Relevant bibliographies by topics / Theater rehearsals Case studies / Dissertations / Theses

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Dissertations / Theses on the topic 'Theater rehearsals Case studies'

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Published: 10 December 2022

Last updated: 19 July 2025

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Sanders, Jennifer Lynn. "Audience development of theatres: a case study of Contemporary American Theatre Company Columbus, OH." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392308090.

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Schaefer, Kerrie. "The politics of poaching in postmodern performance : a case study of the Sydney Front's Don Juan in rehearsal and performance." Phd thesis, Department of Performance Studies, 1999. http://hdl.handle.net/2123/7909.

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Van, Zyl Lionel. "A critical investigation of the effectiveness of warm-ups as technical exercises for the improvement of choral tone : a case study of the Eastern Cape Children's Choir." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/634.

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This is a research project based on the author’s experience of more than 20 years as conductor of the Eastern Cape Childrens Choir. It investigates the effectiveness of technical exercises - with special reference to selected “warm-up” exercises - in creating a superior choral tone in the children’s choir. The investigation is motivated by the fact that it is an ongoing challenge to effectively overcome problems with intonation and poor choral tone, problems which are mostly caused by lack of attention to pure vowel formation. Toward this end, a practical “tool box” of vocal exercises for the children’s choir is ultimately proposed. The toolbox is based on one single exercise with different variations. Each variation is designed to address multiple vocal needs and to correct vocal production during singing. In this manner a great many technical aspects are covered with the simplest of means and in the shortest possible time, bearing in mind that the rehearsal session allows limited time to focus on such matters to the exclusion of all else.

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Majid, Asif. "The symbiotic embeddedness of theatre and conflict| A metaphor-inspired quartet of case studies." Thesis, Georgetown University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1586921.

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This study seeks to demonstrate connections between theatre and conflict, as inspired by metaphor and embodied by case studies of four theatrical organizations working in conflict zones: The Freedom Theatre in Palestine, Ajoka Theatre in Pakistan, DAH Teater in Serbia, and Belarus Free Theatre in Belarus. In so doing, it attempts to name the overlaps and relationships as sub-concepts that exist as connective tissue between conflict and theatre, writ large. These sub-concepts - subverting to play, imagining hidden histories, embodying the unspeakable, and blurring illusion and reality - offer a taxonomy of various dimensions of the theatre-conflict relationship. This taxonomy explores the symbiotic embeddedness of theatre and conflict as a possible explanation for the existence of theatrical organizations in conflict zones.

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Shorter, Smith Toni. "A Case Study of the Lincoln Theater in Columbus, Ohio: A Participatory Social Action Study." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1293746024.

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Chan, Ping-hung Joseph, and 陳炳雄. "New Chinese opera house in Temple Street." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31985063.

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Lane, Michelle I. ""Why do hurt people hurt people?" A SERIES OF CASE STUDIES EXPLORING ABUSIVE RELATIONSHIPS IN DRAMATIC TEXTS AND ONSTAGE WITH TONI KOCHENSPARGER'S MILKWHITE." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492704228702652.

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Patrick, Holly. "Challenging legitimacy in cultural fields : the case of Dundee Rep." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4111.

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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.

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Ruane, Richard T. "Performing "Camp, Vamp & Femme Fatale": Revisiting, Reinventing & Retelling the Lives of Post-Death, Retro-Gothic Women." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2239/.

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This thesis examines the production process for "Camp, Vamp and Femme Fatale," performed at the University of North Texas in April of 1997. The first chapter applies Henry Jenkins's theory of textual poaching to the authors' and cast's reappropriation of cultural narratives about female vampires. The chapter goes on to survey the narrative, cinematic and critical work on women as vampires. As many of the texts were developed as part of the fantasy role-playing game Vampire: The Masquerade, this chapter also surveys how fantasy role-playing develops unpublished texts that can make fruitful ground for performance studies. The second chapter examines the rehearsal and production process in comparison to the work of Glenda Dickerson and other feminist directors.

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Gaunce, Rachel. "Seeking Alternative Research and Development Methods Through Theatre: A Case Study on Sanitation Issues Affecting Women in the Mathare Slum." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524844274577085.

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Pate, Ronald David. "Narrative Processes in Urban Planning: A Case Study of Swamp Gravy in Colquitt, Georgia." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/469.

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In 1990 many in Colquitt, Georgia considered themselves to be a dying town due to the loss of jobs and outmigration that occurred when labor intensive farming transitioned to the machine. In response citizens brought in a theater director from Chicago who helped them launch a performance series of inclusive stories that were acted by local volunteers. The resulting series called Swamp Gravy has run from 1992 to present (2012), and has led to purported claims of community revitalization. The purpose of this study was to discover what this ongoing narrative community engagement meant to the people of Colquitt in regards to: community experiences that produced new relationships (including those between Blacks and Whites); personal empowerment; the coproduction of an emerging and diverse community identity; and institutional and economic development. Methods for this case study included narrative interviews of participants, attendees and local citizens, as well as observation of the town and the performances, and document analysis. Many participant volunteers and attendees became Swamp Gravy enthusiasts, and describe their experiences as coming out into a meaningful experience of community, which included forming relationships with diverse others (including those of a different race). The enthusiasts speak of growing into larger community responsibilities with others for the common good, and feel that ongoing and inclusive storytelling is very important to coproducing a diverse heritage that informs the future of their city. Other attendees (predominantly the business community) describe the benefits of Swamp Gravy as instrumental to having given the town recognition (identity) as an entertaining tourist attraction that exposed individual talent, boosted individual confidence, and enhanced social connectivity. Others in Colquitt were indifferent or resistive to the coming out that the performances invite. Most everyone recognizes that Swamp Gravy has attracted outside tourists which has boosted economic development, occasioned the renovation of downtown Colquitt square and the formation of institutions to continue to attract and accommodate visitors from afar. This case is theorized in terms of the emerging communicative turn in planning that juxtaposes the planner as mediator or facilitator, and stakeholders as co-producers. The findings in this case study support that the Swamp Gravy form of narrative process has some potential for guiding stakeholders to a just diversity in cities, neighborhoods and towns, and as such should be studied further. Urban planning in situations of urban renewal may be one place where utilizing this form of meaningful engagement could lead to discovery of new identities, which may both inform and motivate a just plan to be coproduced.

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Reed, Delanna Kay. "Readers Theatre in Performance: The Analysis and Compilation of Period Literature for a Modern Renaissance Faire." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500784/.

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The thrust of this study was twofold: to research and compile a script of English Medieval and Renaissance literature and to direct a group performance of the script in the oral interpretation mode at Scarborough Faire in Waxahachie, Texas. The study sought to show that a Readers Theatre script compiled of literature from the oral tradition of England was a suitable art form for a twentieth-century audience and that Readers Theatre benefited participants in the Scarborough Faire workshop program. This study concluded that the performed script appealed to a modern audience and that workshop training was enhanced by Readers Theatre in rehearsal and performance.

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Ballieux, Nathalie. "Macbeth, de l'autre côté du miroir, les différentes étapes d'adaptation d'un texte shakespearien : réécriture, mise en scène et réception du public." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ61327.pdf.

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Swindall, Lindsey R. "Intersections in theatrics and politics: The case of Paul Robeson and “Othello”." 2007. https://scholarworks.umass.edu/dissertations/AAI3293931.

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The goals of this dissertation project are to demonstrate how Paul Robeson utilized Shakespeare’s Othello in the broader struggle for African American equality and how the three productions with which he was associated shed light on contemporary political issues. First, it will document Robeson’s three performances as Othello: in London (1930), on Broadway (1942-45) and in Stratford-upon-Avon (1959). Secondly, it will examine Robeson’s political endeavors and theoretical positions at these three historical junctures, which will also elucidate corresponding international political developments (i.e. the spread of fascism across Europe, World War II and the Cold War). The role of Othello will be conceptualized, then, not just as the most important character in Robeson’s theatrical career but also as a means to explore the way in which Robeson’s artistry offered commentary upon or illuminated specific political issues like segregation and anti-fascism. First, chapter one synthesizes relevant background material on Shakespeare’s play and the stage history of Othello prior to Robeson. Chapters two and three focus on Robeson’s time abroad, primarily in Great Britain, in the 1930s. The second chapter focuses on Robeson’s portrayal of Othello in London in 1930 and the chapter three analyses Robeson’s political development during that period. The fourth chapter details the historic 1942-45 production of Othello that was directed by Margaret Webster and became the longest running Shakespearean play on Broadway. Chapter five outlines Robeson’s corresponding political involvement during the WWII and immediate post-war periods. Next, the sixth chapter examines Robeson’s political endeavors as his artistic career nearly grinds to a halt in the face of anti-communist hysteria. This chapter argues that Othello became even more closely associated with Robeson through these oppressive years as he maintained Othello’s final monologue in his repertoire and aptly titled his recording/publishing venture Othello Associates, Inc. The final chapter concentrates on his triumphant return to the stage as Othello at Stratford-upon-Avon in 1959. This production provided an important forum for audiences to affirm their support not only for Robeson’s artistry, but also for his political views and his victory in the passport case.

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Tsai, Tsui-Ling, and 蔡翠齡. "A Research on the Development of Quality Characteristics of Community Theaters in Chiayi City: Case Studies of Bei-Hu Community Theater, Xin-Xin Community Theater and Bai-Sha-Wang Community Theater." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/63860018793590262110.

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碩士 南華大學 文化創意事業管理學系文創行銷碩士班 103 Since 1994, Community development in Taiwan has entered into 21 years. Its derived from the concept of making machi in Japan, the community architecture in the United Kingdom, and community design in the United States. A policy of "Comprehensive Community Development" was thus established. In the post 20 years, community theater was a community development strategy, so it had to comply with the target of cultural identity in the community. Besides, community theater had connotations of community cultural characteristics, thus it became the pathway of implementing community development and an effective way to attract community residents’ participation. 　　Chiayi City has promoted community theaters for eight years. During this period, Bei-Hu Community Development Association, Xin-xin Community Care Association, and Bai- Sha-Wang Cultural Association had set up community theaters in accordance with the encouragement and assistances of Cultural Affairs Bureau, Chiayi City. Over these years, each of these three community theaters, had their own diverse cultural characteristics, and had also developed different performing styles. 　　Qualitative research method was adopted in this research. Through depth interviews, document analysis, case studies and secondary data collections, this research has explored background, development situation, the local cultural identity enhancement, cultural differences and characteristics of future development of these three community theaters. In addition, this research tried to provide references for future research.

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Pimentel, Bret. "Woodwind doubling on folk, ethnic, and period instruments in film and theater music case studies and a practical manual /." 2009. http://purl.galileo.usg.edu/uga%5Fetd/pimentel%5Fbret%5Fr%5F200905%5Fdma.

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"Constructing the Youth in Commercial Musical Theatre: An Intersectional Case Study." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.15824.

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abstract: This dissertation considers how adolescent identity is constructed and represented in commercial musical theatre for youth (e.g. Broadway and Disney Theatrical Group) by examining two commercial productions with adolescents in lead roles--Spring Awakening and Disney's High School Musical. My theoretical framework is intersectionality which creates a foundation for my research within the field of childhood studies, gender studies, and performance studies to illuminate current US American trends in youth oriented art and research. My framework extends into a case study methodology exploring the world of childhood and youth sexuality through a close read of the popular Broadway musical adaptation, Spring Awakening. In addition, a second investigation chronicles the world of Disney's High School Musical through my own intersectional tool, the Disney Industrial Complex. I claim that adolescence, as a constructed identity, exists as a multi-faceted intersectional category composed of multiple and conflicting intersections such as gender, race, sex, ethnicity, and so on. These intersections develop over the course of the period known as "adolescence" and "youth." The goal of this dissertation is to serve as a reference for other theatre educators and their work with young people creating art. Dissertation/Thesis Ph.D. Theatre 2012

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Johnston, Emma. "Healing Maori through song and dance? : three case studies of recent New Zealand music theatre : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Theatre and Film Studies in the University of Canterbury /." 2007. http://library.canterbury.ac.nz/etd/adt-NZCU20071119.093313.

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Cairns, Glen. "Danceland: a production record." Thesis, 1996. http://hdl.handle.net/2429/4105.

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The thesis is a record of the writing and rehearsal process which led to the British premiere of the full length Canadian play, Danceland, at The Old Red Lion Theatre, London, in November of 1994. The first chapter is a discussion of the dramatic theories and historical research which informed the initial creative writing process. The second chapter is the final draft of the play itself. The third chapter is a record of the rehearsal and production process, as well as an overview of the major dramaturgical problems which the actors, director and designers encountered during rehearsals of the play. A full cast and crew list and the reviews from the British press are contained in the appendices. The playwright's "experiment" which sits at the heart of this production record is that Aristotle's idea of "place" is essential to the creation of an indigenous, Canadian dramatic literature. The writing process, however, is only the beginning of the translation of drama from the page to the stage; and it is this final, rehearsal and production process which demands that all dramatic theory be placed within the context of believable characterization and dramatic action.

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Carr, Tessa Willoughby 1970. "Recovering women: autobiographical performances of illness experience." Thesis, 2007. http://hdl.handle.net/2152/3809.

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This dissertation layers trauma studies theory with feminist theories of performance and autobiography to investigate how women's autobiographically based performances of illness experience disrupt and/or reinforce master discourses of medicine, identity, and knowledge. Feminist theories of performance and autobiography share with trauma studies the distrust of traditional frames and mechanisms of representation, and seek to discover new methods of interpreting experiences that lie "outside the realm" of normative discourse. These theories are further linked by their shared focus on agency and identity construction and an understanding of autobiography that emphasizes the limitations of language and memory which allows for aporia, contradiction, and dissonance, and the belief that testimony functions as a politicized performative of truth. Employing these theoretical perspectives, Carr investigates how these performances witness to radical reconfigurations of identity through the transference of trauma into conveyable life narrative -- even when those narratives falls outside the paradigm of traditional storytelling structures. Carr questions how the structures and content of these performances reveal what traumas are inflicted not only through illness, but also through treatment and care within the western medical model. Throughout the study Carr examines the moments when the cognitive structures of trauma are transmitted into performance through a variety of feminist and avant-garde performance techniques. Carr investigates the work of specific performers and contextualizes the performances within popular culture and medical discourse. Performances analyzed include; Robbie McCauley's Sugar, Susan Miller's My Left Breast, Brandyn Barbara Artis's Sister Girl, and Deb Margolin's bringing the fishermen home and Three Seconds in the Key. Carr questions how the formerly or currently ill female body performing in public disrupts notions of fixed and stable identity while examining the myriad identity constructions embedded within illness narrative. Rather than simplistic triumphant stories of individual cure and recovery, these complex expressions of traumatic experience reveal patterns of cultural oppression that keep the ill female body isolated and silenced. This study attempts to intervene in that silence by foregrounding these politicized performances.

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