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Dissertations / Theses on the topic 'Theatre stages'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Orr, Michelle D. "Theorizing stages : text, performance, and dramaturgical practice in the theatre of Marguerite Duras /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099910.

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2

Marshall, Tristan. "Theatre and empire : Great Britain on the London stages under James VI and I /." Manchester ; New York : Manchester university press, 2000. http://catalogue.bnf.fr/ark:/12148/cb37715754t.

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3

Armstrong, Esther M. "A scenographic analysis of emergent British 'national' identity, on the stages of the National Theatre between 1995-2005." Thesis, University of the Arts London, 2010. http://ualresearchonline.arts.ac.uk/5369/.

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This thesis examines space within the context of scenography and investigates its presence as a theme exposing the unstable condition of identity. It does this by examining how 'national' identity has been presented through the medium of design on the stages of the UK's National Theatre during an era where identity is being used as a political tool. The 'new ideologies' of regionalism,multiculturalism and globalisation are identified as provocative catalysts that are expressed within selected designs and are seen as challenging fixed notions of identity. Influenced by Henri Lefebvre's Production of Space, the production of scenography is examined within this thesis by combining three perspectives. It sets up a dialogue which looks to reveal a 'code', which explains the space produced on stage, by considering the following: The three different Artistic Directors operating during this period (Richard Eyre, Trevor Nunn and Nicholas Hytner) and their intentions for the relevance of the institution. This is considered by comparing each Artistic Director's public mission statement about their direction for the institution with selected productions that they have personally directed when in this role Through interview with the designers who produced the scenography for these selected shows. And by re-examining reviewer reactions to the shows produced, where the selected productions are seen to be either challenging or reflecting national meaning. The criticism levelled at design is particularly focused upon within these reviews. Space is considered as a key theme within scenography as it has been identified by the scenographer Jaroslav Malina as a significant constant within this art form. The thesis concludes that design, the production of space on stage, is under acknowledged in wider theatre criticism but is nevertheless shown to be a significant aspect in the reading and composition of conveying 'national' identity upon the National Theatre's stages.

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4

Kwon, Kyounghye. "Local Performances, Global Stages: Postcolonial and Indigenous Drama and Performance in Glocal Circuits." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1259760023.

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5

Beare, David Merritt. "Social art effect : the a/r/tography and complexity of theatre education learning systems, developmental stages, and change mechanisms." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/39663.

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This study examined how the Compassion Project, a collective theatre and social learning program, fostered positive youth and group development. The Compassion Project involved over 200 secondary students who participated in four theatre-making and social learning phases, where they inquired upon the topic of safe and caring schools. Through the process of collective theatre-making, students co-created two original plays (The Flip Side and Focus) about their social and emotional experiences in school. A/r/tography, the arts education research methodology for this study, emphasizes living inquiry and reflective practice through the examination of the in-between spaces of art-making/researching/teaching (a/r/t). Expanding upon the field of a/r/tography, this study introduces the rendering of the fourth wall as a theatre education research lens. By conceptualizing the theatre classroom as a stage, the rendering of the fourth wall directs attention to several perspectives: to the students, teacher-directors, players, and audience on both the classroom and stage sides; to the spaces in between the imaginary world of the play and the real life experiences of the inquirers; and, to the theatre-making and reflective practices. Based on observations, interviews, circle talks, and students’ written reflections, stories, and scripts, the data are analyzed and presented throughout the dissertation. The findings are conceptualized as the social art effects, which are the benefits that result from students’ social and theatre-making actions and interactions. The conceptualization also combines psychological, pedagogical, and theatre-based theories, such as positive psychology, complexity in education, and collective theatre. As a way to organize the data, the findings on the social art effect are categorized into three components: learning systems, developmental stages, and change mechanisms. This study illustrates how students’ social conditions are critical, and precede learning conditions. Furthermore, this study emphasizes the importance of integrating social learning and complex systems theories into the curriculum as a way to optimize learning spaces and to foster positive youth and group development.

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6

Scales, Roger W. "The battle of the stages : the conflict between the theatre and the institutions of government and religion in England, 1660-1890." Thesis, City, University of London, 2002. http://openaccess.city.ac.uk/17423/.

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Between 1660 and 1880 a number of Royal Patents were granted and Acts of ParI iament passed whose purpose and effect, it has generally been acknowledged, was to restrict the spread and availability of English theatre, in particular that within the two cities of the metropolis, and to limit its potential as a forum of debate for the examination of ideas or the promotion of political dissent. During the same period, although not necessarily at the same time, theatre came under fire from religious groups of many different denominations. This condemnation and the measures taken by this special interest group in society to combat the influence of the stage has also been held to have had a restrictive effect on the institution of theatre. This research has been primarily based on an examination and analysis oflegislation, parliamentary debates, religious tracts, papers and letters in Lambeth Palace Library, letters in the Manuscript Department of the British Library, theatre texts, the writings of contemporary theatre critics, articles in contemporary newspapers and journals specialising in theatrical topics, specialist reports and magazines published by various religious denominations, contemporary pamphlets, diaries, biographies, theatre ephemera and current critical writing in specialist magazines and books devoted to theatrical and religious topics. After discussing the reasons for setting the parameters of 1660 and the late 1880s for this research, the thesis considers the importance of the institution of theatre in the particular period studied and its relationship to the whole panorama of the history of theatre. After detailing a number of questions regarding the purpose of theatre and the effect it has and has had on society, this research examines the objects, effects and motivation behind the main statutes that were enacted to deal with the phenomenon of theatre between 1660 and 1880. In particular the genesis and context of The Restoration Patents, the Licensing Act (1737), the Disorderly Houses Act (1751), the Theatrical Representations Act (1788), the failed Sadler's Wells Bill (1788), and Interludes Bill (1788), and the Theatres Act (1843) have been examined, the aims of each debated and the effects of each of the legislative measures on theatre as a whole is explored. The opposition that came from religious forces within the country during the period under study is also examined and analysed. The complaints from Church and Chapel were various: blasphemy, indolence, vice, perversion (particularly of the young), consorting with unwholesome company and drawing people away from God were all cited as sins of the stage. The underlying causes ofthe censure of important religious figures as well as that which came from different denominations is examined. The various measures put into operation to combat the dangers perceived to be coming from theatre are explored and their efficiency debated. Finally the study examines the nature of the theatrical experience and how this has been affected by the legislation and condemnation of the religious interest in the country. A principal conclusion is that theatre in England was not repressed or rendered impotent by any of the legislation nor was it by the tactical opposition of the religious faction in society. Indeed theatre gained strength and potency by finding ways to circumvent the opposition it encountered. So successful was it in overcoming the ploys of the legislature and religious interests and so instrumental was theatre as a focus for life in England during the period under study that both of the forces of opposition eventually had to adopt theatre as an ally in the implementation of their own political agenda.

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7

He, Man. "Chinese Play-Making: Cosmopolitan Intellectuals, Transnational Stages, and Modern Drama, 1910s-1940s." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429737192.

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8

Midthun, Amy L. "Manipulating the Stage: A Comparison of the Government-Sponsored Theaters of the United States and Nazi Germany." Ohio : Ohio University, 2002. http://www.ohiolink.edu/etd/view.cgi?ohiou1040072155.

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9

Warnick, Lindsay. "Stage managing Seed." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6334.

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Seed, written by Scott Bradley and directed by Patrick Du Laney, is a play that was written to explore the legacy of suicide in the Midwest Region and its specific correlation to the disappearance of the family farm. The University of Iowa Department of Theatre Arts selected Seed to appear as a part of the annual Iowa New Play Festival in May of 2017. This thesis examines the specific challenges faced during the production process as relates to the production as a whole and those faced from the stage management perspective. This was an influential production to the stage manager, Lindsay Warnick, so connections between these challenges are looked at in two ways: how they played a role in Lindsay’s development as a stage manager and her growth as an individual.

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10

Olmez, Husniye Nihan. "The Analysis Of Theatre Plays For Children Staged By The State Theatre And Private Theatres In 2008-2009 Theatre Season In Bursa." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12611061/index.pdf.

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The aim of this study is to investigate theatre plays for children staged by the State Theatres and private theatre companies in one specific theatre season in Bursa in terms of their essential language, physical, educational, entertainment and social characteristics. More specifically, the present study examines appropriateness of theatre plays for children in term of these essential characteristics stated by the experts and also opinions of audiences, parents, teachers, and professionals gained by interviews. Twelve preschool children between the ages of 5 and 6, ten parents who had 5 or 6-year-old children, and two preschool drama teachers were asked about their opinions after attending one or more of the theatre plays which were chosen for the study. The theatre plays which were chosen for the study were also scored according to the five different essential characteristics by two coders by using the &ldquo
theatre for young audiences evaluation rubric&rdquo
which was developed by the researcher based on the literature. The study presented the composition of the information gained from the interviews and the characteristics scores of each theatre play. The results revealed that As an outcome, this study documented general information about the existing, required and desired characteristics of theatre plays for children
specific information about the current status of theatre plays for children in Bursa
and also implications and suggestions for parents, educators, playwrights, theatre directors and further studies.

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11

Simons, Rebecca Joan. "Misalliance: a stage manager's process." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1079.

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12

Johanson, Rachel. "Let Me Be Veiled: Deconstructing Gender in Iran and the United States." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275596670.

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13

Gambill, Christin N. "" A Poor Player That Struts and Frets His Hour Upon the Stage..." The English Theatre in Transition." University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1458984846.

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14

Recklies, Donald F. "Spectacle and illusion : the mechanics of the horse race on the theatrical stage, 1883-1923 /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487259580263868.

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15

Konesko, Patrick M. "Representing Childhood: The Social, Historical, and Theatrical Significance of the Child on Stage." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1365154777.

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16

Sloan, Dennis. "From la Carpa to the Classroom: The Chicano Theatre Movement and Actor Training in the United States." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1584738087430235.

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17

Blumenthal, Arthur R. "Giulio Parigi's stage designs Florence and the early Baroque spectacle /." New York : Garland Pub, 1986. http://books.google.com/books?id=iDVVAAAAMAAJ.

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18

Mayer, Eric Hans. "A “Wicked” Comparison of Commercial, Freelance and Academic Stage Management to develop Best Practices and Techniques for the Practical Stage Manager." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306291578.

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19

Fialko, Jessica Anne. "Graduate stage design." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2492.

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20

Phillips, Chelsea L. "“Carrying All Before Her:” Pregnancy and Performance on the British Stage in the Long Eighteenth Century, 1689-1807." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1418649014.

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21

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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22

Matsos, Christopher T. "“With Clotted Locks and Eyes Like Burning Stars”: Corporeality and the Supernatural on the Gothic Stage, 1786 - 1836." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274922246.

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23

Whitaker, Macaela Carder. "Women in Stage Combat: A Study on Babes With Blades Theatre Company." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1429273849.

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24

Fernandez, Adriana Cristina. "Challenging the traditions of American musical theatre : stage managing Striking 12 at the University of Iowa." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1597.

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This thesis is documentation and analysis of the stage management process working on the 2014 production of Striking 12 at the University of Iowa’s Department of Theatre Arts. In this thesis, the author analyzes the challenges and successes of Striking 12 from a stage management perspective as well as reflects upon the process and its influence on her as a stage manager.

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25

Conradie, Wilhelm. "The Conradie Codec : the recoding of meaning in four of my stage adaptations." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96882.

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Thesis (MA)--Stellenbosch University, 2015.
ENGLISH ABSTRACT: In this thesis I attempted to analyse the four adaptations I created between 2004 and 2010. The first two products (texts and productions) were created in 2004 and 2005, while I was a student at the Stellenbosch University Drama Department. The third adaptation (text only) was created in 2007, while I was a freelance stage manager. In 2010, I collaborated with a choreographer for the first time to adapt a Shakespeare text into a dance theatre production. The process of adapting a text always starts with an interpretive reading. Extracting information and meaning from a text can also be referred to as ‘decoding’. In the process of creating the adaptation new meaning is written, or ‘encoded’, into the product that must in turn be decoded by the reader or audience member. A term for this decoding and encoding process that is often encountered in the field of video editing (an aspect of my current profession) is a ‘codec’. In video editing a codec is responsible for the decoding of a computer file into a video program that a viewer/audience can engage with, as well as the encoding of a video program into a file. Since I function as the ‘codec’ in these adaptation scenarios, I thought it appropriate to label my approach to the adaptation process, the ‘Conradie codec’. The aim of this reflexive study is to analyse my four adaptations, the processes as well as the products, in order to determine if such a codec truly exists. Research done in adaptation studies was presented in an attempt to define adaptation as both process and product – Linda Hutcheon’s A Theory of Adaptation was particularly useful. This created a framework for the study of each of the four adaptations in chronological order, according to the year in which they were created. The study also draws very generally on the principles of semiotics, especially with respect to the notion of coding. Firstly, the 2004 adaptation of Luigi Pirandello’s Six Characters in Search of an Author into Twintig akteurs op soek na ‘n [beter] Regisseur was analysed. This was followed by onsindroom (sic), an adaptation of August Strindberg’s A Dream Play. The third adaptation was iForest, which was created in 2007. This was an adaptation of (primarily) Eugene Ionesco’s The Killer. Lastly, the adaptation of Shakespeare’s Troilus and Cressida into When in Love… was studied. It was concluded that, while the ‘Conradie codec’ does exist and was applied in the creation of the four adaptations, its efficiency was limited – predominantly by time constraints. In all four the cases analysed the rehearsal process started when a complete draft of the adapted text was not yet finished. This put enormous pressure on the rehearsal process. While this is accepted when creating a workshop style production, more time is needed to develop the adaptation in order for it to be cohesive. By going through the process of analysing these four adaptations, the Conradie codec has been adapted (or updated) to version 2.0.
AFRIKAANSE OPSOMMING: In hierdie tesis het ek gepoog om my vier verwerkings tot op hede te analiseer. Die eerste twee produkte (tekste en produksies) was in 2004 en 2005 geskep terwyl ek ‘n student was. Die derde verwerking (slegs die teks) was in 2007 geskep terwyl ek ‘n vryskut verhoogbestuurder was. In 2010, het ek vir die eerste keer saam met ‘n choregraaf gewerk om ‘n Shakespeare teks te verwerk na ‘n dansteaterproduksie. Die verwerkingsproses van ‘n teks begin altyd met die lees van die teks op ‘n interpreterende wyse. Hierdie proses, om betekenis uit ‘n teks te ontgin, kan ook ‘dekodering’ genoem word. Tydens die verwerkingsproses word nuwe betekenis in die produk ingeskryf, of ‘geënkodeer’. Die leser of gehoorlid moet weer op hul beurt die nuwe produk dekodeer. Hierdie dekodering en enkodering word in videoredigering (‘n aspek van my huidige beroep) ‘n ‘codec’ genoem. In videoredigering is ‘n ‘codec’ verantwoordelik vir die dekodering vanaf ‘n rekenaarlêer na ‘n videoprogram wat deur iemand gekyk kan word, sowel as die enkodering vanaf ‘n videoprogram na ‘n leêr. Aangesien ek tydens die verwerkingsproses as die ‘codec’ funksioneer, het ek dit goed gedink om met die term die ‘Conradie codec’ vorendag te kom. Die doel van hierdie refleksiewe studie was om my vier verwerkings, die prosesse sowel as die produkte, te analiseer en sodoende te bepaal of so ‘n ‘codec’ wel bestaan. Navorsing op die gebied van verwerkings was voorgelê in ‘n poging om die konsep van verwerking as beide proses en produk te definieer – Linda Hutcheon se A Theory of Adaptation was ‘n nuttige bron gewees. Dit het gehelp om ‘n raamwerk vir die bestudering van elk van die vier verwerkings te skep – wat dan uitgevoer was in chronologiese volgorde. Die studie maak ook gebruik van die beginsels van semiotiek, in ‘n baie algemene wyse, veral ten opsigte van die begrip van kodering. Eerstens was die 2004 verwerking van Luigi Pirandello se Six Characters in search of an Author na Twintig akteurs op soek na ‘n [beter] Regisseur ontleed. Dit was gevolg deur onsindroom, ‘n verwerking van A Dream Play deur August Strindberg. iForest wat in 2007 geskep is, was ‘n verwerking van (hoofsaaklik) The Killer deur Eugene Ionesco. Laastens was die verwerking van Shakespeare se Troilus and Cressida na When in love… bestudeer. Die gevolgtrekking was dat daar iets soos die ‘Conradie codec’ bestaan en dat dit wel toegepas was in die skepping van die vier verwerkings. Die effektiwiteit daarvan was wel beperk – hoofsaaklik as gevolg van tydsbeperkings. In al vier die gevalle het die repetisieproses reeds begin voordat ‘n volledige weergawe van die teks voltooi was, wat enorme druk op die repetisieproses geplaas het. Terwyl dit aanvaarbaar is in die konteks van ‘n werkswinkelproduksie word meer tyd benodig vir die verwerking van ‘n teks om samehangend te wees. Deur die vier verwerkings te bestudeer, was die Conradie ‘codec’ self in die proses verwerk (of bygewerk) tot weergawe 2.0.

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26

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

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27

Joseph, Rachel. "Screened states : representations of theatre within cinema /." May be available electronically:, 2009. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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28

Krajewska, Olga. "Theatre of Modern Era : Stage of Equilibrium." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1460653441.

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29

Calcamp, Kevin. "The Semiotics of Celebrity at the Intersection of Hollywood and Broadway." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1471741170.

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30

Kochensparger, Jonathan Wayne. ""Disability On Stage": The DisAbility Project (USA) and Graeae Theatre (UK) Theatre's Impact on Disabled Actors: A Comparative Study." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574727755697283.

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31

Mellas, Michael John. "Constructing Multiple Realities on Stage: Conceiving a Magical Realist Production of Jose Rivera's Cloud Tectonics." Miami University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=miami1218129542.

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32

Bottoms, Steve. "States of crisis : the theatre of Sam Shepard." Thesis, University of East Anglia, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259955.

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Babaee, Tamirdash Mohamadreza. "Staging Belonging: Performance, Migration, and the Middle Eastern Diaspora in the United States." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1593024898855739.

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34

Merrifield-Beecher, Jane A. 1952. "The history of the Gaslight Theatre." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/292022.

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Tony Terry founded The Gaslight Theatre in Tucson, Arizona, in 1977. The thesis examines The Gaslight Theatre in order to validate the company's artistic relevancy as a contemporary producer of melodramas and to further understand the reason behind the theatre's current success. The structure of the work begins with a history of melodrama, a look at the producer, Tony Terry, and his background and influence on The Gaslight Theatre, followed by a history of The Gaslight's three phases: The Victorian melodramas, the musical comedy melodramas, and the comedy spoof melodramas. A history of The Gaslight olio reveals the nature of the art form. The thesis further provides a study of those involved in the theatre's success, as well as the company's inevitable link to the current theatre practices. Most importantly, the thesis examines The Gaslight Theatre's significance to the local and American theatre community.

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35

O'Connor, Lorney Roland. "Directing and designing Shakespeare's The Tempest." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2581.

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The purpose of this project is to assess the production level one person can achieve when directing, designing, and managing all aspects of a major theatrical production. It will identify strategies and techniques which are crucial for success in the areas of theatrical design and management.

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36

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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Ruiz, Emily Beth. "Costume design for the stage." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4740.

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Patton, Katheryn. "Stage Management: A Survival Guide." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/519.

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Many elements must come together to create an effective theatre production. The stage manager is responsible for making these elements mesh. What tools does a student stage manager need not only to survive, but to thrive in this critical role?

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39

Sefel, John Michael. "Staging The [Disabled] Jew: The Thematic Use of Doctors, Disability, and Disease in Yiddish Plays on Modernization, 1790-1929." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618433569764629.

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40

Pinna, Ilaria. "Theatre and impegno : commitment, struggle and resistance on the Italian stage." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/22011.

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This thesis examines the development of Italian political theatre between 1968 and 2010. It analyses the relationship between political theatre during the 1970s and politically engaged practice in the following decades in terms of continuity rather than rupture, thereby challenging recent theatre historiography and criticism which interpreted the two periods as diametrically opposite: one characterised by profound political engagement and the other by a widespread retreat from the political (riflusso). The analysis of the case studies is grounded on a rigorous contextual approach which places theatre practice in relation to its social and cultural context. Chapter One reviews the current debate on theatre and politics, reassessing the terms of its discourse and evaluating their potential and shortcomings. Chapter Two introduces two examples of engagement before 1968, namely the birth of teatri stabili and the linguistic research of the theatrical neo-avant-garde. Chapters Three, Four, and Five are dedicated to the analysis of the case studies. They are structured as a comparative analysis of significant examples of politically engaged theatre practice between 1968 and 2010 and include the work of Dario Fo, Marco Baliani, Marco Paolini, Giuliano Scabia, Franca Rame, Laura Curino, and Compagnia della Fortezza. The analysis highlights how Italian practitioners moved beyond modernist forms of political performance and restructured their political and aesthetic strategies in response to changing political, economic, and cultural contexts. The findings point to an original approach to political engagement on stage which articulates itself around two main elements: on the one hand the interconnectedness of the ethical and the political, and on the other an understanding of political resistance no longer as the fight for a working-class cultural hegemony but rather at the creation of a post-hegemonic cultural landscape open to multiplicity and difference.

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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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Contreras, Felipe. "Cutting polygons and a problem on illumination of stages." Thesis, University of Ottawa (Canada), 1998. http://hdl.handle.net/10393/4324.

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This work presents the solution to two problems in Computational Geometry. First, we introduce an algorithm to calculate (provided an O( n log n) preprocessing or linear if the polygon is convex) the area of an n-gon "cut" by a query interior segment in O(n log n) time. As an application we also show how to find the line cutting 1r of the area of a convex polygon and parallel to a given line. Secondly, we show how to illuminate a stage represented by a line segment s , with floodlights placed at n points above s such that the sum of their angles is minimized. The algorithm runs in theta(n log n) time and we include a videotape presenting it.

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Gainey, Thomas K. "Taking charge of joint theater logistics : the case for a theater logistics command /." Norfolk, Va. : Joint Forces Staff College, Joint Advanced Warfighting School, 2006. http://handle.dtic.mil/100.2/ADA451236.

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Thesis (M.S. in Joint Campaign Planning and Strategy)--Joint Forces Staff College, Joint Advanced Warfighting School, 2006.
"14 April 2006." Vita. "National Defense Univ Norfolk VA"--DTIC cover. Includes bibliographical references (p. 74-76). Also available via the Internet.

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Hill, Christopher Austin. "“We've All To Grow Old”: Representations of Agingas Reflections of Cultural Change on the Celtic Tiger Irish Stage." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365780726.

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Swetnam, Ashley Nicole Londré Felicia Hardison. "A natural stage a history of theatre in Arkansas/." Diss., UMK access, 2008.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2008.
"A thesis in theatre." Typescript. Advisor: Felicia Hardison Londreʹ Vita. Title from "catalog record" of the print edition Description based on contents viewed Sept. 12, 2008 Includes bibliographical references (leaves 59-64). Online version of the print edition.

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Rupp, Ricky N. "Analyzing inter-theater airlift for 2020." CLICK HERE TO VIEW:, 2004. https://research.maxwell.af.mil/papers/ay2004/ari/rupp.pdf.

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Marsh, Alexandra Whitney. "GEORGE F. WALKER’S BETTER LIVING: PLAYING WITH DIFFERENCE; A CANADIAN FAMILY ON AN AMERICAN STAGE." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1353022505.

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Malmquist, Cassandra Muree Kathleen. "Theatre and dance lighting design." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1688.

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Jacobs, Ryan Patrick. "The Troupes of Theatre." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/91188.

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The art of theatre has been classified and critiqued as being a mimetic art which is different from architecture. The mimetic arts, such as the performing arts, occur in performance spaces concealed in the physical architecture of a theater building. This fixed location of the theatre has led to the elements of the theatre to be hidden and contained within the box of the architecture. These elements could be referred to as the "troupes of theatre" in the tradition of a group of thespians being considered a troupe. The performing arts have been traditionally confined as temporary entertainment whose lasting value is situated by virtue of existing only while being on stage within the building. Architecture, on the other hand, holds tectonic value by being present as a real, physical addition to the built environment and the world, yet it also performs as a mimetic art. This creates disconnect and discrimination against theatre, as a mimetic art, which is evident through the neglect and concealment of these troupes of theatre within architecture. This is present in contemporary architecture by the location of the portions of theatre's performances spaces being hidden and concealed within. There is a disconnect between the physical theater and the physical architecture of the building that houses it. The question then arises, could these parts of the theatre, the troupes of theatre, participate in the design of the whole building? In this thesis, the troupes of theatre are celebrated and brought into the same light as the rest of the building that normally confines them to be revealed to the world. Those troupes of the theatre that typically are contained within the box of architecture, are expressed to influence the form of the building. This thesis project seeks to reveal these troupes of theatre that are typically hidden. The troupes that are usually concealed are revealed; the stage rigging, the repetition of the level changes of the seating within a proscenium theater, the curvature of the upper levels of seating, the form of the fly space for stage rigging, the form of the house of the theatre, and the support spaces necessarily for a theatre to properly operate. They become visual design features of the building, and directly influence the architecture by being incorporated into the design. Highlighting these troupes of the theatre allow them to provide didactic information to the public through the architecture. The public is allowed to experience these troupes of the theater, regardless if they are fortunate enough to see a performance or not. Typically, contemporary theatre invites the public into the theatre to have a dialogue within and on the stage of the theatre, within the architecture. But through the troupes of theatre being directly incorporated into the design of the architecture, they invite all to participate. Contemporary theatre acts a public space in its urban framework. It invites and welcomes people of all backgrounds to move throughout, congregate, and experience the troupes of theatre in the city. This theatre encourages and welcomes the public to gather and utilize a previously, uninviting and restricted site along the waterfront in Old Town Alexandria, Virginia. This dialogue and direct connection between the theatre and architecture allows for endless variations in the design of a physical theater with interpretation left open intentionally to unrestricted creativity. Rather than, the design of a theatre as a simple, concealing container for the mimetic arts to create and display this dialogue only on the stage and behind closed walls, it is through expressing the troupes of the theater mimetically and tectonically that clearly identifies the typology of the building to the public and encourages all to be included.
Master of Architecture
This thesis explores the design a proscenium style theatre with all of its necessary support spaces. The proscenium theatre requires dressing rooms, rehearsal rooms, storage, lobby, box office, event space, conference rooms, meeting rooms, a scene shop, crew rooms, offices, and many other support spaces in order for the theatre to perform properly. Typically, many of these support spaces and the actual theatre, where performances occur on stage and the audiences gathers, are hidden or concealed within the architecture of the building. The typology of the building is unknown to the public because of these support spaces are hidden in the shadows. This thesis seeks to celebrate all aspects of the theatre and have them directly influence the design of theatre building, itself. There is more of a connection between the theatre and its support spaces and the architecture of the building. The architecture takes influence from these elements of the theatre. The word “troupes” is used as a pun in reference to a group of thespians, called a troupe, to refer to the elements of the theatre that make a theatre. These troupes of theatre are clearly expressed and celebrated throughout the design of architecture for all, regardless of financial situation, to view these troupes of theatre and gain an understanding of how a theatre actually performs. The design of the physical theatre then because mimetic, imitates, learns, and celebrates, the troupes clearly and outwardly to all. This clearly identifies the typology of the building and is inclusive to all.

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Morrow, Susanna Ruth. "Action Theater: Divine play for the stage." Diss., Connect to online resource, 2006. 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:3239462.

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