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Dissertations / Theses on the topic 'Theatre and art'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Marchant, James Charles. "Plato Would Hate This: Two Theatres with Successful Controversial Work." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1288706705.

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2

Jordan, Noel. "'Controversial art' : investigating the work of director Rosemary Myers." Connect to thesis, 2001. http://repository.unimelb.edu.au/10187/1160.

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Arena Theatre Company’s Eat Your Young is examined as an intrinsic case study. The aim is to investigate the role of a director in the creation of an original multi-media theatre production designed for young people. The study explores the current social, political and cultural position of young people and argues that they are viewed and portrayed as a marginalised “other”. The history of Arena Theatre Company is documented in relation to the development of Theatre in Education from its British roots to the Company’s current emphasis on contemporary artists exploring the possibilities of multi-art form technology. The development of multi-media usage in theatre over the past century is outlined in order to gain an understanding of Arena’s place within this technological experimentation. Utilising ethnographic methodology, including participant observation, “unstructured” interactive interviews and the construction of participant monologues, the creative rehearsal and planning process of Eat Your Young is chartered over a five month period. The outcomes of the study confirm the literature relating to the qualities of a good director: they are leadership, vision and the ability to collaborate. The metaphor chief architect is coined to describe the central figure of the director, Rosemary Myers. The case study discusses the development of a Company culture where artists work in an intensive social and interactive environment and it identifies the unique pressures and individual responsibility of the role of director.
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3

Eren, Buglalilar. "Theatre And Struggle: A Sociological Analysis Of The Political Theatre In Turkey Between 1960-1971." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614246/index.pdf.

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This thesis investigates the relationship between the social movement and theatre art in Turkey between 1960 and 1971 and investigates how the development of a dependent capitalism influenced the development of the classes and the political theatre. It tries to reveal the convergences between the political ideology of the classes, their organizations and the aesthetic ideology of the field of cultural production. While doing so it investigates the ties between the ideological and practical aspects of the class struggle, the artists&rsquo
aesthetic views and their relations of production.
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4

Anderson, David James. "Theatre criticism : a minor art with a major problem /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487591658173705.

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5

Grothues, Nicole M. "Celebrity and the Broadway Musical: Perceptions, Practices, and Prospects for an American Art Form." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306240634.

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6

Brooks, Cassandra M. "Cultural Exchange: the Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699929/.

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The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge.
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7

Wegescheide, Javier. "Murder Bird: Art and Love's Twisted Relationship." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1399974988.

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8

Droth, Barbara Elektra. "Live art, life art : a critical-visual study of three women performance artists and their documentation." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/48339/.

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This thesis is a 'practice-led' project that uses observational documentation methods, a long-term collaboration with three live artists, and a narrative analysis to encourage a visual display of 'knowing' the person who makes live art, the performance work itself and the reality of producing and archiving live art. My practice of documenting live performances produces digital representations of the three artists I collaborated with. The fragmented and non-linear expressions of the live performances, which can be viewed in the video documents, also find echo in the life history interviews of the artists. Triangulated with an examination of the artists' websites, these diverse texts provide insight into how the live artists make sense of their embodied autobiographical experiences in a virtual environment. A post-structuralist narrative analysis proposes that the live and online performance-narratives constitute the artists' self as 'an artist' and examines these texts for ideas of the 'self-portrait' and of 'life as experienced'. The research suggests this is especially helpful to the audience's meaning-making processes when engaging with Live Art. The thesis investigates the three artists' representations of the body, specifically their strategies to compel a disruptive reading of nudity, femininity and motherhood. Other performative strategies found in these artists' work lead to discussions on ritual enfleshed in performance, based on Richard Schechner's (1995) understanding of iterative practices, and of participatory incantations that integrate narratives found in myths into narratives of selfhood and community. This thesis aims to develop the understanding of contemporary performance art pratice through examples of three artists' autobiographical performativity in live and online environments. The thesis advances narrative theory beyond its literary framework through a visual and practice-based approach. By linking narrative theory with visual methods this project seeks to demonstrate that experiential approaches could be relevant to narrtaive researches, visual anthropologists, performance ethnographers, as well as live artists, all faced with the inevitability of mediatisation. It contributes to ideas on the digital dispersions of the live artists' identity as not a fracturing of the unified body experienced in live performance but instead as a place for the artists to exercise agency through virtual performativity. The thesis consists of two parts, a website (http://bsdroth.wix.com/thesis2013) and a written text. The online videos and the written text, when read together, form a performative analysis towards the 'knowing who' of the artists. It contributes to the growing interest in methodologies that investigate, document and present cultural experiences and their perceived value. The online presentation of my practice also demonstrates the digital and virtual environment the live artists' work operates in, as exemplified in this thesis. The website is a physical manifestation of integral ideas in this project, around authenticity, ownership and virtual experiences.
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9

Cormier, Jason Briggs. "Learning to listen the collaboration and art of the SITI Company /." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1133357032.

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10

Evans, Christine. "Art, war, and objects : reality effects in the contemporary theatre." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318314.

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11

Haskell, Amelia. "Creating meaning through theatre: a qualitative and phenomenological study exploring the positive power of theatre for adolescent girls in a single-sex private high school." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=123102.

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This study examines the link between theatre and positive development in adolescent girls. Using Portraiture and Performative Inquiry methodologies, I worked closely with eight girls at a private single-sex school in Montreal over the course of eight months, teaching a theatre curriculum that allows students to create their own dramatic works by looking at topics of concern to them and performing in front of their peers. The theatre class developed their communication, expression and imagination, among other skills. My research also shows how theatre allowed the participants to create deeper bonds of friendship, develop a sense of empathy and an understanding of others, and a greater ability to express their experiences, thoughts and feelings. These abilities enabled a shared experience with their peers and an understanding that they have anxieties, perceptions and fears in common with others. Therefore, this study shows how important it is for theatre to be an essential part of the high school curriculum, since it not only benefits adolescents in their present lives, but also develops individual capacities that will serve them in the future.
Cette étude examine le lien entre le théâtre et le développement positif chez les adolescentes. À travers l'utilisation de la méthodologie portraitiste et de la recherche-action sur la performance artistique, j'ai travaillé étroitement avec huit filles d'une école privée pour fille à Montréal pendant huit mois. J'ai enseigné un programme de théâtre qui permet aux élèves de créer leurs propres œuvres dramatiques en rapport avec des sujets qui les concernent et de les jouer devant leurs pairs. Les élèves de la classe de théâtre ont, entre autres, développé leurs compétences de communication, d'expression et d'imagination. Mon étude montre également comment le théâtre a permis aux participantes de créer des liens plus profonds d'amitié, de développer un sentiment d'empathie et une compréhension d'autrui ainsi qu'une plus grande capacité à exprimer leurs expériences, leurs pensées et leurs sentiments. Ces capacités leur ont permis de créer une expérience partagée avec leurs pairs de comprendre qu'elles ont des angoisses, des perceptions et des craintes en commun avec les autres. Par conséquent, cette étude montre à quel point il est important que le théâtre fasse partie intégrante du programme d'études secondaires, car il bénéficie aux adolescentes non seulement dans la période actuelle de leur vie, mais développe également des capacités individuelles qui leur seront utiles dans l'avenir.
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12

Gunson, Hannah Mahrii. "The Performing Female Body: The National Theatre Frankenstein as Performance Art." BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/9096.

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The National Theatre's Frankenstein is not the first time Shelley's novel has been adapted for the stage, but it is the first time a stage adaptation has returned the popular story to its source material's feminist themes. Departing from the iterations that portrayed Victor Frankenstein as a Byronic hero, Nick Dear's adaptation has re-designed Frankenstein to be misogynistic and calloused. His new nature is best observed in the scene wherein Frankenstein presents the Woman-Creature he's built for his first Creature. She is naked, silent, submissive, and viciously dismembered at the end of the scene. While such submissiveness might justifiably be criticized by a society that has become incredibly concerned for the representation of women in media, this scene has striking similarities to several performance art pieces of the 1960's and 1970's. Building on an understanding of how these pieces function, the Woman-Creature stops being problematic, and becomes poignant. This thesis compares the Woman-Creature's scene to three particular pieces: Marina Abramovic's "Rhythm 0,"Carolee Schneeman's "Meat Joy,"and Suzanne Lacey's "Three Weeks in May."While not a performance art piece itself, this particular scene in Frankenstein has similar purposes, mainly to show the consequences of a social structure that places men as the dominant leader. By not shying away from the visceral nature of these consequences, this production of Frankenstein shocks the audience and reminds them of the harsh realities of the patriarchal structure still seen today.
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13

Walling, Carl Harry III. "Exhibiting Scenographic Identities at the 2007 & 2011 Prague Quadrennials." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1419006710.

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Cinal, Shane Paul. "The Design of Scenery and Art of Scenic Transition for a Production of City of Angels." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1431080387.

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Phillips, Julie K. "The Art of Collaboration in the Classroom: Team Teaching Performance." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1451.

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The Art of Collaboration in the Classroom: Team Teaching Performance is a co-written masters thesis which records our research in the field of team teaching as it relates to theatre education at the university level. It is our intent that this text be used as a tool for helping universities and teachers decide if a collaborative teaching model is right for their courses. A portion of the text is research-based, examining the scholarly writings which have preceded our work. In Chapter 1, we compiled a set of definitions, in the hopes of codifying the language used within this document as well as that used within the field. We establish a hierarchy of terms associated with teaching in collaborative forms. We then describe the various models associated with collaborative teaching, specifically the model which we have employed: team teaching.Chapter 2 explores the reasons for and against implementing collaborative teaching structures in higher education. Chapter 3 discusses team teaching specifically, and explores reasons for implementing it at the university level, and in artistic disciplines, specifically acting. We also discuss the practical appropriateness for this model in today's classrooms.The second section of the text is practical in nature. Chapter 4 includes a description of our actual experiences working together in the classroom, including discoveries, failures and successes. Finally, Chapter 5 is a guide for implementing team teaching which covers the basic essentials of starting a team teaching program. This section of the document can be used as a training tool for future co-teachers in the VCU theatre graduate program.
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16

Dewsbury, John-David Charles. "Theatre, an empty space : a thought performance after Gilles Deleuze." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/7a9b6429-d582-4369-85d4-5c38606bf867.

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17

Connick, Robert. "Creating an Audience for Community Theatre: A Case Study of Night of the Living Dead at the Roadhouse Theatre." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1181759033.

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18

Satz, Aura. "Off the pedestal, on the stage : animation and deanimation in art and theatre." Thesis, University College London (University of London), 2002. http://discovery.ucl.ac.uk/10057164/.

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Whereas most genealogies of the puppet invariably conclude with robots and androids, this dissertation explores an alternative narrative. Here the inanimate object, first perceived either miraculously or idolatrously to come to life, is then observed as something that the live actor can aspire to, not necessarily the end-result of an ever evolving technological accomplishment. This research project examines a fundamental oscillation between the perception of inanimate images as coming alive, and the converse experience of human actors becoming inanimate images, whilst interrogating how this might articulate, substantiate or defy belief. Chapters 1 and 2 consider the literary documentation of objects miraculously coming to life, informed by the theology of incarnation and resurrection in Early Christianity, Byzantium and the Middle Ages. This includes examinations of icons, relics, incorrupt cadavers, and articulated crucifixes. Their use in ritual gradually leads on to the birth of a Christian theatre, its use of inanimate figures intermingling with live actors, and the practice of tableaux vivants, live human figures emulating the stillness of a statue. The remaining chapters focus on cultural phenomena that internalise the inanimate object's immobility or strange movement quality. Chapter 3 studies secular tableaux vivants from the late eighteenth century onwards. Chapter 4 explores puppets-automata, with particular emphasis on Kempelen's Chess-player and the physical relation between object-manipulator and manipulated-object. The main emphasis is a choreographic one, on the ways in which live movement can translate into inanimate hardness, and how this form of movement can then be appropriated. In chapter 5 I relate puppets and prostheses using texts such as Kleist's "On the Marionette Theatre", Pinocchio, Coppelia, Bergson on mechanical movement, and Jentsch on the Uncanny. In the context of theatrical practise, chapter 6 examines key texts and theories on puppet-like acting, concentrating primarily on Edward Gordon Craig's concept of the Uber-marionette.
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Sikora, Cade Michael. "Finding Freedom in the Forest: Creating Magic in the Scenic and Properties Design for a Production of William Shakespeare's A Midsummer Night's Dream." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587048946953534.

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20

Quintero, Buffy Serene. "Puppetry and art education: a personal journey." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1063.

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The thesis is an auto-ethnographic study of the author's journey to use puppetry arts as a mode of personal expression. It documents the process of developing; rehearsing; building puppets, props and stage; and performing a puppet performance. The thesis also includes primary source research obtained from an interview with professional puppeteer, Monica Leo, of Eulenspiegel Puppets. The author also describes and reflects upon her experiences teaching an enrichment course on puppetry arts to elementary students. The research highlights ways that puppetry arts can affect students' learning and reflects on its place within the field of art education.
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21

Le, Grange Rene. "Effective planning and organisation of a student theatre festival." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-08112004-100939.

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Simonds, Sylvie. "A countercultural movement: examining Carlee Scheemann's kinetic theatre between 1963 and 1970." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121261.

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This dissertation examines Carolee Schneemann's kinetic theatre performances (1963-1970) within the specific context of the art of the 1960s and the counterculture. In 1962, Schneemann coined the term “kinetic theatre” to describe her particular form of happenings and performance art. Although this definition was recognized in the initial art criticism of the 1960s, this is a genre of art that has been lost within current forms of feminist art history, performance studies and postwar art. Indeed, there has been no critical study of kinetic theatre within art history. My research examines the emergence of Schneemann's kinetic theatre, establishes its relationship to the counterculture and provides an explanation for its disappearance in 1970. Feminist art historians and critics have almost exclusively focused on the agency and the role of Schneemann's body within her performances. However, these interpretations have failed to address the political and aesthetic use of her group choreography within her kinetic theatre. This research charts a new direction of scholarship on Schneemann and more broadly it addresses the discourse on mid-twentieth performance art and feminist art history. I demonstrate that Schneemann was working in collaboration with male artists such as Stan Brakhage and that her kinetic theatre was politically situated within the antiwar movement, the politics of antipsychiatry and the New Left. By examining Schneemann's intricate network and collaborative associations in the 1960s this research provides a more expansive and less mythic understanding of the counterculture and the particular kinds of feminist and artistic interventions that she made within the antiwar movement.
Cette thèse porte sur le théâtre cinétique de Carolee Schneemann (née en 1939) produit durant la période 1963-1970. Attestant du rôle primordial de l'artiste en tant que figure de proue de la communauté avant-gardiste d'après-guerre, cette étude offre une des premières interprétations archivistiques de ses œuvres. Ma recherche offre une perspective critique dans le champ de l'histoire de l'art en examinant comment le théâtre cinétique de Schneemann aborde la guerre du Vietnam et les développements militaires propres à la Guerre froide à travers l'exploration esthétique de procédures développées au sein des débats psychiatriques et antipsychiatriques. L'une des questions fondamentales auxquelles cette thèse tente de répondre consiste à savoir pourquoi il n'y a pas eu d'études approfondies sur le théâtre cinétique en histoire de l'art. Il est vrai que l'histoire de l'art féministe a fourni les premières études concernant le travail de Schneemann. Ces dernières se sont principalement penchées sur la présence du corps de l'artiste comme matériau d'expression de façon à révéler les sophismes asexués ayant pris racine dans l'art moderne et postmoderne. Mais en se centrant uniquement sur le rôle joué par le corps de Schneemann, ces analyses ont omis de sonder tout un pan du travail de l'artiste lié à la portée politique de ses chorégraphies de groupe. En d'autres mots, les théories existantes n'examinent pas comment les performances de l'artiste ont aussi contribué à nourrir les débats critiques sur la représentation de la guerre du Vietnam et à démystifier les violences et le militarisme grandissant à l'intérieur de la nouvelle gauche. L'utilisation des chorégraphies de groupe au sein du théâtre cinétique a mis en lumière comment l'intériorisation du genre et la différence sexuelle participaient à une forme de « violence aveugle » recouvrant les notions de soi et de collectivité, issues des années soixante. Le théâtre cinétique a ainsi fait transparaître le « corps », capturé dans un processus dialectique de visualisation qui empruntait momentanément une structure identitaire, faisant ainsi écho aux désirs de l'époque associés aux promesses de libération, de collectivité, et de changement, tout en prenant soin de maintenir ces mythes hors d'atteinte. Le fait de performer ces désirs, à partir d'une distance critique, fait en sorte que la libération n'est jamais vraiment assimilée par le corps, le groupe et ses performances. Dans cette veine, ce projet examine ultimement les parallèles entre la violence militante au sein de la communauté antiguerre et la dissolution graduelle, le désenchantement, du théâtre cinétique en 1970.
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Ryoki, Aoki. "Women and Noh : the historical development of Japanese Noh theatre as a masculine art." Thesis, SOAS, University of London, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767456.

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Clulow, Jacqueline. "The representation of communism in post-war British film, theatre, and art 1945-1963." Thesis, University of Liverpool, 2012. http://livrepository.liverpool.ac.uk/7293/.

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In contrast to previous cold war studies which have focussed on propaganda and the cultural contest between the USA and USSR, this thesis demonstrates how British film, theatre, and art marginalised communism, and by association political radicalism, through the reinforcement of dominant negative stereotypes. This thesis examines how largely negative portrayals of communism reflected the views of their creators: individuals and groups who were not part of the official state apparatus, but were illustrating their own perception of the communist threat. It is therefore a cultural examination of the visual portrayal of a political ideology within British film, theatre and art. Through the use of recognisable stereotypes, communism was demonised through a variety of guises: from aggressive and sinister domestic militants through to the portrayal of communism as being ‘un-British’ and a challenge to traditional values and beliefs. Although such anti-communist representations were dominant, more sympathetic portrayals gradually emerged, such as the naive, the gullible or those simply disillusioned and seeking change. Through a determined eclectic analysis of a broad range of sources from film, theatre and art this thesis will show that domestic concerns dominate in all three media. An in-depth look at the CPGB, the Artists Group and Realism, will demonstrate that British communism had no positive cultural influence within the media considered, leaving any sympathetic portrayals down to individuals. The changing fortunes of the Communist Party of Great Britain will also demonstrate how geopolitical events led to a decline in its domestic support and the continual reinforcement of negative communist portrayals. What emerges is that in the post-war years British film, theatre, and art looked with suspicion at an alien ideology largely associated with a hostile foreign power, and without any real challenge, its continued negative representation helped to establish a dominant anti-communist ideology.
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Postlethwaite, Rosa. "Exploring the field of autotopography through live art practice : The frieze, The anatomy lecture theatre and The security hut." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/12963.

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Includes bibliographical references.
This paper presents: The Frieze, The Anatomy Lecture Theatre and The Security Hut as outcomes of my practice-based research project into strategies of making autotopographical performance. Departing from Gonzalez’s theory of autotopography (1995), which focuses on objects belonging to individuals that are seen to signify their identity, and drawing on Heddon’s (2002; 2008), Bal’s (2002) and Arlander’s (2012) subsequent discussions around the term, I unpack the process of making live art performances in response to a site. During the process of making I examined the relationships between the material landscape, my processes of memory and my sense-of-self.
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Siplin, Bianca Alechia. "ENGAGING AND EDUCATING AMERICAN CULTURE THROUGH PERFORMANCE, ART, AND COMMUNITY OUTREACH IN THE STAGE PRODUCTION OF MICHAEL CRISTOFER’S THE SHADOW BOX." Miami University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=miami1186176431.

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Jung, Shu-hwa. "The journey to transform : theatre in education and paradigm shifting." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/70043.

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The critical understanding of Theatre in Education (TIE) presented in this thesis focuses on ‘TIE into Schools’ and its effect. The author takes the view that students’ subjectivity was influenced by the dominant mores of elements of society, such as family and school, and less often, by individual, autonomous decision. Case studies of practices that are identified with the tenets of TIE were carried out using approaches based on the principles and methods of a critical pedagogy approach. How could the TIE approach be seen as a critical pedagogy? This question is examined predominantly through the lens of Paulo Freire and Henry A. Giroux’s thoughts on education and teachers. In addition to an understanding of the tenets of TIE and the tenets of critical pedagogy, this thesis presents a criticism of its discursive approach and also a criticism from the researcher as a participant observer. This narrative approach helps explore the human side of the experience thus keeping real life issues to the fore. Fieldwork episodes of TIE practice in three different levels of schools, the Taipei He-te Primary School, 10 different senior high schools and the National Taiwan University are presented in the context of the students’ differing ages in an attempt to understand more about the methods and tenets of TIE. ‘Partnership’ is a key concept and driving force, creating mutual cooperation between the community of the school, the parents and the theatre groups. The expected outcomes of this thesis include the clarification notions of TIE, and the adoption of a subjective approach by the students in relation to the process of interactivity, leading from affection to cognition, then action. This thesis concludes that TIE is a critical pedagogy and praxis, which develops skills and attitudes in which action can be taken by the individual in fitting in the world. It improves the individual’s ability to rethink his/her beliefs and attitudes, to empathise with groups of people and individuals with whom she/he previously may not have come into social contact with and allows previously taboo subjects to be discussed openly.
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Kotwal, Kaizaad Navroze. "Variations of Virtual Reality in Theatre and Film: Truth and Illusions Via Art and Technology." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392809424.

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Masura, Nadja Linnine. "Digital Theatre a "live" and mediated art form expanding perceptions of body, place, and community /." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/7430.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.
Thesis research directed by: Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Syssoyeva, Kathryn Mederos. "Meyerhold and Stanislavsky at Povarskaia street : art, money, politics and the birth of laboratory theatre /." May be available electronically:, 2009. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Kotwal, Kaizaad Navroze. "Variations of virtual reality in theatre and film : truth and illusion via art and technology /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488203552779304.

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Hill, Caroline. "Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555276218786986.

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Kridler, Jamie Branam, and G. Maloy. "Mentoring via Theatre Arts: Building a Supportive Network Middle School Through College." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/5865.

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34

Hughes, Catherine Helen. "Performance for Learning: How emotions play a part." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211932278.

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35

Henry, Meghann. "DEVISING DRAMATURGY: AN INVESTIGATION INTO THE ART OF DRAMATIC COMPOSITION WHEN DEVISING THEATRE FOR YOUNG AUDIENCES." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2884.

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This thesis investigates the dramaturgy of devised theatre for young audiences, specifically children ages 2-5. The chapters dissect current applications of dramaturgy in regards to the development of dramatic and performance texts, and present an exploration of devised theatre. My research revolved around qualitative research tactics through a review of the current literature on dramaturgy and devising, unobtrusive data collection, and interviews with the artistic directors of three Theatre for Young Audience (TYA) companies: Patch Theatre Company based in Adelaide, Australia, Theatre Mala Scena based in Zagreb, Croatia, and the Coterie Theatre located in Kansas City, Missouri. In addition, I viewed productions by each the above companies which helped to uncover how the artists move theory into practice based on their personal theories on TYA, dramaturgy, and devising. Through this research I reveal how dramaturgy proves a key element in moving improvisations into performance texts, creating theatrical experiences that capture the imaginations of the very young.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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36

Dotson, Jessica N. "INTERDISCIPLINARY CONNECTIONS BETWEEN SCIENCE & THEATRE." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3725.

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Abstract INTERDISCIPLINARY CONNECTIONS BETWEEN SCIENCE & THEATRE Jessica Nicole Dotson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2015. Major Director: Dr. Noreen C. Barnes, Director of Graduate Studies, Associate Professor of Theatre In the 1990s, astronomer Peter Usher was searching for new ways to teach his introductory astronomy class at Pennsylvania State University. He began to engage his students by searching for astronomical connections from other disciplines. His focus was turned to the arts, especially the works of William Shakespeare. Usher found, while searching through the canon of Shakespeare's work, astronomical references that explored the “new astronomy” of the Elizabethan age (Falk 171). This thesis will explore the writings of Usher, in regard to the astronomy of Hamlet, along with the interdisciplinary connections between art and science in and outside the classroom and museum theatre. From interdisciplinary classroom methods, to arts and scientists collaborating together for the betterment of man-kind, the use of theatre is a way of rediscovering the humanity of human history. The collaboration between the disciplines serves as one of theatre's greatest purposes, to educate and represent a living history of man.
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Lopez, Sarah C. "Theatre as Education: Creating and Performing a Play with Elementary School Students." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/685.

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This paper is an exploration of the concept of theatre as education and what I learned about teaching, transformation, and failure through my thesis project. In order to explore these ideas, I reflect on my experience creating and performing a short play with a group of eight 2nd and 3rd grade students over the span of nine weeks. I pinpoint the parts of the process that worked well and discuss how these techniques and activities could be used to enhance curriculum and learning in the classroom. I also discuss which parts of the process failed and what I learned from those experiences. I hope that the paper may serve as a guide for teaching artists undertaking similar work and a resource for teachers looking to incorporate theatre arts into their curriculums.
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Henry, Meghann Elise. "Devising dramaturgy an investigation into the art of dramatic composition when devising theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002157.

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Moon, Andrea. "Toward a contemplative theatre: Body and mind in the art and pedagogy of Pacific Performance Project." Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3322536.

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40

Reynolds, Ryan Michael. "Moving targets: Political theatre in a post-political age." Thesis, University of Canterbury. Theatre and Film Studies, 2006. http://hdl.handle.net/10092/898.

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This thesis gauges the contemporary landscape of political theatre at a time in which everything, and consequently nothing, is political. That is, almost all theatres today proclaim a politics, and yet there is widespread resignation regarding the inevitability of capitalism. This thesis proposes a theory of political action via the theatre: radical theatre today must employ a strategy of "moving targets". Theatrical actions must be adaptable and mobile to seek out the moving targets of capital and track down target audiences as they move through public space. In addition, political theatre must become a moving target to avoid amalgamation into the capitalist system of exchange. I approached this topic through four case studies. Two of the case studies, Reverend Billy's Church of Stop Shopping and the Critical Art Ensemble, are based in the United States. I studied their work via materials - books, essays, videos, websites, interviews, and more - but not in person. The other two case studies are lifted from my own experience with the Christchurch Free Theatre: an original production of Christmas Shopping and a devised production of Karl Kraus' play The Last Days of Mankind. These latter two case studies served as laboratory experiments through which I was able to test ideas and problematics of political theatre that arose through my research. These case studies led to the determination that creating aesthetic experiences and actions - as opposed to having explicitly political content - can be a strategy or foundation for a radical political theatre that resists, undermines, and at times transcends the seeming inevitability of consumer capitalism. In an age in which any political intervention is seen as senseless disruption, a form of pointless violence, this theatre has adopted the strategies of terrorist actions to have a disruptive effect without positing a specific alternative social structure.
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Lyons, Lisa Lynn. "A performance in musical theatre: Singular sensations in Shakespeare and song." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1712.

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42

Sarcevic, Marko, and Emil Soljaga. "Öppna ridån för nya möjligheter -Hur kan Teater Västmanland locka fler företag som kunder?" Thesis, Mälardalen University, School of Sustainable Development of Society and Technology, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-794.

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Teater Västmanland har på senaste tiden inte kunnat fylla sina

föreställningar med publik, som förr i tiden. Detta har medfört att

teatern har tänkt över vilka möjligheter som finns för dem. Att söka sig till nya kundgrupper var en av möjligheterna, mer specifikt handlar denna uppsats om företag i Västerås som en potentiell kundgrupp för Teater Västmanland.

Syftet med denna uppsats är att ta reda på ifall företag i Västerås är

potentiella kunder för vår uppdragsgivare Teater Västmanland. Vi ska ta reda på orsakerna till varför företagen inte besöker teatern när

företagen arrangerar personaltillställningar, samt vad som skulle kunna få dem att besöka teatern.

Vi kontaktade de 50 största företagen i Västerås via telefon. Av dessa 50 företag bokades 20st för intervjuer, varav 17 intervjuer till slut

genomfördes. Intervjuerna gjordes mestadels via telefon, så kallade

telefonintervjuer, medan ett par intervjuer gjordes på respondenternas

arbetsplatser, så kallade personliga intervjuer.

Undersökningens resultat visade tydliga samband mellan de intervjuade

företagen. Det största problemet som uppstod var att företagen ansåg

att teatern som underhållningsform inte bidrog till att skapa gemenskap inom publiken, vilket var huvudsyftet med majoriteten av företagens personaltillställningar, att skapa gemenskap. Övrigt ansåg

respondenterna bland annat att teaterföreställningarna tar för lång tid, att det finns för lite kringarrangemang och att utbudet är för snävt. I huvudsak ville respondenterna se mer reklam med ett anpassat utbud för just företag.

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43

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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44

Torres, Thain N. J. "Theatre : the art of human being : locating the cultural value of theatre in the Age of Broadcast Media and a retrospective paper on the process leading towards the 2000 performance Involving Eternity." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/13900.

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This essay is concerned with the position of theatre as cultural commerce in the postmodern milieu of electronic broadcast media. It is the partial fulfillment of an MA degree in Theatre Making as studied from a performer's perspective. The other part of my final project was comprised by the 2000 performance of a play entitled Involving Eternity, a video of which is available through the Drama Department of the University of Cape Town. Thus the essay is a research document and ideological treatise supporting and grounding my recent work as a theatre maker and actor. I begin by examining the position of theatre in relationship to popular culture and the newly emerging aesthetics of the electronic era. The dynamics that separate the theatre from new forms of popular culture are strongly defined and examined. It is my position that the theatre cannot compete on the same front as technological media and I set out the reasons why I believe this to be so. The gulf existing between live performance and Media culture constitutes a political and ideological gap in the climate of the emerging technocracy and so I go on to examine these two field in closer detail. My analysis of broadcast media is focused on how these new aesthetic modes can be said to be reforming social perceptions about reality and representation. I draw from the theories of Jean Baudrillard and Phillip Auslander to present the critical position, which post modern discourse offers regarding these notions. Ultimately I foreground the notion of simulation in contemporary aesthetics and the erosion of the phenomenological space. My analysis of performance focuses on the emergence ofthe new ideologies of actor training ideology. These systems are best characterized by the work of the Odin Teatret and Jerzy Grotowski . My theory is that this work has created a framework in which the Theatre can return to contemporary culture by providing a counter discourse to the technological. A technology of the self. Lastly by way of example I illustrate how this theoretical position influenced the practical work on my play Involving Eternity.
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Jaeger, Suzanne Monique. "The theatre of a certain living pulsation a study of Merleau-Ponty's philosophy /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0028/NQ39275.pdf.

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46

Davis, Cecil. "THE DESIGN PROCESS AS ASSISTANT ART DIRECTOR FOR THE FILM NATIONAL LAMPOON'S ROBODOC." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3637.

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In this thesis, I will detail and analyze the production design processes for National Lampoon's RoboDoc, written by Douglas Gordon M.D., filmed and produced in Orlando, Universal Studios and Ormond Beach, FL, as experienced through the art department. The direction of the thesis will be based on how a background in architecture and theatre guides the design motivation(s) within a production team for film. My documentation will include a process journal written throughout the production of the film to include design meeting topics, research and design inspiration, sketches, budget and location concerns, coordination of scenic elements, crew team coordination, paperwork, and thoughts on working within the art department team as well as working with other teams of production. Photographic records will include pre-production allocation and storage, load-in scenarios, set construction, and final design in set and set dressing. Final comments will be based on a personal evaluation, evidence of my progression throughout the production, and how an advanced focus in design through education and practice affected the project.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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47

Wood, Nicole E. "Conducting Experiments: On the Connections Between Experimental Art Praxes and Performance Studies." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1047.

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This dissertation explores experimentation--across experimental music, experimental theatre, and experimental film, in addition to the term's etymology, scientific usage, and colloquial deployment--in order to derive a deeper understanding of what we mean when we say an artwork is experimental, and how this term can help us understand current artistic praxes and products emerging from performance studies contexts. In this document, I advocate for the term experimental performance as both an umbrella term and as a specific genre name for the artistic activity of contemporary artists working between experimental theatre and performance art, often within performance studies contexts. Ultimately, citing the historical richness of experimental art and its long-standing relationship to the academy as evidence, I advocate for the further academic acknowledgement of experimental performance.
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Sharp, Timothy Keith Jr. "Examining the Interaction Between the University Interscholastic League One-Act Play Contest and Texas Theatre Curriculum." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1404909300.

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Esterhuizen, Johan. "The H.B. Thom Theatre : an evaluation of its potential as a regional arts and cultural centre." Thesis, Link to the online version, 2005. http://hdl.handle.net/10019/1674.

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Muller, Elizabeth R. "Between Scenic Designer and Director: The Collaborative Process of Four Productions." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2550.

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This thesis presents the unique designs for four productions: Ain’t Misbehavin’, Is He Dead?, Dead Man’s Cell Phone, and Legacy of Light. Presented here are the research images, conversations, situations and their resulting designs represented in my renderings and photographs of the fully realized production. Throughout, I will state my objectives in bettering the quality of interaction with each director and my reflections on the ongoing process of creating a trusting and balanced collaborative process, one that expertly serves the production.
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