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Dissertations / Theses on the topic 'Theatre and film comparisons'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Watson, Ian T. "The Psychology of Theatre and Film: In Theory and Practice." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4202.

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This thesis utilizes theories and ideas from the field of psychology to inform intertextual and interdisciplinary readings that compare and contrast theatre and film texts. In Chapter One, I compare Carlos Fuentes' drama Orchids in the Moonlight to Nicolas Winding Refn's film Bronson in order to investigate the extent each oscillates between Carl Jung's notion of the collective unconscious and Gilles Deleuze and Félix Guattari's schizoanalytic paradigm. I found that while these vacillating aspects helped illuminate different perspectives of each text, Orchids in the Moonlight more closely repr

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2

McCurdy, Marian Lea. "Acting and its refusal in theatre and film." Thesis, University of Canterbury. Theatre and Film Studies, 2014. http://hdl.handle.net/10092/10038.

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This thesis examines works of theatre and film that explore a refusal of acting. Acting has traditionally been considered as something false or as pretending, in opposition to everyday life, which has been considered as something real and truthful. This has resulted in a desire to refuse acting, evident in the tradition of the anti-theatrical prejudice where acting is considered to be seductive and dangerous. All the works that I examine in this thesis are relatively recent and all of them explore the paradox that in our (postmodern) times a gradual reversal has occurred where everyday life is

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3

Sava, Laura. "Intermedial encounters : the representation of theatre in film." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/49180/.

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This thesis closely examines the representation of theatre in film, using insights derived from an ever-growing literature dedicated to the notion of intermediality, in order to understand film’s temporary disguise as another medium. With the realization that theatre is not just another object of representation in film, it becomes increasingly apparent that an analysis of theatre-in-film has the potential of serving as a catalyst for a complex reflection on the nature of mediation. The present dissertation studies the conditions under which this potential is realized. Throughout the thesis, I

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4

McCurdy, Marian Lea. "Women Murder Women: Case Studies in Theatre and Film." Thesis, University of Canterbury. Theatre and Film Studies, 2007. http://hdl.handle.net/10092/1938.

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This thesis looks at two cases of women who murdered women - the Papin sisters (Le Mans, 1933) and Parker-Hulme (Christchurch, 1954) - and considers their diverse representations in theatre and film, paying particular attention to Jean Genet’s play The Maids (1947), Peter Jackson’s film Heavenly Creatures (1994) and Peter Falkenberg’s film Remake (2007), in which I played a part. What happens when two women (sisters, girl friends) commit violent acts together - not against a man, or a child, but against another woman, a mother or (as in the case of the Papin sisters) against women symbolical

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5

Lauritzen, Chareen Hardy. "The Roberta Jones Junior Theatre : a model children's theatre /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2882.pdf.

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6

Page, Philippa Jane. "Politics and performance in post-dictatorship Argentine film and theatre." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611380.

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7

Metzger, Sean Aaron. "The Chinese fetish : fashioning Asian/American bodies in theatre and film /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2005. http://uclibs.org/PID/11984.

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8

Doyle, Charlotte J. "The actor, theatre and theatricality in Spanish film from 1952-1989." Thesis, Aberystwyth University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263295.

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9

Fernández-Vara, Clara. "Orson Welles' intermedial versions of Shakespeare in theatre, radio and film." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/44294.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2004.<br>Includes bibliographical references (p. 153-156). Filmography: p. 157.<br>In addition to being a keyfigure in the history of filmmaking, Orson Welles was an original theatre director and radio performer and producer. The aim of this thesis is to study Welles' achievements and failures in theatre, radio and film, as well as comparing his craft and techniques in each medium during his early career. Welles' adaptations of Shakespeare will provide the guiding thread of this intermedial exploration. C

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10

McCluskey, Kevin. "Stage to screen and back again : film adaptation and Irish theatre." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678818.

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This dissertation examines film adaptations of Irish plays, applying theory from adaptation studies as well as using archival research to uncover how film technology, censorship, and industry concerns shape how plays are altered in their journey to the screen. Chapter One analyses silent film adaptations of Dion Boucicault's Irish plays and seeks to uncover why film versions of William Travers's Kathleen Mavourneen (1862) were mistakenly credited as being based on a play by Boucicault. Chapter Two focuses on space and place in theatre and film, focusing on Sean O'Casey's The Plough and the Sta

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11

Petty, Laurel Ann Levin C. Melinda. "Documentary film Accidental Shakespeare /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3628.

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12

Pierce, Kelley J. "Dance-10 : a historical investigation of musical theatre dance styles in film." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491454.

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A broad survey of musical theatre dance styles in film from 1935 to 1985 is used as background information for this creative project. Attention is paid to developments within the art form. The contributions of choreographers Busby Berkeley, Fred Astaire, Agnes de Mille, Gene Kelly, Michael Kidd, Bob Fosse, Jerome Robbins, and Michael Peters are discussed. A detailed description is included of the process involved in translating the film choreography to a stage performance. The film choreography was presented in a lecture demonstration format designed to give the audience a short synopsis of

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13

Morris, Nikolaus J. "The moving image in the theatre : contemporary scholarship and the combination of film and theatre grammars in the theatrical event." Thesis, University of York, 2011. http://etheses.whiterose.ac.uk/1577/.

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A host of value judgments are implicit in the rhetoric and methodology of contemporary scholarship relating to the use of the moving image in the live theatre. Human performance is often fetishized in these studies, whilst the moving image is admonished as a contaminant which brings into the theatrical event a host of cultural paraphernalia including a perceived ideology derived from its mediatized code. These problematic assumptions have sustained a self-limiting paradigm of 'intermediality' that offers a narrow vocabulary through which to notate contemporary mainstream theatre productions th

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14

Gandhi, Vineet. "Automatic rush generation with application to theatre performances." Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENM080/document.

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Vidéos de direct de qualité professionnelle mises en scène sont créées en les enregistrant à partir de différents points de vue appropriées. Ceux-ci sont ensuite édités ensemble pour présenter une histoire éloquente remplie avec la capacité de tirer l'émotion prévu de téléspectateurs. La création de ces vidéos compétentes, implique la combinaison de multiples caméras de haute qualité et des opérateurs de caméra qualifiés. Nous présentons une thèse à faire même les productions à petit budget adepte et agréable en produisant des vidéos de Youtube professionnels de qualité sans un équipage entièr

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15

Pedlingham, Graeme G. "The (un)scene of memory : energetic theory and representation in theatre and film." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6939/.

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The wager of this thesis is that, firstly, there exists an intrinsic relationship between memory and representation in visual performative media and, secondly, that a referential, Aristotelian conception of memory is made problematic by these same visual media. There are aspects within the ontology of both theatre and film, the specific media examined, which resist the model of representation that this memory constitutes. It is my contention that there is an alternative conception of memory, more appropriate to the difficulties that theatre and film present, which enables another way of unders

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Tardi, Rachele. "Representations of Italian left political violence in film, literature and theatre (1973-2005)." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1446520/.

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The thesis investigates representations of 'red' political violence in Italy of the so- called anni di piombo and later memory of it in selected films, theatrical works, novels and stories. After the Introduction, which includes a discussion of aims, key concepts and methods, there are four main chapters. Chapter One examines representations of the abduction and killing of Aldo Moro in two thematic groups; those which focus respectively on Moro and the brigatisti during the imprisonment and on the Via Fani massacre and the alleged conspiracy behind it. The analysis of these texts serves as a c

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17

Woycicki, Piotr. "The politics of perception in post-cinematic theatre : an exploration of the interinvolvement of theatre and film in contemporary performance and cinema." Thesis, Lancaster University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.618733.

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This thesis explores how post-cinematic theatre and film, a subgroup of intermedial artistic practice, can be seen to deconstruct cinematic conventions and the expectations associated with them, offering a broader spectrum of perceptual choices for the spectator. By means of post-structuralist analysis I argue that, through an 'lnterinvolvement' of theatre and film, these pieces investigate the perceptual habits of cinematic experiences and foreground what Hans-Thies Lehmann calls a 'politics of perception'. This foregrounding of the 'politics of perception' is not concerned with an exposition

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18

McNair, Aimee. "Postnationalism and performance culture : questioning culturally 'Scottish' productions in contemporary television, theatre and film." Thesis, University of Strathclyde, 2011. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=17876.

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19

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

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20

Petty, Laurel Ann. "Documentary Film: Accidental Shakespeare." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3628/.

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According to the American Heritage College Dictionary, the word “community” derives from the Latin roots: communitas and communis meaning “fellowship” and “common,” respectively. The word “amateur” derives from the Latin roots: amator meaning “lover.” A community of amateurs, who love to put on plays, exists within the Denton Community Theatre. Their first attempt at classical theatre was the January 2006 production of Romeo and Juliet, directed by Brad Speck. The film follows two actors (through observational shooting) - Kevin Wickersham, a waiter who is trying theatre for the first time, an

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21

Asibong, Andrew. "Metamorphosis and the meteque : transforming foreign bodie in contemporary French : Francophone fiction theatre and film." Thesis, King's College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411163.

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22

Jones, Sara Gwenllian. "Myth and tragedy : representations of Joan of Arc in film and the twentieth century theatre." Thesis, University of Bristol, 1997. http://hdl.handle.net/1983/0ed58238-0681-4aad-b40a-ea3095fe3b34.

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This study considers the processes by which film and play-texts engage with the mythic figure of Joan of Arc. Chapter One provides an overview of the vast body of work that has been inspired by Joan's history. Chapter Two addresses the tragic configuration of Joan's story, especially with regard to ethical conflict and culpability. In Chapter Three, I discuss the displacement of notions of innocence onto Joan's virginity, youth, illiteracy, and rusticity and examine the ideologically-loaded textual constructions and uses of these elements of her myth. Chapter Four is a consideration of her tex

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23

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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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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25

Silva, Deleah Vaye Emery Waters. "Nothing To Be Done: The Active Function of Samuel Beckett's Text." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3261.

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Fintan O'Toole states: "Plays survive not by being carefully preserved, not by being exhibited from time to time in theatrical museums, but by being tried and tested, taken apart and reassembled" (Game Without End).One of the great misconceptions and critiques of Samuel Beckett is of his presumed unrelenting control over his works. Artists, hoping to creatively collaborate with Beckett as they move his texts to performance, feel limited by his strict enforcement of that which he has written in his texts. Traditional relationships and functions allow directors to interpret an author's text. Not

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26

Roskelley, Amanda Rebekah. "The Modern Mr. Darcy: An Analysis of Leading Men in Contemporary Romantic Comedy Film." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6074.

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This thesis is an observation and analysis of male performance in romantic comedy films released between 2005 and 2015. As a lasting genre, rom-com, like all forms of media, has the potential to influence society. Gender plays a vital role in the generic template of these films. Because women are the dominant consumers of this genre, what they observe as gender performance is important. This genre has been dissected under the eye of feminism and female gender performance but the changes in masculinity have been largely overlooked.This paper identifies common characteristics in leading men of t

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Lay, Ruth Ann. "The Memory and the Legacy: The Whittlin' Whistlin' Brigade -- The Young Company 1974-2001." BYU ScholarsArchive, 2002. https://scholarsarchive.byu.edu/etd/2838.

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The Memory and The Legacy: The Whittlin' Whistlin' Brigade - The Young Company 1974-2001, is a history of the children's theatre of Brigham Young University. The Whittlin' Whistlin' Brigade - The Young Company acts as a training ground for graduate students working in theatre for young audiences. Then directing a production for The Whittlin' Whistlin' Brigade - The Young Company, students are instructed to perform all functions required of a professional company. As the The Whittlin' Whistlin' Brigade - The Young Company (WWB-TYC) spends much of its performance time on tour, those responsibili

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28

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

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Gunoe, Andrea M. "The Physical Theatre of War: Language, Memory, and Gender in Black Watch and War Horse." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3725.

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The public's perception of war is influenced by every media story they see, every account they read, and every story they hear. News telecasts and newspapers tend to lean towards a focus of the grand narratives of war such as political involvement and overarching strategy. Media such as books and film can tell a more personal narrative of the events of war and attempt to display how war "really is" through the use of written and visual language that focuses more on how things happened as opposed to simply what happened. Theatre provides a unique perspective on war as the audience and performer

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Haas, Tara Nicole. "Critiquing the Critic: A Case for Journalistic Criticism in the Theatre." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5512.

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This thesis suggests that journalistic theatre criticism is a necessary and vital aspect of the theatre, promoting a healthy theatre community and culture. A healthy theatre community is supported by critics and artists alike, and is one where citizens are excited about the theatre, desiring to participate and engage with it often. It is one where artists and spectators listen, respect, and trust one another, being open to opinions and suggestions that may enhance and improve the theatre community. A healthy theatre community strives to provide theatre that may be multi-faceted in purpose, but

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31

Millet, Sandra Kay. "Theatre History in the Secondary Drama Classroom and Beyond." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3507.

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Current Utah State Core Standards for Theatre require that theatre history be taught at levels II (Standard 3 Objective C), III (Standard 4 Objective D), and IV (Standard 4 Objectives A and D) of high school drama classes. However, a 2011 survey of Utah high school theatre teachers indicates that only 54% include theatre history as an "important" or "very important" part of their curriculum, while another 36% say they "touch on it." This thesis is designed to be a resource for secondary drama teachers in integrating theatre history pedagogy into their drama classes, in an engaging and perfo

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Tordzro, Gameli Kodzo. "Story, storying and storytelling : a reflection on documentary film, music and theatre as creative arts research practice." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/8941/.

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‘Story’ lifts and carries ‘Voice’ with which we can express what we sense. This thesis is an Autoethnographic reflection that charts theoretical and methodological reasons for ‘harnessing’ my (Gameli Tordzro) Aŋlɔ-Eʋe story, storying and storytelling practices in the making of the film ‘Music Across Borders’, the ‘Ha Orchestra Music Project’ and the ‘Broken World, Broken Word’ devised theatre project. It also covers how this is also established in my participating in and contributing to the development, and production of ‘Vessels 2015’ and ‘Last Dream (On Earth) theatre productions as artistic

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33

Bester, Lelia. "Assessment of a training programme for actors to make the shifts from theatre acting to film acting." Thesis, University of Pretoria, 2019. http://hdl.handle.net/2263/75514.

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The lack of standardised and structured training, underscored by an academic discourse on film acting, necessitates the designing of a training programme that critically engages with this notion. This study aims to contribute to film acting as a field of study by designing, teaching and assessing the efficacy of a film acting training program. The film acting programme in question addresses the shifts between acting for theatre and acting for film, based on and contributing to scholarly discourse, whilst taking various learning preferences into account. This study makes use of mixed methods to

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Harmon, Joseph C. "The Cuddle Club." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1970.

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With The Cuddle Club, I intended to make a film that sought to examine intimacy as it relates to the extremes; in the film I subvert expectations of intimacy to make the audience reconsider why we draw our physical boundaries where we do. And while everybody may need a little cuddle every now and then, men have no right to touch women without their express permission. This paper will be an examination of the story behind the story. Of my thoughts on the process of creating my thesis film The Cuddle Club as it pertains to the screenwriting, preproduction, production and postproduction process.

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Amundsen, Sarah Audine. "Lady Libertines, Female Fops, and Lady Julia Fulbank: Aphra Behn's Extraordinary Female Characters." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2653.

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Aphra Behn has, throughout her life and subsequent years, been both demonized as a writer of bawdy and licentious plays and poetry as well as being hailed as the forerunner of female writers. She was a woman writing in a man's world, and not only survived the experience, but was exceptionally successful in her efforts. While so little is known about her background, the numerous plays she has left behind demonstrate a skilled author in many forms, as well as a creative and innovative storyteller. This thesis will examine how Behn used the traditional theatrical forms of the time and created dyn

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White, David Maurice. "Pedagogical Fusion." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/993.

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During the five semesters that I have been at VCU I have learned a great deal from the courses that I have been enrolled in but I have learned the most through my experiences as a Teaching Assistant. These experiences have been so valuable because of the wide range of subject areas in which I have been involved and the diverse instructors that I have assisted. Although I hesitate to use the word "problem" I feel that there is a tendency in teacher training for a student to latch onto one professor and model their teaching practices after that one mentor. While this is not always a bad thing

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Reed, P. "The incidental music of Benjamin Britten : A study and catalogue of his music for film, theatre and radio." Thesis, University of East Anglia, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380122.

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Mackenzie, Alexandra Chantal Yvette. "Pilgrimage Narrative: A Pattern for Heavenly Theatre in King Lear." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1641.pdf.

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Bagnole, Rihab Kassatly. "Imaging the Almeh: Transformation and Multiculturalization of the Eastern Dancer in Painting, Theatre, and Film, 1850-1950." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1132433330.

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Paton, Garth. "An exploration of the construction of a relationship between video (videographer) and live performance (theatre-maker/performer) and how the two art forms may inform each other." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/10764.

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Includes bibliographical references (leaves 29-31).<br>It is my intention to use video in a theatre setting to make visible what is not, to provide alternate views of reality and live action, and to create a heightened awareness of the medium through its use in an unconventional setting and in ways different to those that we are familiar with. It is my hope that through careful negotiation with the theatre-maker/choreographer, its use with live action will have an enhancing effect, perhaps leading to a more visceral theatre. The theory best serving to assist my attempts in terms of placing the

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Erwin, Lauren E. "The Making of Camp Shakespeare For Young Performing Artists." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2458.

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In this thesis paper, I will detail the making of Camp Shakespeare For Young Performing Artists, my final graduate short film at the University of New Orleans, from its inception as a script to its final form as a finished short film. In Part One I will examine the personal and cultural influences that led me to develop the script. Part Two will review the pre-production process – how my collaborators and I prepared for the shoot. In Part Three I will scrutinize the day-to-day process of filming. Part Four will chart the post-production process in which the film took its final shape. Finally,

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Simões, Nenita Gouveia. "Rehearsing reality : an interactive docufragmentary exploration of the Theatre of the Oppressed's engagement with the Brazilian Landless Movement (MST)." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/5636/.

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This thesis explores the Theatre of the Oppressed's practices at the point of interaction with peasants of Brazil's Landless Movement. It uses the interactive docufragmentary entitled Rehearsing Reality to explore the social and political role of art, and to ask whether particular applications of theatre and film can be used to understand and possibly transform points of view and raise consciousness about contemporary issues in the world. The Theatre of the Oppressed created by Augusto Boal comprises a series of interactive games, exercises and other theatrical methods developed with the purpo

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Sjöberg, Johannes E. "Ethnofiction : genre hybridity in theory and practice-based research." Thesis, University of Manchester, 2009. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:68172.

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The thesis and the two films form a practice PhD in drama exploring ethnofiction - an experimental ethnographic filmmaking approach pioneered by visual anthropologist Jean Rouch. In the mid-1950's Rouch started to experiment with fiction and 'projective improvisation' in ethnographic films such as Jaguar (1957-1967), Moi, unnoir (1957) and La pyramide humaine (1959). Film critics would call these films 'ethnofictions'. After agreeing a story outline, the camera simply follows the subjects' improvisations of their own, and others', lived experiences. The aim is to show aspects of ethnographic r

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Löfroth, Mattias. "Vid filmkonstens trösklar : Intermedialitet i Svenska Bios filmer 1910-11." Thesis, Stockholm University, Department of Cinema Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6605.

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<p>The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended

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Nickol, Jeremy B. "Heat Transfer Measurements and Comparisons for a Film Cooled Flat Plate with Realistic Hole Pattern in a Medium Duration Blowdown Facility." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365421507.

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Speight, Dana T. Ms. "Transforming the Mundane: Juxtaposing Maria Friedman’s "High Society" with George Cukor’s "The Philadelphia Story" as an Emphasis on the Importance of Theatre." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/352.

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The subjects of film and theatre belong to an extensive hierarchical debate that has remained prominent within the realm of performing arts since the introduction of cinema in the late nineteenth century. A plethora of scholars choose to argue in favor of the former, suggesting that film surpasses theatre as superior in both aesthetics and overall execution of naturalism; however, the argument is purely subjective and cannot be applied to all films and their corresponding plays. As a counterclaim, theatre continues to thrive as a prominent source of artistic entertainment globally, not only of

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Jürgensen, Inga. "Patrice Chéreaus Inszenierungen von Koltés' Dans la solitude des champs de coton und ihre Filmfassungen als intermedialer Transfer." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2001. http://dx.doi.org/10.18452/14976.

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Die Dissertation behandelt die Frage, wie sich mit dem von der Intertextualität abgeleiteten Theoriefeld der Intermedialität ein Text untersuchen lässt, wenn er als Theaterstück inszeniert und diese Inszenierung wiederum gefilmt wird. Wie verändert sich das Substrat des Texts bei dessen Übertragung auf die Bühne und auf den Bildschirm? Wie funktionieren diese Medien und Kunstformen zusammen im Theaterfilm? Diese grundsätzlichen Fragen stehen vor dem exemplarischen Vergleich von Bernard-Marie Koltès' Theaterstück "Dans la solitude des champs de coton" in Patrice Chéreaus Inszenierungen von 198

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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 bet

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Pierce, Zechariah H. "The Actor Behind the Camera." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4113.

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Through an accidental discovery of an interest in the film making process, I decided to explore the opportunities that would come through self-education in the field. Along the way, I found that the process of working behind the camera can, in fact, help the actor’s career in front of the camera and provide a chance to train in a nontraditional way. After directing two projects (one simple and one more complicated), I decided to propose a class in which students would be required to self- produce their own video projects online. The class was vastly popular, and the students’ responses to the

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Overpeck, Deron. "Out of the dark American film exhibition : political action and industrial change, 1966-1986 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459904671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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