente." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=9007.

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Trabalho de pesquisa que pretende retirar o teatro de Gil Vicente de um possível período mais obscurantista, tardo-gótico, para colocá-lo em meio às grandes transformações ocorridas na Europa durante o século XVI, mais propriamente o Renascimento artístico e cultural. A partir de uma crítica textual de autores contemporâneos como Nicolau de Cusa e Martinho Lutero, ou da literatura da Grécia clássica como Platão e Ésquilo, aproximamos o teatro vicentino das fontes clássicas da literatura, ao mesmo tempo em que, por uma crítica de determinadas correntes hegemônicas na análise da literatura como as que vêm do existencialismo e da psicanálise, afastamos seu teatro dessa crítica que antes obscurece do que propriamente o coloca à plena luz. Posto na luz correta, vemos um Gil Vicente em meio aos grandes movimentos de transformação da civilização mediterrânica do século XVI.
Research that want to remove Gil Vicentes theater from a more obscurantist period, "late Gothic", to put it among the great changes occurred in Europe during the sixteenth century, more specifically, the artistic and cultural Renaissance. From a textual criticism of contemporary authors such as Nicholas of Cusa and Martin Luther, or literature of classical Greece as Plato and Aeschylus, we can approache the Vincentian theater and the classical sources of literature at the same time, for a review of certain currents hegemonic analysis in literature, as the current existentialism and psychoanalysis. This move away his theater from the obscur criticism actually and puts it on light. With the correct approach, we can see Gil Vicente in the midst of the great movements of change in the Mediterranean civilization in the sixteenth century.

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44

Libbon, Stephanie E. "Frank Wedekind's fantasy world : a theater of sexuality." Connect to resource, 2000. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1229696568.

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45

Botton, Flavio Felício. "Entre Clio e Calíope: literatura e história no teatro de Miguel Franco." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-11012016-130449/.

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Miguel Franco nasceu em Leiria em 1918, atuou no teatro amador de sua cidade, sendo varias vezes premiado como encenador e como ator. Na década de 60, em plena ditadura salazarista, Franco leva ao Teatro Avenida de Lisboa, por meio da consagrada Companhia Companhia Rey Colaço Robles Monteiro sua mais importante peca de teatro histórico, O motim, que retoma os eventos ocorridos após o levante do povo da cidade do Porto contra a Companhia dos Vinhos do Alto Douro, criada pelo ministro de d. José, o Marques de Pombal. A peca, após poucos dias em cartaz, é brutalmente retirada de cena pelo aparelho de repressão do regime salazarista. Este trabalho tem por objetivo analisar a peça de Franco, como exemplo do subgênero dramático do teatro histórico, procurando compreender como e por que se dão as relações que se estabelecem entre o tempo da ação da peça (século XVIII) e o tempo de sua escrita (segunda metade do século XX).
Miguel Franco was born in Leiria in 1918, acted in amateur theater of his city, and several times was awarded as director and as an actor. In the 60s, during the Salazar dictatorship, Franco leads to Teatro Avenida de Lisboa, with the consecrated Company Company Rey Colaco - Robles Monteiro his most important play of historical theater, O Motim, which incorporates the events that occurred after the uprising of the people of Porto against the Companhia dos Vinhos do Alto Douro, created by d. José minister, Marques de Pombal. The play, after only a few days on stage, was brutally removed from the scene by the Salazar regime repression apparatus. This paper aims at examining the Franco play as an example of the dramatic subgenre of historical theater, trying to studying how and why occur the relations established between the time of action of the play (XVIII century) and the time of its writing (second half of the twentieth century).

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Luther, Carola. "South African theatre." Thesis, University of Leeds, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375957.

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Mellas, Michael John. "Constructing multiple realities on stage conceiving a magical realist production of José Rivera's Cloud tectonics /." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1218129542.

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Wood, Jennifer Linhart. "Sounding Otherness in Early Modern Theater and Travel Writing." Thesis, The George Washington University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3587221.

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My 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.

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Gôzo, Fernanda Vieira. "A Otávia do Pseudo-Sêneca: tradução, estudo introdutório e notas." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-13092016-140241/.

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Esta pesquisa de mestrado objetivou o estudo da peça latina Otávia do Pseudo-Sêneca, que inclui uma tradução para o português, acompanhada de notas e de um estudo introdutório. Este trabalho centrou-se em apontar o que se têm discutido entre os estudiosos de literatura clássica em relação à peça. Foi pertinente para esse expediente uma análise do gênero praetexta, do qual faz parte esta peça, considerando as divergências entre praetexta republicana e imperial, bem como a observação de como a peça integra mito e história. Essa pesquisa inclui também considerações sobre como Otávia dialoga com as tragédias de Sêneca, autor ao qual a peça foi atribuída erroneamente.
This Master\'s degree investigation aimed the study of the latin play Pseudo-Seneca\'s Octavia, which includes a translation into Portuguese, accompanied by notes and an introductory study. This work focused on showing what has been discussed between the classical literary scholars about the play. It was relevant to this expedient an analysis of praetexta genre, which this play is part, considering the differences between republican and imperial praetexta, as well as the observation of how the play includes myth and history. This research also includes considerations on how Octavia dialogues with Senecan tragedies, author to whom the play was erroneously attributed.

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Little, Cray. "A disease of the spirit : the identification and examination of shame in selected works of Modern American Literature /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488192960169308.

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Dissertations / Theses on the topic 'Theater; Literatur'

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