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Goh, Yen-Lin. "Reimagining the Story of Lu You and Tang Wan: Ge Gan-ru's Wrong, Wrong, Wrong! and Hard, Hard, Hard!" Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1349118390.
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Celestine, Akeem Amire. "From head to toe creating the look." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6921.
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As a costume designer, I begin looking at who and what a character is. I then look at how they relate to other characters in the play. Costumes and hair have the ability to help the audience understand time, location, emotional, and physical aspects of a character. The process of a costume designer begins with analyzing a script and characters, researching the time and fashions of the show, creating a visual rendering of what characters wear in the world. Rendering is a tool of communication, a working document that will often change as the production develops. It is the costume designer’s job to understand why a character wears what they wear. Characters are meant to help create and solidify the world of the play. The costume designer is one of those keys to making that world come alive.
This thesis portfolio will include images and brief descriptions of my costume design work and wig work at the University of Iowa. This portfolio contains both realized productions photos, renderings and projects from class work. This document also shows the evolution of my design work over the course of my Master of Fine Arts education. The entire breadth of my thesis portfolio can be found at the link:
http://ir.uiowa.edu/theatre_d_folio/.
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Klüssendorf, Ricarda. ""The great work begins" : Tony Kushner's theater for change in America /." Trier : Wissenschaftlicher Verlag, 2007. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783884769782.
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Malina, Barbara. "Das Nouveau Theatre Boris Vians." Bonn : Romanistischer Verlag, 2005. http://www.loc.gov/catdir/toc/fy0605/2005421402.html.
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Poulain, Alexandra. "Individu et communaute. La structure initiatique dans le theatre de tom murphy." Caen, 1996. http://www.theses.fr/1996CAEN1212.
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Malgre la variete formelle, thematique et stylistique qui caracterise son theatre, la plupart des pieces de tom murphy repondent a une meme structure. Murphy met en scene l'effondrement des institutions et des valeurs communautaires dans la societe moderne. Ses heros sont des marginaux qui, a la peripherie de la spere communautaire, entreprennent un voyage initiatique, structure sur le modele des rituels initiatiques traditionnels. L'enjeu essentiel de ce parcours est la reconquete d'un langage et d'un corpus mythique intimeDespite the formal, thematic and stylistic variety which characterizes his dramatic work, most of tom murphy's plays are similarly structured. Murphy stages the collapse of communal institutions and values in modern society. His heroes are marginals who set off on an initiatory voyage on the periphery of the communal spere; this voyage follows the pattern of traditional initiatory rituals, and enables them to recapture a language and mythic corpus of their own
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Holden, Martin Lee Castleberry Marion. "A director's approach to Tom Stoppard's Rosencrantz & Guildenstern are dead." Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5064.
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Klüssendorf, Ricarda. ""The great work begins" Tony Kushner's theater for change in America." Trier Wiss. Verl. Trier, 2006. http://www.wvttrier.de/top/Beschreibungen/ID14.html.
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Peters, Glenn David. "Walking Dangerous Tonight: Creating and Performing a Role in Tony Kushner's Angels in America." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392737747.
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Carlson, Elizabeth J. "Even in Arcadia: Conflict, Certainty, and Self-Perception whilst Directing Tom Stoppard's Iconic Play." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/311450.
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TheaterM.F.A.
This thesis is a partial documentation of the process of preparing and rehearsing Temple University Theatre's 2015 production of Tom Stoppard's Arcadia, and the ways in which the process was artistically challenging and personally transformative. It is a demonstration of the manifold procedure of discovering action through language in the rehearsal process, the essential relationship of language to behavior in all collaborative practice and both the embrace of constructive conflict and the fundamental exercise of self-reflection as the primary catalysts for artistic development.
Temple University--Theses
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Seals, Jacqueline Marie. "A scenic and costume design process for a production of A Bright Room Called Day, by Tony Kushner." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392717155.
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Derek, Gingrich. "Unrecoverable Past and Uncertain Present: Speculative Drama’s Fictional Worlds and Nonclassical Scientific Thought." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31507.
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The growing accessibility of quantum mechanics and chaos theory over the past eighty years has opened a new mode of world-creating for dramatists. An increasingly large collection of plays organize their fictional worlds around such scientific concepts as quantum uncertainty and chaotic determinism. This trend is especially noticeable within dramatic texts that emphasize a fictional, not material or metafictional, engagement. These plays construct fictional worlds that reflect the increasingly strange actual world. The dominant theoretical approaches to fictional worlds unfairly treat these plays as primarily metafictional texts, when these texts construct fictional experiences to speculate about everyday ramifications of living in a post-quantum mechanics world. This thesis argues that these texts are best understood as examples of speculative fiction drama, and they speculate about the changes to our understanding of reality implied by contemporary scientific discoveries. Looking at three plays as exemplary case studies—John Mighton’s Possible Worlds (1990), Tom Stoppard’s Arcadia (1993), and Tony Kushner’s Homebody/Kabul (2001)—this thesis demonstrates that speculative fiction theories can be adapted into fictional worlds analysis, allowing us to analyze these plays as fiction-making texts that offer nonclassical aesthetic experiences. In doing so, this thesis contributes to speculative fiction studies, fictional worlds studies, and the dynamic interdisciplinary dialogue between aesthetic and scientific discourses.
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Workman, Abigail E. "Artist Descending a Staircase: Blending Radio and Theatre in Production." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1114209663.
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Little, Julianna. "“Frailty, thy name is woman”: Depictions of Female Madness." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3709.
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Concepts of mental health and normality cannot be understood apart from cultural norms and values. The most significant of cultural constructions that shape our view of madness is gender. Madness has been perceived for centuries metaphorically and symbolically as a feminine illness and continues to be gendered into the twenty-first century. Works of art and literature and psychiatric medicine influence each other as well as our understanding and perception of mental illness. Throughout history, images of mental illness in women send the message that women are weak, dangerous, and require containment. What are the cultural links between femininity and insanity, and how are they represented? Through the lenses of disciplines such as theatre criticism, feminist theory, and psychiatry, this thesis examines the history of madness as a gendered concept and its depictions in art and literature. Additionally, it will explore the representation of female madness in contemporary dramatic literature as compared to the medical model used during the era in which it was written as well as the social and cultural conditions and expectations of the period. The three plays under consideration are: Long Day’s Journey Into Night, written in 1941 by Eugene O’Neill; Fefu and Her Friends, written in 1977 by Maria Irene Fornés; and
Next to Normal, produced on Broadway in its current form in 2009 and written and scored by Brian Yorkey and Tom Kitts. None of these plays tell a tidy story with a straightforward ending. In none do treatment facilities offer refuge or health professionals offer answers. Struggling characters resort to drug abuse, fall prey to internalization, or leave treatment all together, having been subjected to enough victimization. The relationship between patient and physician is depicted to be, at best, ambivalent. The themes in these plays illuminate women’s mental illness as an extensive problem with many contributing factors, and the origins of which are quite complex.
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Reilly, Kara. "Automata : a spectacular history of the mimetic faculty /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/10235.
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Glesner, Julia. "Theater und Internet : zum Verhältnis von Kultur und Technologie im Übergang zum 21. Jahrhundert /." Bielefeld : transcript-Verl, 2005. http://www.gbv.de/dms/bs/toc/487538773.pdf.
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Solomon, David Lyle. "A stage for a bima : American Jewish theater and the politics of representation /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1707.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2004.Thesis research directed by: English Language and Literature. 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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Deus, Marcio Aparecido da Silva de. "Análise dos recursos épicos em Angels in America, de Tony Kushner (Part I, \'Millennium Approaches\', e Part II, \'Perestroika\')." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-06112014-105506/.
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Esta dissertação tem como objetivo exclusivo a análise do uso de recursos formais épicos na estrutura dramatúrgica da peça Angels in America (Part I, Millennium Approaches, e Part II, Perestroika), do dramaturgo norte-americano Tony Kushner [1956- ]. Trata-se, portanto, de uma análise voltada ao texto dramatúrgico das duas partes da peça, e não às suas encenações e à adaptação televisiva. Nesse texto, são tratadas algumas questões históricas, políticas e sociais dos Estados Unidos da América nos anos de 1980, momento esse em que o ex-ator norte-americano Ronald Reagan estava cumprindo seu segundo mandato como presidente estadunidense e uma doença sem precedentes a AIDS abatia principalmente a comunidade gay. Levando em consideração que esse conteúdo, dada a sua natureza histórica, não pode ser representado pela estrutura do drama convencional, e que por sua vez se insere na esfera formal do épico, procuramos evidenciar e problematizar criticamente os recursos épicos usados no arcabouço formal da peça e, por meio dessa análise, definir qual é o tratamento dado ao épico neste trabalho, que é um marco da dramaturgia kushnerianaThis thesis aims at analyzing the use of epic resources in the dramaturgical structure of the play Angels in America (Part I, \"Millennium Approaches\" and Part II, \"Perestroika\"), written by the American playwright Tony Kushner [1956 -]. It is an essentially dramaturgical analysis focused on the text of the two parts of the play, and not on their stage productions or television adaptation. Kushners play deals with historical, political and social issues in the context of the United States in the decade of the 1980s, when Ronald Reagan, formerly an actor, was serving his second term as U.S. president and AIDS, a disease of unprecedented severity, spread and decimated the gay community mainly. Since the historical nature of this type of subject cannot be represented within the structure of conventional drama, and since it is characteristic of the epic sphere, we propose to examine the epic resources used in the formal structure of the play and, in the analysis, discuss Kushners approach to the epic in this play, which is a landmark of his dramaturgy
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Wagner, Stefanie. "Dario Fos "Morte accidentale di un anarchico" und seine Adaptationen in Frankreich und Deutschland." Universität Potsdam, 2012. http://opus.kobv.de/ubp/volltexte/2012/6027/.
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Dario Fo (Nobelpreis 1997) ist einer der herausragendsten Erneuerer des italienischen Theaters des 20. Jahrhunderts. Ein Überblick über die wichtigsten Stationen seines künstlerischen Schaffens zeugt zunächst von Fos stetem Bemühen um innovative Ansätze in Bezug auf Theaterkonzeption und –praxis: immer gilt es, sich von den Konventionen des literarischen, bürgerlichen, subventionierten, weitgehend passiv rezipierten Theaters abzugrenzen und das Theater für das Publikum wieder ganzheitlich erfahrbar zu machen. Doch nicht selten geraten er und seine Truppe dabei in Konflikt mit den herrschenden politischen und gesellschaftlichen Umständen. Dies trifft auch auf sein Stück "Morte accidentale di un anarchico" (1970) zu, dessen Analyse im Zentrum dieser Arbeit steht. Ein realhistorischer Fall, der "Fall Pinelli" (bzw. "la strage di Piazza Fontana") 1969, diente Fo als Grundlage seiner sehr zeitnah entstandenen grotesken Farce, die aufgrund ihrer politischen Brisanz für Aufruhr sorgte und die auch im Ausland bis heute immer wieder auf den Spielplänen zu finden ist. Die Arbeit geht daher nicht nur auf die Produktion, Inszenierung und Rezeption des Stücks in Italien ein, sondern nimmt auch die Adaptationen und deren Rezeption in Frankreich und Deutschland in den Blick, wobei die italienspezifische Ausrichtung von Fos Theater (Rekurs auf Traditionen des italienischen Volkstheaters, Verarbeitung (tages)politischen Geschehens etc.) eine besondere Herausforderung für die fremdsprachige Bearbeitung des Stückes und seine Inszenierung darstellt. Neben den produktions- und rezeptionsästhetischen Grundbedingungen des Textes von Dario Fo werden in diesem Zusammenhang auch Spezifika der Bühnenübersetzung beleuchtet und Alternativen hierzu aufgezeigt, die auch bereits von Fos Truppe genutzt werden.Dario Fo (Premio Nobel 1997) è uno dei drammaturghi e capocomici più innovatori del teatro italiano del ‘900. Verranno mostrate le tappe più importanti del suo percorso artistico che attestano una ricerca incessante di approcci innovativi per la concezione e la prassi teatrali: una lotta acerrima contro le convenzioni del teatro letterario, borghese, sovvenzionato e fruito in modo passivo. Comunque, cercando di ristabilire l’evento teatrale come esperienza olistica, Fo e la sua compagnia si ritrovano spesso in pieno conflitto con la realtà socio-politica e i suoi rappresentanti. Era anche questo il caso del pezzo "Morte accidentale di un anarchico" (1970) di cui questo lavoro presenta un’analisi. Scritta poco dopo la strage di Piazza Fontana (dicembre 1969) e quindi a quell’epoca di scottante attualità politica, questa farsa grottesca fece sorgere grandi tumulti e rimane finora uno dei pezzi più rappresentati, anche all’estero. Pertanto, questo lavoro contempla non solo la produzione, l’allestimento e la ricezione del pezzo in Italia, ma tiene anche conto degli adattamenti e della loro ricezione in Francia e in Germania. Verrà mostrata la sfida per gli adattamenti stranieri che risulta dall’italianità del teatro di Fo (ricorso alla tradizione del teatro popolare italiano, trattamento di fatti socio-politici quotidiani etc.). In questo contesto verranno spiegati anche elementi specifici della traduzione per la scena e indicata qualche alternativa che anche la compagnia di Fo già utilizza.
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Spingarn, Adena Tamar. "Uncle Tom in the American Imagination: A Cultural Biography." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10455.
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This dissertation charts the dramatic cultural transformation of Uncle Tom, the heroic Christian martyr of Harriet Beecher Stowe's antislavery novel Uncle Tom's Cabin (1852), into a commonly known slur for a submissive race traitor. As many scholars have noted, the hero of Stowe's novel is not what we would today call an "Uncle Tom." Some have put the blame for the figure's drastic transformation on the many popular stage adaptations of Stowe's novel that blanketed the nation during the nineteenth and early twentieth centuries. However, relying on extensive archival work in both traditional archives and digitized historical periodicals, which have been unexamined on this topic until now, this dissertation reveals that Uncle Tom's transformation did not occur in the theater. Not only did the Uncle Tom character often retain his dignity in these postbellum shows, but the Uncle Tom's Cabin dramas remained politically relevant to many African Americans--and for that reason deeply threatening to many white Southerners--into the twentieth century. Significant objections to Uncle Tom as a racial representation in popular culture did not emerge until the late 1930s, but Uncle Tom became a detested political model two decades before that. The Christ-like qualities that made him a hero in Stowe's novel and to many nineteenth-century Americans, black and white, became increasingly undesirable to a new generation that embraced a more assertive understanding of masculinity and were less interested in heaven's salvation than in earthly progress. This turn-of-the-century transformation in cultural values set the stage for a more pointed critique of Uncle Tom as a political model in the 1910s, a decade of turmoil not only because of growing racial injustice, but also because of major political, educational, and geographical shifts within the race. While Uncle Tom's Cabin retained progressive meanings to many African Americans, Uncle Tom became a slur in the black political rhetoric of the 1910s, when a younger generation of leaders responded to the deteriorating racial climate by attacking the values and strategies of the older generation for seriously jeopardizing racial progress.
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Pietrzak-Franger, Monika. "The male body and masculinity representations of men in British visual culture of the 1990s." Trier Wiss. Verl. Trier, 2006. http://www.wvttrier.de/top/Beschreibungen/MUSE.html.
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Grigull, Tom [Verfasser], and Peter [Akademischer Betreuer] Pörtner. "Japanische Larven und Masken : eine Leipziger Sammlung, die Tokugawa und die Dainenbutsu-Sarugaku in Kyōto. / Tom Grigull. Betreuer: Peter Pörtner." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2011. http://d-nb.info/1017688184/34.
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Johnston, Emma Anne. "Healing maori through song and dance? Three case studies of recent New Zealand music theatre." Thesis, University of Canterbury. Theatre and Film Studies, 2007. http://hdl.handle.net/10092/980.
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This thesis investigates the way "healing" may be seen to be represented and enacted by three recent New Zealand music theatre productions: Once Were Warriors, the Musical-Drama; The Whale Rider, On Stage; and Footprints/Tapuwae, a bicultural opera. This thesis addresses the ways each of these music theatre productions can be seen to dramatise ideologically informed notions of Maori cultural health through the encounter of Maori performance practices with American and European music theatre forms. Because the original colonial encounter between Maori and Pakeha was a wounding process, it may be possible that in order to construct a theatrical meeting between the "colonised" Maori and the "colonial" non-Maori, "healing" is an essential element by which to foster an idea of the post-colonial, bicultural togetherness of the nation. In all three productions, Maori song and dance forms are incorporated into a distinctive form of western music theatre: the American musical; the international spectacle; Wagnerian opera. Wagner's attempts to regenerate German culture through his music dramas can be compared to Maori renaissance idea(l)s of cultural "healing" through a "return" to Maori myths, traditions and song and dance.
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Falkenstein, Leonard Robert. "Renovating the kitchen, irishness, nationalism, and form in the theatre of John B. Keane, Tom Murphy, Hugh Leonard, Brian Friel, and Thomas Kilroy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/nq21567.pdf.
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Schreiner, Florian. "Laut, Ton, Stärke." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2010. http://dx.doi.org/10.18452/16126.
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Historisch wird die Arbeit von zwei Daten her begrenzt, von den ersten hör-physiologischen Experimenten seit 1850, und von den massenwirksamen akustischen Inszenierungen der 1930er Jahre in „real auditory perspective“. Die Arbeit beginnt in Kapitel I mit dem tragischen Fall des Regisseurs und langjährigen Psychiatrie-Patienten Antonin Artaud, der die Sprache zugunsten von Lauten, Gebärden und Schreien verlässt. Seine Experimente zum Theater geben zu einer ersten Korrektur von Bildlichkeit Anlass. In Kapitel II wird der Vorrang der Bildlichkeit grundsätzlich in Frage gestellt, die Differenz von Bild und Klang wissenschaftshistorisch auseinandergesetzt, und ein „acoustic turn“ zur Welt vorbereitet. Die Untersuchungen des Physiologen und Akustikers Hermann von Helmholtz sind hier maßgeblich, denn sie beeinflussen die Technische Akustik von ihren Anfängen her. Das Kapitel III schließlich untersucht im transatlantischen Vergleich die technischen Bedingungen nach 1900. Die Beschallungsanlage hat nun die Fähigkeit, alltäglich in den Dienst genommen zu werden, und auch politischen Manipulationen diensthaft zu sein.Historically the work is framed by two dates, by the physiological experiments of hearing and the mise en scène of a massed and sonic attack in so called „real auditory perspective“ of the 1930s. The first chapter starts with the tragedic and long living psychiatric case Antonin Artaud, who moves away from clarity of sounds to phones, gestures and crying. Such experiments give cause for a fundamental rethinking of meaning in the sense of picture, and leads to the second chapter which argues in more detail for the lap of our sonic understanding of the world. This way speeds up to an „acoutic turn“ by a retour to the biological grounds of sonic perception. The physiological and acoustic inquiries of Hermann von Helmholtz fit here to the ground for him being starting point of what will later be called „technische Akustik“. The third chapter bridges Europe´s early Telefunken-years with the United States and their chief acousticians at the legendary Bell Laboratories, and seeks finally for light in scientific amnesia against progress and control, or what the germans call „Betriebsamkeit“ and „Gestell.“ (Heidegger)
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Maunder, Paul Allan. "The Rebellious Mirror,Before and after 1984:Community-based theatre in Aotearoa." Thesis, University of Canterbury. Theatre and Film Studies, 2010. http://hdl.handle.net/10092/5381.
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In this thesis I outline the contribution Community-based theatre has made to New Zealand theatre. This involves a defining of theatre production as a material practice. Community-based theatre was a tendency from the 1930s, a promise of the left theatre movement and, I argue, was being searched for as a form of practice by the avant-garde, experimental practitioners of the 1970s. At the same time, early Māori theatre began as a Community-based practice before moving into the mainstream.
With the arrival of neo-liberalism to Aotearoa in 1984, community groups and Community-based theatre could become official providers within the political system. This led to a flowering of practices, which I describe, together with the tensions that arise from being a part of that system. However, neo-liberalism introduced managerial practices into state contracting and patronage policy, which effectively denied this flowering the sustenance deserved. At the same time, these policies commodified mainstream theatre production.
In conclusion, I argue that in the current situation of global crisis, Community-based theatre practice has a continuing role to play in giving voice to the multitude and by being a practice of the Common.
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Ulrich, Claudia. "Das königliche Hof- und Nationaltheater unter Max I. Joseph von Bayern : Vorgeschichte, Entwicklung und Wirkung eines öffentlichen Theaters /." München : Beck, 2000. http://www.loc.gov/catdir/toc/fy0710/2001350988.html.
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Buckingham, John F. "The dangerous edge of things : John Webster's Bosola in context & performance." Thesis, Royal Holloway, University of London, 2011. http://repository.royalholloway.ac.uk/items/c709add3-5da0-e296-8613-63d74a792f51/9/.
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This thesis argues that there is an enigma at the heart of Webster's The Duchess of Malfi; a disjunction between the critical history of the play and its reception in performance. Historical disquiet about the status of the play among academics and cultural commentators has not prevented its popularity with audiences. It has, however, affected some of the staging decisions made by theatre companies mounting productions. Allied to other practical factors, these have impacted significantly – and occasionally disastrously – upon performances. It is argued that Webster conceived the play as a meditation on degree and, in aiming to draw out the maximum relevance from the social satire, deliberately created the multi-faceted performative role of Bosola to work his audience in a complex and subversive manner. The role's purpose was determined in response to the structural discontinuity imposed upon the play by the physical realities of staging within the Blackfriars' auditorium. But Webster also needed an agent to serve the plot's development and, in creating the role he also invented a character, developed way beyond the material of his sources. This character proved as trapped as any other in the play by the consequences of his own moral choices. Hovering between role and character, Webster's creation remains liminally poised on ‘the dangerous edge of things.' Part One explores the contexts in which Webster created one of the most ambiguous figures in early modern drama - subverting stock malcontent, villain and revenger - and speculates on the importance of the actor, John Lowin in its genesis. It includes a subsequent performance history of the role. Part Two presents the detailed analysis of a range of professional performances from the past four decades, attempting to demonstrate how the meaning of the play has been altered by decisions made regarding the part of Bosola.
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Picardie, Michael. "Towards a philosophy of theatre inspired by Aristotle's poetics and post-structuralist aesthetics in relation to three South African plays." Thesis, University of South Wales, 2014. https://pure.southwales.ac.uk/en/studentthesis/towards-a-philosophy-of-theatre-inspired-by-aristotles-poetics-and-poststructuralist-aesthetics-in-relation-to-three-south-african-plays(031e80c8-04cc-4060-86df-770d67477b26).html.
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I have attempted a reading of Aristotle in terms of mimesis, ethos, mythos, lexis, hamartia, anagnorisis, peripeteia, catharsis and anamnesis - as an existential “being there” (Dasein) of the characters’ freedom and actual historicity - in three of my plays in which I performed or witnessed in productions in England, Wales, three Scandinavian countries, the U.S. and South Africa. I have analysed other Southern African “womanist” performative drama and feminist theatre. I assume with the ancient Greeks that in serious theatre there is theoria, an educated, discursive looking, which involves a dialectics of logos in dianoia intertwined in the mythos – ethical truth in the discourse of the plot. Whilst aesthetics cannot be reduced to psychobiography, creative writing is motivated in part by the author’s and the dramatic subjects’ psychoanalytically understood personal and political unconscious placed in the ethos – the character on the stage. The aesthetics of tragedy relate to both peripeteia (reversals) and anagnorisis (recognition of responsibility) which occur within an arc of development, crisis and denouement of the vicissitudes of purported wisdom in understanding how performative drama and critical theatre have been presented in what has become known as The Struggle in a post-apartheid South Africa and post-colonial Zimbabwe by comparison with historical conditions in South America, India, even China. The values of nous, phronesis and sophia, intuitive, practical and interpretative wisdom are connected to the Nicomachean and Eudemian Ethics with which the tragic-comic hero and his Other are imbued or violate. The post-structuralist aesthetic as developed in the literary theory of the twentieth century is essentially the interaction of synchronic and diachronic language emerging from the signifiance and the semiosis of the chora (the feminine or maternal unconscious) within the de-familarisation techniques of Russian and Czech Formalism. This provides a creative and meaningful limit to a consciousness of being-white and beingblack- in-the-world against disempowering Nothingness or perceived Otherness threatening moral beings. Nothingness and the Other are characterised magically and as witch-craft in oral-cultures which deny the unconscious and resort to paranoia and persecution of Otherness in the subject projected onto the other – the “colonial personality”. Shades of Brown has been re-written as Jannie Veldsman – A Film 8 Scenario and I have incorporated into a revised The Cape Orchard a retrospective anticipation of the coming of the new South Africa. I reflect on what tragic drama on the stage and in real life in South Africa means now that the new South Africa is over its honeymoon period and faces serious problems of failed governance. Within the dialectic of an enlightened rabbinical morality of Hillel the Elder (“What is hateful to you do not do to others….” and “If I am not for myself who will be for me…?”) and Kant’s categorical imperative of human beings as a priori ends, I follow the fortunes of an old Jewish veteran of The Struggle, dating back to the Defiance Campaign of 1952/3. Fugard’s work is exemplary in fostering a sense of Sartre’s Nothingness and nihilation which “haunts” Being and is the space of undecidability in relation to my condition of freedom allowing the transcendence of Being. Being asserts reparation and redemption in the face of the depressive and paranoid subject/object split in the subject’s being-in-the-world. Plays ideally submerge this existentialist, psychoanalytic and Aristotelian dramaturgy in the form of Kierkegaard’s faith and Nietzsche’s will which are part of the Encompassing in Karl Jasper’s metaphysics - the residue of a Judaeo-Christian ethics facing the anomie and aporia of the postmodern. The new South Africa was only ostensibly built on Greek and Judaeo- Christian secular ethics – “truth and reconciliation”. It inherited state, revolutionary and criminal violence, as well as a sophisticated economic infrastructure, masspoverty and a segregated educational, social and welfare system which in the milieu of ANC incompetence and corruption have for the very poor got worse but to the benefit of a new African oligarchy, the beneficiaries of a dysfunctional affirmative action policy. What is to be done? Irigaray’s striking metaphor “the speculum of the Other woman” suggests that we are reflected by the instrument we use for investigating what may be Other to us: “we” are westerners trying to live in Africa. “We” are Other – not as autochthonous as the African majority. But the autochthonous can also behave as Other and may even fail to recognise the Other in themselves. Franz Fanon’s “colonial personality”, like ex-president Thabo Mbeki, misunderstands the colonial Other in himself which, disastrously, he projects and attacks in the imaginary and persecutory Other, only to suffer the return of the Real, as do the dramatic fictions Van Tonder in Shades of Brown, Dianne Cupido in The Cape Orchard and Harry Grossman the old man’s son in The Zulu and the Zeide (inspired by a short story by Dan Jacobson). 9 The Russian and Czech Formalists and Structuralists show us how to foreground the Real through techniques of de-familiarisation which can be applied to modernist and post-modernist “womanist” performance drama and feminist theatre. Defamilarisation, especially in an Africa struggling between failed and successful colonialism and often ruled by more or less corrupt elites, sensitizes us to a moral nihilism which characterises the failed African state - described by Conrad as a “heart of darkness” transcended in aletheia – being oneself in the self-showing light of one’s ethos operating through a personal and political unconscious mystified in the rhetoric of oral-cultures. Playwrights such as Yael Farber, Fraser Grace, Aletta Bezuidenhout and Fatima Dike express a semiosis of the unconscious and the signifiance and “absurdity” of logos suggesting that all is not lost in post-apartheid Southern Africa as regards human values, whilst struggling with the political correctness demanded in The Struggle. A partially successful colonialism in parts of Africa could within a British education system, produce a Wole Soyinka who transcends the propaganda of agit-prop by showing the parabolic arc of tragedy afflicted with peripeteia. The weight of African backwardness is not only the negative heritage of colonialism and slavery but Africa’s immersion in traditional partially modernised, but still patriarchal, often tribally and religiously split oral-cultures. These enable the colonial personality to unconsciously or opportunistically exploit his paranoiac sense of his victimage at the expense of the writing-cultures of development which entail anamnesis and the redemption through anagnorisis.
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Khutan, Ranjit. "Demonstrating effectiveness : competing discourses in the use and evaluation of applied theatre that contributes to improved health outcomes for prisoners." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/demonstrating-effectiveness-competing-discourses-in-the-use-and-evaluation-of-applied-theatre-that-contributes-to-improved-health-outcomes-for-prisoners(0288f5a2-69ac-48ab-bbe7-b3bbe5b73daf).html.
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This thesis explores the ways in which applied theatre practitioners and companies evaluate their practice that contributes to improved health outcomes for prisoners in the UK. By examining the discourses around evaluation, and specifically how and what influences these, this thesis aims to offer a deeper understanding of the approaches used to evaluate applied theatre work and the wider socio-political influence on the evaluation of applied theatre practice. This research is driven by a personal desire to understand the contributions and effectiveness of applied theatre in prisons and how understanding around effectiveness between practitioners from the arts, health and criminal justice sector can be enhanced. The research questions that drive this enquiry are threefold: how is applied theatre planned and implemented in prisons when it contributes to improved health outcomes for prisoners; how and to what extent are theatre companies influenced by national policy in the arts, health, and the criminal justice sector when they evaluate their practice; and what approaches and methods do applied theatre companies use to evaluate their interventions in prisons and how do they communicate these to others. The ontological and epistemological positions held in this study stem from a critical realist position. Adopting a Critical Discourse Analysis approach offered by Norman Fairclough, and supplementing this with Michel Foucault's work and philosophy around power/knowledge, allowed for the exploration of broader discourses and concepts. Focussing on work carried out in prisons by five theatre companies in the UK during the New Labour government period 1997-2010, this thesis charts the impact of policy on evaluation, and critically discusses and examines how evaluation is reported through their evaluation reports and in interviews with company staff. I present the analysis and discussion in successive detail using Fairclough's approach that focuses on the identification of discourses at the macro, meso and micro level. Through the metaphor of the prison bar, I shed light on the macro policy level evaluation discourses that restrict the work of applied theatre practitioners through the explicit drive for measurement, evidence and proving worth (discourses that create a bar for applied theatre practitioners). At the meso practice level I examine these discourses through the notion of power/knowledge and authority, present in the evaluation documents produced by these companies and outline how companies uphold policy directives and maintain the status quo whilst simultaneously questioning the dominant discourse of what counts as evidence (discourses that push at the bars that policy has created); and finally, at the micro level I explore the discourses expressed by applied theatre practitioners, outlining their rejection of the positivist dominated evaluation policy discourse and the approaches that can demonstrate the outcomes of their work (discourses that set the bar for future practice). I conclude this thesis with a summary of these discourses, demonstrating how an understanding of these may assist in the future evaluation of practice, as well as collaborative work that aims to improve the health and wellbeing of prisoners.
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Horn, Christian. "Der aufgeführte Staat : zur Theatralität höfischer Repräsentation unter Kurfürst Johann Georg II. von Sachsen /." Tübingen [u.a.] : Francke, 2004. http://www.loc.gov/catdir/toc/fy0607/2005419673.html.
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Hannan, Theodora. "Bittersweet Attachments: Reimagining Desire in Queer Biographical Literature." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1523032004293975.
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Baker, Vanessa G. "Women's Pilgrimage as Repertoiric Performance: Creating Gender and Spiritual Identity through Ritual." Bowling Green, Ohio : Bowling Green State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1268802573.
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Alexander, Steven Ralph. "Painting and the Comedia in the Spanish Golden Age with particular reference to the portrait in the theatre of Lope De Vega and other contemporary dramatists." Thesis, King's College London (University of London), 1997. https://kclpure.kcl.ac.uk/portal/en/theses/painting-and-the-comedia-in-the-spanish-golden-age-with-particular-reference-to-the-portrait-in-the-theatre-of-lope-de-vega-and-other-contemporary-dramatists(14181cda-ee96-42ec-b333-186387d8370e).html.
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Neuhauser, Charlott. "Fruktansvärd, ospelad och nyskriven - kriser och konflikter kring ny svensk dramatik : från Gustav III:s originaldramatik till dagens beställningsdramatik." Doctoral thesis, Stockholms universitet, Institutionen för kultur och estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-130250.
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The issue of this thesis concerns a selection of historical debates in which new Swedish drama is under discussion. The studied debates take place in the cultural and political fields and within the fields of theater and literature and deal with a recurring assumption in Swedish theatre history – that new Swedish drama is insufficient. The primary object of this thesis is to find explanations to: why is the Swedish new drama so often described as defective? The following questions, guiding the analysis, are: How are the crises described? What are the stakes? How has the dramatic text been influenced by being judged either as literary product or a product for the stage? How is the playwright’s role described, and perhaps changed, in the crises? The aim of the analysis is to understand how traditions and conventions are shaping the debates and contribute to perpetrate the myth of the malfunctioning Swedish new play. In a historical perspective several attempts have been made to govern new Swedish drama by legislative and political power. New Swedish drama has, for example, been viewed as a possible expression of the nation, as part of shaping the Swedish Welfare state or creating interactive communication with the audience. Despite its many uses, new Swedish drama continues to be describes as flawed. The study starts with King Gustav III:s Swedish theatre where the purpose was to produce Swedish original plays. The study ends with an analysis of a new government grant for new Swedish drama, which was installed in 1999. The chosen debates are analyzed with the help of concepts borrowed from the French sociologist Pierre Bourdieu, looking at each historical situation as a possible moment for the establishment of the field ”new Swedish drama”. The survey ends with eight interviews with playwrights, who are active today. The conditions for the new Swedish drama are the guiding line in this thesis. These conditions are found in the cultural, social and historical contexts that cooperate when a taste or convention is being shaped. They are part of the discourses in the field, where criteria for the new Swedish drama is formulated. In order to understand the significance of, for example, the expression, ”the newly written Swedish drama” research has been pursued in biographical material, historical surveys, and debates in the daily press and in professional journals. Without being a full bourdieuan analysis, the thesis is using concepts from Bourdieu. The work of British feminist theatre historian Tracy C Davis inspires the critical historic perspective.
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Campos, Liliane. "Le discours scientifique dans le théâtre britannique contemporain (1988-2008)." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040163.
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Depuis vingt ans, le discours des sciences exactes apparaît régulièrement sur la scène britannique : la mécanique quantique, les mathématiques du chaos, la thermodynamique et les sciences naturelles sont aujourd’hui des matériaux dramaturgiques courants. Cette étude définit l’esthétique particulière et le nouveau rapport entre théâtre et savoir produits par ce phénomène, à partir d’un corpus reflétant la diversité de la création contemporaine, des dramaturges Tom Stoppard, Michael Frayn, Timberlake Wertenbaker ou Caryl Churchill aux compagnies de théâtre Complicite et On Theatre. Le discours scientifique joue dans ce théâtre un rôle simultanément épistémologique et poétique, car ses formes y sont détournées et activées dans de nouveaux contextes. Il fournit des métaphores et des structures narratives à des dramaturgies incertaines, caractérisées par une esthétique postmoderne de la vérité multiple et de l’ouverture du sens. Ces transferts discursifs sont ici abordés selon les trois grandes modalités du rapport à la science ainsi construit : l’imitation d’un modèle rationnel, la critique d’un lieu de pouvoir, et l’importation des schèmes poétiques de l’imaginaire scientifiqueOver the past twenty years, the discourse of hard science has appeared increasingly frequently on the British stage: quantum mechanics, chaos mathematics, thermodynamics and the natural sciences have provided dramatic material for contemporary artists. This thesis defines the resulting aesthetic, and the new relationship between theatre and knowledge that can be found in the work of dramatists such as Tom Stoppard, Michael Frayn, Timberlake Wertenbaker or Caryl Churchill, and theatre companies such as Complicite and On Theatre. The function of this scientific discourse is both epistemological and poetic: its forms are activated in new contexts, and bring metaphors and narrative structures to a postmodern drama characterised by uncertainty and multiple truths. These discursive transfers are analysed according to the relationship they create with science, which can involve imitating it as a rational model, criticizing it an instrument of power, or importing the shapes and patterns of scientific imagination
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Williams, Ian Kennedy. "Re-igniting the Gothic: Contemporary Drama in the Classic Mode." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16033/.
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While the gothic in its various interpretations is well established in contemporary culture, the traditional form, rooted in its late eighteenth century literary conventions, would seem to have little relevance for theatre audiences today. A reappraisal of the convention's foundations, however, offers the playwright opportunities to explore new narratives in which the tradition can be re-inflected in the present. An analysis of the writing of my play Burn, which presents as a contemporary family drama, will demonstrate how the narrative can be structured with deliberate reference to the established tropes of the classic gothic mode. It will be shown that a re-engagement with the tradition in concert with new interpretations of the gothic can reinvigorate the form as a mode of playwriting practice.
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Pavlík, Vladimír. "Podnikatelský plán pro založení komerčního divadla." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2015. http://www.nusl.cz/ntk/nusl-225092.
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The thesis focuses on creating a possible business plan for an economically prosperous commercial theater in Brno. The work is divided into three parts. The first part describes the typology of theaters and their possible legal form. The second part is an analysis of internal and external factors that affect the project. The final section provides possible solutions for running the theater.
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Fanning, Sarah Elizabeth. "Changing fictions of masculinity : adaptations of Jane Eyre and Wuthering Heights, 1939-2009." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8524.
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The discursive and critical positions of the ‘classic’ nineteenth-century novel, particularly the woman’s novel, in the field of adaptation studies have been dominated by long-standing concerns about textual fidelity and the generic processes of the text-screen transfer. The sociocultural patterns of adaptation criticism have also been largely ensconced in representations of literary women on screen. Taking a decisive twist from tradition, this thesis traces the evolution of representations of masculinity in the malleable characters of Rochester and Heathcliff in film and television adaptations of Charlotte Brontë’s Jane Eyre and Emily Brontë’s Wuthering Heights between 1939 and 2009. Concepts of masculinity have been a neglected area of enquiry in studies of the ‘classic’ novel on screen. Adaptations of the Brontës’ novels, as well as the adapted novels of other ‘classic’ women authors such as Jane Austen, George Eliot and Elizabeth Gaskell, increasingly foreground male character in traditionally female-oriented narratives or narratives whose primary protagonist is female. This thesis brings together industrial histories, textual frames and sociocultural influences that form the wider contexts of the adaptations to demonstrate how male characterisation and different representations of masculinity are reformulated and foregrounded through three different adaptive histories of the narratives of Jane Eyre and Wuthering Heights. Through the contours of the film and television industries, the application of text and context analysis, and wider sociocultural considerations of each period an understanding of how Rochester and Heathcliff have been transmuted and centralised within the adaptive history of the Brontë novel.
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Stock, Angela [Verfasser]. ""Poure thy selfe into thy selfe" : drama and theatre in later english reformation / vorgelegt von Angela Stock." 2001. http://d-nb.info/1001001419/34.
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Stoppe, Sebastian. "Vier Begegnungen mit dem Tod: Appointment with Death in Literatur, Film, TV und Theater." 2016. https://ul.qucosa.de/id/qucosa%3A38211.
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The article discusses the adaptation of the Poirot novel Appointment with Death, comparing the original novel with the respective adaptations for television, the cinema, and the theatre.
While all adaptations share certain elements with the original source, it is shown that the motion picture starring Peter Ustinov remains most faithful to the novel despite changing some plot details and Ustinov’s performance that is unlike Christie’s original vision of the detective’s appearance. On the other hand, the television series – though retaining the general plot structure – deviates significantly from the novel in many ways, including adding new characters, altering the entire backstories, and altering the murderer’s motifs and approach. Eventually, the theatre version (adapted by Christie herself) is a radical rework of the novel by eliminating the Poirot character completely from the story as well as changing the murderer’s identity.
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Bagg, Melissa A. "“Who 'twas that cut thy tongue”: Postmodern and Hollywood Shakespeares and the betrayal of the adolescent audience." 2003. https://scholarworks.umass.edu/dissertations/AAI3078667.
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Hollywood productions of Shakespeare often strive for accessibility by extensively reducing the complexities of the plays. The characters are turned into familiar types and ambiguities are erased. Postmodern productions attempt to problematise the supposed ideological assumptions behind the plays as well as Shakespeare's iconic status in our culture. The result is often irreverent, shocking, “subversive.” Characters and situations lose their original complexity and irony by being subjected to a metatheatrical irony imposed by the production. Both the Hollywood and the postmodern performances are attractive to adolescents, who are typically reassured by the familiar types and revel in rebellion against perceived “authority.” While many are tempted to praise this attractiveness as a service in rendering Shakespeare “accessible” to adolescents, what is rendered accessible is not Shakespeare. This is deeply unfortunate, as a rich understanding of Shakespeare—one which allows for his multifaceted vision of the human condition, his endless perspectivising on problems of morality and character, his skepticism of values and ideologies—is of great value precisely at this stage of life, when the jumbled world invites simple solutions. Evidence of the ability of adolescents with a wide range of backgrounds and intelligences (as conventionally measured) is provided by firsthand accounts of student productions of Love's Labour's Lost, The Winter's Tale, and Romeo and Juliet. The reactions of a group of adolescents to Baz Luhrmann's film William Shakespeare's Romeo + Juliet (1996) before and after they themselves had worked on a production of the play demonstrate a sea change in attitude toward the film. Luhrmann's movie, which has elements both of Hollywood reduction and postmodern irony, is subjected to a thoroughgoing critique in an attempt to explain this shift in attitude. Ultimately it is the demoting of the language of the play which condemns the audience of such “accessible” productions to a superficial and misleading encounter with Shakespeare.
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Joyner, Brittany Denyse. "“You’re too pretty for this role” ; my journey finding Esther Mills in Lynn Nottage’s Intimate apparel." 2013. http://hdl.handle.net/2152/21220.
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This work is an in depth reflection on my rehearsal process in the final performance of my graduate career as Esther Mills in Intimate Apparel by Lynn Nottage. In addition to my work in the aforementioned show, I assess my entire experience as an MFA candidate in acting at the University of Texas at Austin in the Department of Theatre and Dance.text
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Lee, Ju-Bong. "Der Wandel im deutschen Film der 90er Jahre: Eine Analyse zum Stil der Filme von Hans-Christian Schmid und Tom Tykwer." Doctoral thesis, 2006. https://repositorium.ub.uni-osnabrueck.de/handle/urn:nbn:de:gbv:700-2006082115.
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Die vorliegende Studie beschäftigt sich im Hinblick auf die Entwicklung des deutschen Films der 90er Jahre mit den Filmemachern Hans-Christian Schmid und Tom Tykwer. Um die persönliche Handschrift des jeweiligen Filmemachers herauszuarbeiten, konzentriert sie sich auf die textbezogen angelegte Analyse des einzelnen Filmemachers, wobei ausgehend vom formalen Stil die Themen des Films und die Ideale des Filmemachers zu analysieren sind. Dabei arbeitet sie heraus, dass Tykwer und Schmid in einem persönlichen Darstellungswillen, einer handwerklichen Handschrift und einem unverwechselbaren Stil ihre eigene, filmästhetische und gehaltvolle Filmwelt zeigen.Beide Filmemacher unterscheiden sich stilistisch stark voneinander. Schmid setzt auf eine realistische Darstellung, wobei er meistens mit Hilfe der Charaktere seine Geschichte erzählt. Mit den beeindruckenden Figurenzeichnungen gewinnt er eine filmische Realität, in der man Wahrheitsgehalt und Zeitgeist spüren kann. Hingegen legt Tykwer sein Vertrauen auf die Imagination der Bilder und gewinnt eine bildliche Qualität, bei der er die Kinomittel meisterhaft benutzt. Damit zaubert er eine fantastische Bilderwelt ins Kino. Trotz aller Unterschiede zwischen den beiden Filmemachern zeigen sie als Angehörige derselben Generation auch Gemeinsamkeiten. Es geht bei der Stilisierung der beiden Regisseure um die Menschen unserer Zeit und deren Gefühle. Hieraus ergibt sich eine universale Bedeutung, die auch den künstlerischen Charakter des Mediums Film ausmacht. Beide Filmemacher entwickeln ihren unverwechselbar eigenen Stil. Mit diesem behandeln sie allgemeingültige Themen, die dadurch weder verbraucht noch abgenutzt wirken.
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Smith, Tamara Leanne. "Too foul and dishonoring to be overlooked : newspaper responses to controversial English stars in the Northeastern United States, 1820-1870." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-921.
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In the nineteenth century, theatre and newspapers were the dominant expressions of popular culture in the northeastern United States, and together formed a crucial discursive node in the ongoing negotiation of American national identity. Focusing on the five decades between 1820 and 1870, during which touring stars from Great Britain enjoyed their most lucrative years of popularity on United States stages, this dissertation examines three instances in which English performers entered into this nationalizing forum and became flashpoints for journalists seeking to define the nature and bounds of American citizenship and culture. In 1821, Edmund Kean’s refusal to perform in Boston caused a scandal that revealed a widespread fixation among social elites with delineating the ethnic and economic limits of citizenship in a republican nation. In 1849, an ongoing rivalry between the English tragedian William Charles Macready and his American competitor Edwin Forrest culminated in the deadly Astor Place riot. By configuring the actors as champions in a struggle between bourgeois authority and working-class populism, the New York press inserted these local events into international patterns of economic conflict and revolutionary violence. Nearly twenty years later, the arrival of the Lydia Thompson Burlesque Troupe in 1868 drew rhetoric that reflected the popular press’ growing preoccupation with gender, particularly the question of woman suffrage and the preservation of the United States’ international reputation as a powerfully masculine nation in the wake of the Civil War.
Three distinct cultural currents pervade each of these case studies: the new nation’s anxieties about its former colonizer’s cultural influence, competing political and cultural ideologies within the United States, and the changing perspectives and agendas of the ascendant popular press. Exploring the points where these forces intersect, this dissertation aims to contribute to an understanding of how popular culture helped shape an emerging sense of American national identity. Ultimately, this dissertation argues that in the mid-nineteenth century northeastern United States, popular theatre, newspapers, and audiences all contributed to a single media formation in which controversial English performers became a rhetorical antipode against which “American” identity could be defined.text
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Wolfe, Graham. "Encounters with the Real: A Zizekian Approach to the Sublime and the Fantastic in Contemporary Drama." Thesis, 2010. http://hdl.handle.net/1807/32034.
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This study brings the insights of Slavoj Žižek’s Lacan-inspired approach to bear upon a series of influential 20th century plays and their engagement with what Lacan calls the Real. The plays to be explored share a focus on experiences, events or encounters which transcend, exceed, disrupt, and in some cases shatter characters’ normal, familiar realities. Examined through the lens of Žižek, these confrontations with the sublime and the fantastic reveal a crucial relation to the plays’ contemporary contexts, prompting us to “look awry” upon the dynamics of our own symbolically-regulated reality and the ever-changing and precarious nature of our relation to it. Similarly crucial is the relation of the Lacanian Real to our theatrical forms and modes of perception in the theatre. In staging “encounters with the Real,” these plays prompt us simultaneously to explore the ways in which the Real operates —and “appears” — in our own theatrical experience, ensnaring our gaze and the force of our desire. The study offers a Žižekian approach to works including Peter Shaffer’s Equus, John Mighton’s Possible Worlds, S. An-sky’s The Dybbuk, or Between Two Worlds, Caryl Churchill’s The Skriker, Tony Kushner’s The Illusion, and Eric-Emmanuel Schmitt’s Enigma Variations.