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Reel, Irem Secil. "Translation/Adaptation, Direction and Production of Ambling Riders, a Turkish Play by Özen Yula." Fogler Library, University of Maine, 2010. http://www.library.umaine.edu/theses/pdf/ReelIS2010.pdf.
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Bayar, Yesim. "Turkish nation-building process : an analysis of language, education, and citizenship policies during the early Republic (1920-1938)." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115601.
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This study seeks to analyze the Turkish nation-building process during the early Republican period (1920-1938). In doing this, the substantive focus will be on three main dimensions --language, education, and citizenship -- with particular emphasis on the rhetoric and actions of the political elite.<br>By looking at language, education, and citizenship policies, and their formulations, the present analysis will make three main propositions: First, and in contrast to the existing literature on nations and nation-building, it will be demonstrated that the process of Turkish nation-building was neither a smooth nor an automatic process. Moreover, during the period under analysis, there were competing definitions of nationhood which were taken up, and discussed by the political elite. The final conceptualization of nationhood --which took an assimilationist form with an ethnic understanding attached to it -- was formed over time. At times, the process was wrought with tensions as illustrated by the heated debates among the political elite.<br>Second, the present analysis will seek to bring together two different ways of looking at nation formation. More specifically, the analysis will attempt to bridge the gap between those works which only underline the role of ideas in the formation of nations, and those which emphasize the role of structural forces. By paying attention to the "voices" (and actions) of the political elite, this study will demonstrate that it is not only ideas, nor is it only structural forces that matter. Rather, the crystallization of the contents of Turkish nationhood illustrates the interplay of ideological as well as geopolitical and political forces.<br>Third, a detailed analysis of the trajectory of Turkish nation-building and the formulation of Turkish nationhood reveals the complexity of this process. The existing literature on Turkey tends to treat the Kemalist era as an undifferentiated whole. The present work will remain critical to such an outlook. Instead, and by looking at the shifting conceptualizations of nationhood, it will seek to demonstrate the complexity and contingent nature of the Turkish nation-building process.
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Botha, Estelle. "Where dance and drama meet again : aspects of the expressive body in the 20th century." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1704.
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Thesis (MDram (Drama))—University of Stellenbosch, 2006.<br>Acknowledging theatrical styles such as physical theatre, Tanztheater and poor theatre as forms of ‘total theatre’, and recognizing that there has been a prolonged process of development to reach such a point, the first chapter investigates the historical divide between dramatic dance and drama as starting point. Subsequently, in considering the body as expressive medium, the impact of content and form on the training of the performers’ body for the theatrical context is also evaluated.
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Özoral, Başak. "The Turkish transformation and Celal Bayar /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83135.
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This thesis is a study of one of the most important national statesmen, politicians, and economists in the history of Turkish republic: Celal Bayar. It will analyze his impact on the Turkish revolution and the evolution of the nation's politics. Celal Bayar, Turkey's third president did not fit the mold of his country's top politicians of the day. He was essentially different from all the other key players of his generation in terms of his background, education, experience, career path, and even length of life. Those who have written about him have for the most part been either uncritical admirers or bitter enemies. Though he held, in turn, the positions of Minister of the Economy, Prime Minister and President (he was the first civilian to hold this part) during one of the most critical periods in Turkish political history. Thus, he was overshadowed by his predecessors Mustafa Kemal Ataturk and Ismet Inonu. Yet his very uniqueness makes him an apt subject for study.<br>Celal Bayar deserves our attention because he undertook crucial responsibilities and duties in the social and economic transformation of Turkey. In an era of strong state policies that made up for the weakness of the social classes, Bayar was the founder of the nation's mixed economy. During the Turkish revolution and the subsequent formation of a united Turkish society, he devoted himself to the development of the national economy. Throughout his political career he exercised a decisive influence over the evolution of the country's politics, economy, society, and foreign relations. Despite his importance, there is a general dearth of academic studies in English about him---a situation that this study seeks to correct.
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Li, Jing. "Self in community: twentieth-century American drama by women." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.
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This thesis argues that twentieth-century American women playwrights spearhead the drama of transformation, and their plays become resistance discourses that protest, subvert, or change the representation of the female self in community. Many create antisocial, deviant, and self-reflexive characters who become misfits, criminals, or activists in order to lay bare women's moral-psychological crises in community. This thesis highlights how selected women playwrights engage with, and question various dominant, regional, racial, or ethnic female communities in order to redefine themselves. Sophie Treadwell's Machinal and Marsha Norman's 'night, Mother are representative texts that explore how the dominant culture can pose a barrier for radical women who long for self-fulfillment. To cultivate their personhood, working class Caucasian women are forced to go against their existing community so as to seek sexual freedom and reproductive rights, which are regarded as new forms of resistance or transgression. While they struggle hard to conform to the traditional, gendered notion of female altruism, self-sacrifice and care ethics, they cannot hide their discontent with the gendered division of labor. They are troubled doubly by the fact that they have to work in the public sphere, but conform to their gender roles in the private sphere. Different female protagonists resort to extreme homicidal or suicidal measures in order to assert their radical, contingent subjectivities, and become autonomous beings. By becoming antisocial or deviant characters, they reject their traditional conformity, and emphasize the arbitrariness and performativity of all gender roles. Treadwell and Norman both envision how the dominant Caucasian female community must experience radical changes in order to give rise to a new womanhood. Using Beth Henley's Crimes of the Heart and Lorraine Hansberry's A Raisin in the Sun as examples, this thesis demonstrates the difficulties women may face when living in disparate communities. The selected texts show that Southern women and African-American women desperately crave for their distinct identities, while they long to be accepted by others. Their subjectivity is a constant source of anxiety, but some women can form strong psychological bonds with women from the same community, empowering them to make new life choices. To these women, their re-fashioned self becomes a means to reexamine the dominant white culture and their racial identity. African-American women resist the discourse of assimilation, and re-identify with their African ancestry, or pan-Africanism. In the relatively traditional southern community, women can subvert the conventional southern belle stereotypes. They assert their selfhood by means of upward mobility, sexual freedom, or the rejection of woman's reproductive imperative. The present study shows these women succeed in establishing their personhood when they refuse to compromise with the dominant ways, as well as the regional, racial communal consciousness. Maria Irene Fornes' Fefu and Her Friends and Wendy Wasserstein's The Heidi Chronicles are analyzed to show how women struggle to claim their dialogic selfhood in minoritarian communities (New England Community and Jewish Community). Female protagonists maintain dialogues with other women in the same community, while they choose their own modes of existence, such as single parenthood or political activism. The process of transformation shows that women are often disturbed by their moral consciousness, a result of their acceptance of gender roles and their submission to patriarchal authority. Their transgressive behaviors enable them to claim their body and mind, and strive for a new source of personhood. Both playwrights also advocate women's ability to self-critique, to differentiate the self from the Other, to allow the rise of an emergent self in the dialectical flux of inter-personal and intra-personal relations. The present study reveals that twentieth-century American female dramatists emphasize relationality in their pursuit of self. However, the transformation of the self can only be completed by going beyond, while remaining in dialogue with the dominant, residual, or emergent communities. For American women playwrights, the emerging female selves come with a strong sense of "in-betweenness," for it foregrounds the individualistic and communal dimensions of women, celebrating the rise of inclusive, mutable, and dialogic subjectivities.
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Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.
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Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist.
This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressionism began much earlier than scholars believe and ended much later than 1924. This thesis examines the conflicts in Germany that led to Expressionism and which authors and artists influenced Expressionists. It will also show that after Expressionism ceased to be the dominant art form in Germany, many former Expressionists continued to use expressionistic form in their works but ceased to use expressionistic content. This thesis argues that both the periodization and canonization of Expressionism should be expanded to include all works that may be classified as having expressionistic form.
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Berktay, Halil. "The "other" feudalism : a critique of 20th century Turkish historiography and its particularisation of Ottoman society." Thesis, University of Birmingham, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521258.
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This thesis is about debates over the nature of Ottoman society, particularly in its classical Age of the 14th-16th centuries. The idea that it was not feudal has constituted the ruling paradigm in Turkish historiography since the late 1930s. From the second half of the 1960s onwards, that proposition has come to be shared by theorists of the "Asiatic mode of production". This verdict involve, arguing from a model of (European) feudalism that had its heyday in the 19th century, but still continues to exercise some influence over western historians' minds. The study of Turkish historiography therefore opens up to the study of the development of medieval history in general, with both dimensions axed on the question of our notions of feudalism and feudal society. In chapter I, the basic features of the Ottoman timar system, which lies at the heart of the controversy, are presented, followed by a summary of the literature that favours the feudalism view. Chapters II and III deal with the rise and subsequent crisis of 20th century Turkish nationalist historiography, concentrating on the works and ideas of Fuat Koprulu, Omer Lutfi Barkan and Halil 1nalclk. AMP theory is dealt with in Chapter IV. Chapter V reviews the recent developments in western medieval history that, it is argued, have rendered the notion of feudalism utilised by the proponents of the Ottoman non-feudalism thesis obsolete. The thesis concludes with a sketch of the specificities of Ottoman feudalism in comparative perspective.
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Vieira, de Andrade Ana Lúcia. "Margen y centro : dramaturgia femenina Brasileña contemporánea." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38429.
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The aim of this thesis is to give an account of the position taken by certain women dramatists in the context of both box-office success and theatre criticism in Brazil in the latter half of the twentieth century in order to provide a panoramic view of the way the Brazilian theater canon reacts to the work of women authors, by either incorporating it or not, according to political and social circumstances. It is hoped then that a more comprehensive vision of these dramatists will result than that of the traditional academic criticism which either elevates by acceptance or dismisses by ignoring or playing down their work. The production of three dramatists will be analysed here, namely, those plays by Leilah Assuncao, Maria Adelaide Amaral and Isis Baiao which fall into the period 1969--1999, and which exemplify two key tendencies in the Brazilian theatre of the last thirty years. These tendencies are: first, the attempt to widen the traditional horizon of politicized theatre by adding to its socio-political concerns a focus on the individual and his/her particular agenda, and, secondly, the break with any specifically aesthetic or conceptual format on stage in a blurring of the legacies of tradition and the vanguard, in which a "hybridism" of form and language is particularly noticeable in the privileging of a kind of writing that is not bound by formal limits. Such an analysis has made it possible to highlight how determined types of reaction may be altered along the time when different interpretive parameters are used by the critical community and by the public. While a certain sympathy is shown here for the feminist reading of the ideological bases of the literary canon, this is done not only to corroborate the masculine bent of such a canon to the exclusion of the Other, but also to prove that the criteria regulating excellence are products of a specific ideology which changes according to its sociohistorical context. The ultimate goal here is, thus, to make
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Wong, Chi-keung Frederick, and 黃志強. "Postmodernism, drama, language: Waiting for Godot and Inadmissible evidence revisited." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31951053.
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Menguc, Murat Cem. "Historiography and nationalism : a study regarding the proceedings of the First Turkish History Congress." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79796.
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This thesis attempts to establish the First Turkish History Congress (July 2--11, 1932) as an exemplary moment that can help us understand the relationship between nationalism and historiography. The thesis first examines the roots of nationalist historiography in the West and in Ottoman Empire, and then paraphrases the proceedings of the congress in detail. It arrives at the view that during the formation of a nation state in alignment with European standards, Turkish nationalists within the Ottoman Empire often found it necessary to review the methodology and the content of history books. The break with Ottoman historiography was a result of the uniform Western approach to the past, promoted by Western schools of thought. Thus, to become a nationalist meant to re-write history in Western fashion.<br>Available sources on the First Turkish History Congress and the role of religion and language for the Turkish nationalist endeavors are referred throughout the thesis. In its conclusion, this study raises questions about the close relationship between nationalism and historiography, and the influence of nationalism on our view of history today.
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Wilsenach, Coba†Maryn. "An examination of the relation of scientific thought to changing notions of time, space and character in 20th century drama: Chekov, Beckett, Foreman." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/13988.
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This study examines and investigates the relation of scientific thought to changing notions of time, space and character in twentieth†century drama. The aim of the study is to illustrate the influence scientific thought had on the zeitgeist of the twentieth†century and how this in turn is reflected through the drama in the treatment of the dramatic elements of time, space and character. The focus of the study rests on three case studies, each of which can be seen as a precursor to the following in a linear timeline of the development of twentieth†century drama. The analysis of the three texts, namely Anton Chekhov's The Cherry Orchard, Samuel Beckett's Waiting for Go dot and Richard Foreman's Bad Boy Nietzsche, will show how the philosophical notions of the twentieth†century, namely relativity, uncertainty, ambiguity, paradox, complexity and causality (which stemmed from the changing worldview offered by the theory of relativity) is reflected in the dramatists' handling of the notions of time, space and character.
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Ingham, Michael Anthony. "Theatre of storytelling : the prose fiction stage adaptation as social allegory in contemporary British drama /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20275961.
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Lauzière, Carole. "El monólogo en el teatro español desde los años setenta : un estudio sobre las funciones del lenguaje en un "nuevo" género dramático." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40379.
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The object of this thesis is to study the monologue, a dramatic genre that re-emerged on the Spanish literary scene in the 1970s. Despite the fact that a number of well-known Iberian playwrights have cultivated this genre assiduously over the past three decades, their work has received relatively little critical attention from either academic or theatre circles. What is sought here, therefore, is the means to demonstrate the importance and richness of the monologue as an autonomous dramatic creation. To do this it was necessary to establish a sufficiently large corpus--some eighty long and short monologues--and identify those particular conventions and the structural diversity that would make possible the formulation of a theory of connected language functions in the monologue by adapting existing theoretical principles to the study of this singular genre. The application of this theoretical construct enabled me to determine the nature of the functions of expression, communication and persuasion present in the discourse of a single speaker.<br>Specifically, in considering the function of expression I reflect both upon the coherent discourse that derives from the (exterior) verbalization of (interior) thought and emotion, and upon the objectives and consequences of such expressions of the mental and emotional states of the individual. Secondly, I focus attention on the same verbal discourse inasmuch as it reflects the complex function of communication manifested in both an immanent and in a transcendental form. Such complexity derives from the fact that, if verbal discourse here is enunciated either in isolation or before an interiorized addressee (a fictional being), it is always emitted in the "presence" of an external addressee (the theatre audience/or reader). Finally, my study of the function of persuasion underscores the idea of empowerment: the authority of the word that is wielded by the monologist upon his/her addressee(s), a verbal manipulation that takes place both within the fictional world and beyond.<br>In short, this thesis seeks to show how the monologue as a fictional dramatic genre questions the viability of interpersonal relationships.
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Martinelli, Leonardo. "O som como drama : a noção de affetto na escritura musical contemporânea /." São Paulo, 2017. http://hdl.handle.net/11449/151102.
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Orientador: Florivaldo Menezes Filho<br>Banca: Vladimir Pinheiro Safatle<br>Banca: Yara Borges Caznok<br>Banca: Mauricio Funcia De Bonis<br>Banca: Paulo Roberto Ferraz von Zuben<br>Resumo: A partir de meados década de 1950, momento em que a música serial entra em uma profunda crise, constatamos o surgimento de novas poéticas na música contemporânea. Como resultado, além de um cenário estilisticamente heterogêneo - fruto da ausência de um sistema musical em comum - testemunhamos no âmbito da composição musical uma retomada da expressividade. Isso ocorreu porque desde meados da segunda metade do século XIX - a partir da emergência de uma estética da música de cunho formalista - o ceticismo emotivo que inicialmente estava limitado ao debate estético foi, a partir da década de 1920, tomado como cerne de algumas práticas composicionais, especialmente naquelas de índole serial. Entretanto, antes de a criação musical contemporânea voltar a se dedicar à expressividade, houve, a partir da década de 1940, uma revisão de ordem estética tanto da tese formalista como da própria tese expressiva. Tal revisão mostrou-se fundamental na consolidação de uma nova ideia de expressividade musical, que por sua vez substanciou novos patamares técnicos e estilísticos para uma composição musical afetivamente orientada. Nestes termos, além de uma profunda modificação do papel da harmonia, constatamos o surgimento de uma nova noção de timbre, agora não mais limitado a um simples parâmetro, uma vez que alçado à condição de material musical, e desta feita suscetível a todas as ações previstas por uma escritura musical plena. No âmbito da música vocal, soma-se ainda uma profunda modificação ... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: From the mid-1950s, a moment when serial music enters a deep crisis, we can detect the emergence of new poetics in terms of contemporary music. As a result, in addition to a stylistically heterogeneous scenario - due to the absence of a common musical system - we observed, in the context of musical composition, a resumption of the issue of expressiveness. Such resumption came to happen due to the fact that, since the mid-second half of the nineteenth century - from the emergence of a formalist aesthetic of music - the emotive skepticism, initially restricted to the aesthetic debate, had been taken as the core of some compositional practices, especially those of a serial nature, from the 1920s on. However, before the contemporary musical composition went back to the issue of expressiveness, a revision of the aesthetic order of both the formalist and the expressive thesis took place as of the 1940s. Such revision proved to be fundamental in the consolidation of a new idea of musical expressivity. These new ideas substantiated new technical and stylistic dimensions of an affectively oriented musical composition. In these terms, in addition to an in-depth modification of the role of harmony, we see the emergence of a new notion of timbre, no longer limited to a simple parameter, now raised to the condition of a musical material, and thus susceptible to all actions supported by a full musical writing (écriture). In terms of vocal music, an in-depth modification of the role and tre... (Complete abstract click electronic access below)<br>Doutor
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Wang, Hui, and 王卉. "Reconfigurations of gender: contemporary Chinese drama 1979-1989 : the politics of re-inscribing sexualdifferences." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31242364.
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Rivest, Mélanie. "Nouveau théatre et nouveau roman : la quête d'un art perdu." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79975.
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The histories of the Theater and of the Novel have rarely been linked to one another. Nevertheless, studying the evolution of the two arts as of the seventeenth century, allows us to pinpoint and define the sources of contamination. It is more precisely in the nineteenth century that the history of both the Theater and the Novel became envenomed, going from fresh influences to disloyal relations during which time the Theater faded by admitting romanesque realism to take the stage. By denying its capacity to reveal the "real", the Theater failed its possibilities and let its art be disinterested from the theatricality showing all that should have been evoked. Men of theater participated at recapturing the theatrical art so to regain confidence on stage and near 1950, an avant-garde movement flourished to favor a renewal of vitality for the theater with a new language which utilizes all of what the scene could provoke. This "New Theater" is soon followed by a similar romanesque enterprise, the "New Novel", a group of novelists also wishing to acknowledge the right to explore a new style of writing.
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Van, Heerden Johann. "Theatre in a new democracy : some major trends in South African theatre from 1994 to 2003." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/917.
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Macbeth, Georgia School of Theatre Film & Dance UNSW. "A Plurality of Identities: Ulster Protestantism in Contemporary Northern Irish Drama." Awarded by:University of New South Wales. School of Theatre, Film and Dance, 1999. http://handle.unsw.edu.au/1959.4/33257.
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This thesis examines the ways in which Ulster Protestant identity has been explored in contemporary Northern Irish drama. The insecurity of the political and cultural status of Ulster Protestants from the Home Rule Crises up until Partition led to the construction and maintenance of a distinct and unified Ulster Protestant identity. This identity was defined by concepts such as loyalty, industriousness and ???Britishness???. It was also defined by a perceived opposite ??? the Catholicism, disloyalty and ???Irishness??? of the Republic. When the Orange State began to fragment in the late 1960s and early 1970s, so did notions of this singular Ulster Protestant identity. With the onset of the Troubles in 1969 came a parallel questioning and subversion of this identity in Northern Irish drama. This was a process which started with Sam Thompson???s Over the Bridge in 1960, but which began in earnest with Stewart Parker???s Spokesong in 1975. This thesis examines Parker???s approach and subsequent approaches by other dramatists to the question of Ulster Protestant identity. It begins with the antithetical pronouncements of Field Day Theatre Company, which were based in an inherently Northern Nationalist ideology. Here, the Ulster Protestant community was largely ignored or essentialised. Against this Northern Nationalist ideology represented by Field Day have come broadly revisionist approaches, reflecting the broader cultural context of this thesis. Ulster Protestant identity has been explored through issues of history and myth, ethnicity, class, gender and sexuality. More recent explorations of Ulster Protestantism have also added to this diversity by presenting the little acknowledged viewpoint of extreme loyalism. Dramatists examined in this thesis include Stewart Parker, Christina Reid, Frank McGuinness, Bill Morrison, Ron Hutchinson, Marie Jones, Graham Reid, Robin Glendinning and Gary Mitchell. The work of Charabanc Theatre Company is also discussed. What results from their efforts is a diverse and complex Ulster Protestant community. This thesis argues that the concept of a singular Ulster Protestant identity, defined by its loyalty and Britishness, is fragmented, leading to a plurality of Ulster Protestant identities.
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Turner, Irene. "Farce on the borderline with special reference to plays by OscarWilde, Joe Orton and Tom Stoppard." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949204.
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Sorrells, David J. "The Evolution of AIDS as Subject Matter in Select American Dramas." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2600/.
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Dramatic works from America with AIDS as subject matter have evolved over the past twenty years. In the early 1980s, dramas like Larry Kramer's The Normal Heart, William Hoffman's As Is, and Robert Chesley's Night Sweat educated primarily homosexual men about AIDS, its causes, and its effects on the gay community while combating the dominant discourse promoted by the media, government, and medical establishments that AIDS was either unimportant because it affected primarily the homosexual population or because it was attributed to lack of personal responsibility. By the mid-eighties and early nineties, playwrights Terrence McNally (Love! Valour! Compassion!)and Paul Rudnick (Jeffrey)concentrated on relationships between sero-discordant homosexual couples. McNally's "Andre's Mother" and Lips Together, Teeth Apart explored how families and friends face the loss of a loved one to AIDS. Tony Kushner's Pulitzer Prize-winning Angels in America epic represents living beyond AIDS as a powerful force. Without change and progress, Angels warns, life stagnates. Angels also introduces the powerful drugs that help alleviate the symptoms of AIDS. AIDS is the centerpiece of the epic, and AIDS and homosexuality are inextricably blended in the play. Rent, the Pulitzer Prize-winning musical by Jonathan Larson, features characters from an assortment of ethnic and social backgrounds - including heterosexuals, homosexuals, bi-sexuals, some with AIDS, some AIDS-free, some drug users - all living through the diverse troubles visited upon them at the turn of the millennium in the East Village of New York City. AIDS is not treated as "special," nor are people with AIDS pandered to. Instead, the characters take what life gives them, and they live fully, because there is "no day but today" ("Finale"). Rent's audiences are as varied as the American population, because it portrays metaphorically what so many Americans face daily - not AIDS per se, but other difficult life problems, including self-alienation. As such, Rent defies the dominant discourse because the community portrayed in Rent is the American community.
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Fenn, Jeffery W. "Culture under stress : American drama and the Vietnam War." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28668.
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The dissertation undertakes an analysis of the dramatic literature engendered by the Vietnam War in the 1960s and 1970s, and illustrates how the dramas of that period reflect the stresses and anxieties that assailed contemporary American society. It investigates the formative influences on the drama, the various styles in which it emerged, and the recurring themes and motifs. The thesis proceeds from the premise that the events of the 1960s fractured American society in a manner unknown since the Civil War. It demonstrates that the social, political, and intellectual divisiveness that characterized the society was interpreted in the theatre by dramatic metaphors of fragmentation of the individual and collective psyche, and that this fragmentation was reflected in characters who experienced a collective and individual sense of loss of cultural identity, cohesion and continuity.
Included in the examination of the drama is a description of how the social upheaval of the period influenced playwrights to undertake a reassessment of American values and ethics, and to interpret in dramatic form the nature of the trauma of Vietnam for American society. The study includes a discussion of how individual and collective reality is based on cultural conditioning, and how the challenging of cultural myth in an extra-cultural milieu.<br>Arts, Faculty of<br>Theatre and Film, Department of<br>Graduate
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Foster, Clare Louise Elizabeth. "'A very British Greek play' : a critical investigation of the origins and tradition of Greek plays in Greek in England, 1880-1921." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708816.
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Berlando, Maria Elena, and University of Lethbridge Faculty of Arts and Science. "De-colonizing bodies : the treatment of gender in contemporary drama and film." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2007, 2007. http://hdl.handle.net/10133/648.
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Dramatic literature and film are often political and work to deconstruct and dismantle some of the assumptions of a dominant ideology. Tomson Highway’s Dry Lips Oughta Move to Kapuskasing, Caryl Churchill’s Cloud Nine, and Neil Jordan’s The Crying Game, show how gender roles are used in oppression and show that other social categories like race, class, and sexuality are interrelated and constructed. This shows the hollowness of the so-called inherent categories that cause “naturalized” divisions between people and groups. Through exploring these works I hope to draw attention to how these artists use theater and film to educate their audiences, as well as challenge them to take control over complicated issues surrounding power and oppression. These writers encourage their audiences to employ social criticism and to re-evaluate the social order that is often naturalized through dominant ideology and discourse.<br>v, 104 leaves ; 29 cm.
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Mastag, Horst Dieter. "The transformations of Job in modern German literature." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/30647.
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In modern times German authors have made ample use of the Job-theme. The study examines the transformations that the story of Job has undergone in German narrative and dramatic works from Leopold von Sacher-Masoch's Der neue Hiob (1878) to Fritz Zorn's Mars (1977).
The most striking feature of these works lies in their diverse characterization of the Job-figure. As a mythical figure he remains synonymous with the sufferer, but he may be characterized as patient or impatient, humble or arrogant, innocent or guilty, rich or poor, courageous or cowardly; he may be a Jew or a Christian, a Nazi or an anti-Nazi, a believer or an agnostic.
The authors have retained most of the characters included in the Old Testament story. The Job-figure usually has a wife (who doubts and despises God), a number of children (who die in an impending disaster), and several friends (who accuse him of wrong-doing). Concerning the plot, most writers have excluded any prologue in heaven. The suffering of the Job-figure (usually brought on by the loss of loved ones, by physical pain and by mental agony) is always central to the story. More often than not, however, the modern Job-figure exhibits a form of impatience and impiety once misfortune has struck. A theophany (literal confrontation with God) does not occur, but a divine agent may be provided in the form of a dream or a vision, or indirectly by nature. An epilogue (the restoration of Job's health, possessions and children) is usually omitted, but some authors imply a renewal of Job, so as to suggest a purpose for and a hope after his arduous trials.<br>Arts, Faculty of<br>Central Eastern Northern European Studies, Department of<br>Graduate
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Hallstoos, Brian James. "Windy city, holy land: Willa Saunders Jones and black sacred music and drama." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/371.
Full textAbstract:
My dissertation argues that African Americans in the 20th-century connected lynching and other acts of racial violence with Christ's crucifixion, which in turn fostered hope and even interracial amity by linking his resurrection with racial uplift. To illustrate this dynamic, I focus on musician, dramatist, and church leader Willa Saunders Jones (1901-79) and her Passion play, which she wrote in Chicago during the 1920s. Over the course of six decades, Jones produced her play annually in churches and later large civic theaters. Growing in size and splendor, the play remained intimately tied with the Black church. It also bore the impress of Jones's cultural training in Little Rock, Arkansas and Chicago, the city to which her family fled after a transforming brush with racial violence. The rise of her Passion play depended upon her musical success, most notably as a choral director. By focusing on a single cultural product over time and through several disciplinary lenses, my study contributes new insights into the role of sacred music and drama within the African American community.
Offering a brief overview of Jones and her play, my Introduction also articulates the dissertation's two central organizing concepts: the crucifixion trope and resurrection consciousness. Chapters One and Two explain why Americans, especially of African descent, made a link between the suffering of black men in America and the crucifixion of Christ (the crucifixion trope). Chapters Three and Four indicate why Jones considered sacred music and drama to be agents of racial uplift and interracial amity. The final chapter focuses on the theme of Christ's resurrection as a metaphor that animates certain responses to racial trauma (resurrection consciousness). In addition to a wide range of secondary sources, I draw upon personal interviews, court records, genealogical records, the Black press, visual images, song lyrics, correspondence, autobiographies, plays, playbills, school records, television footage, and church publications of the National Baptist Convention, USA. "Windy City, Holy Land" should be of special interest to scholars in African American Studies, American Studies, History, Religious Studies, Theatre Studies, and Women's Studies.
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Du, Preez Petrus. "Die slagveld van teks en betekenis : enkele aspekte in die dramatiek van Breyten Breytenbach." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53386.
Full textAbstract:
Thesis (MDram)--Stellenbosch University, 2003.<br>ENGLISH ABSTRACT: The productions of Breyten Breytenbach's dramas created unprecedented (negative)
reaction amongst the audience members. The themes and the representation of these
themes through the use of language and images caused the alienation of many
audience members. One of the main causes of alienation was the problem the
audience had in understanding the text.
The two Afrikaans dramas, Boklied and Die Toneelstuk will be placed in the
postmodern theatrical tradition to give a methodology for the reading of the texts.
The study also examines the nature of intertextuality to show how the use of
intertextuality helps to create meaning.
The theatrical productions bring the texts to life and therefore the study will also refer
to the productions of these texts. The experience of a postmodern theatre piece does
not imply that no meaning can be attributed to language and action. The attribution
of meaning in production and texts like Boklied and Die Toneelstuk is not always
based on the use oflanguage. The audience/reader of these texts becomes the cocreators
of meaning. This study tries to show a range of interpretations and possible
meanings of these texts.<br>AFRIKAANSE OPSOMMING: Die dramas van Breyten Breytenbach het met die produksie daarvan ongekende en
negatiewe reaksie onder die Afrikaanse gehore ontlok. Die temas en die uitbeelding
van hierdie temas in produksie en in die taal wat Breytenbach gebruik het, het tot
vervreemding by die gehoor gelei. Een van die hoofredes vir die vervreemding by
die gehoor was dat hulle probleme gehad het om die teks te verstaan.
Die twee Afrikaanse dramas, Boklied en Die Toneelstuk word in hierdie tesis binne
die postmoderne teaterstroom geplaas om aan te toon hoe dié tipe teatertekste gelees
kan word. Die studie ondersoek ook die aard van intertekstuele verwysings in die
dramas- om aan te toon hoe hierdie verwysings help met die skepping van betekenis
by die kyker/leser van hierdie tekste.
Die geskrewe dramateks kan eers ten volle in die lewe geroep word in die produksie
van die teks en daarom word daar in die bespreking van die tekste ook na die
opvoerings verwys. Die belewing van 'n postmoderne teaterstuk beteken nie dat daar
nie betekenis aan aksie en taal toegeskryf kan word nie. Die toeskrywing van
betekenis is, in gevalle soos die produksies van Boklied en Die Toneelstuk, nie altyd
tekstueel gebaseer nie. Die toeskouer/leser van hierdie tekste is medeskepper van
betekenis. Die studie poog om die vele moontlikhede van interpretasie en die
betekenis van hierdie tekste uit te lig.
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Peter, Zola Welcome. "The depiction of female characters by male writers in selected isiXhosa drama works." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1482.
Full textAbstract:
This research expresses female character portrayal in various drama works written by males. Chapter one is a general introduction that gives the key to this study, the motivation that leads to the selection of this topic; a literary review on the portrayal of female characters in literary works written by males; the scope of study, the basic composition of the ensuing chapters and the definitions of terms that are of paramount importance for this research. Various literary theories are used in Chapter two for the analysis of the research texts. These literary theories include womanism, gender and feminism which expose the social effects caused by the negative perception of females in social life and the negative portrayal of female characters in male dramatic writings. Other literary theories include onomastics as a literary theory, which exposes the relationship between the name giver of a person and the power the name gives to its bearer, as well as psychoanalysis as a theory which proved to be unavoidable, since this study analyses the personal behaviour of the individual characters within their literary environment. Chapter three depicts the general victimization of female characters in male drama works and exposes the various effects of the attitudes of male writers towards female characters in terms of gender role. Chapter four shows a general stereotypical portrayal of female characters in male written drama texts. This chapter shows the impact of stereotyping on female characters from drama works that puts them in a vulnerable position, showing that it is risky to become a victim of ill-treatment in their communities and the literary world. Chapter five deals with the psychological literary review of female characters, showing them as being suicidal and murderers who easily take their own lives and those of other people. Chapter six is a general conclusion of the works which includes observer remarks from other literary researchers of the literature.
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Norquist, Jordan Faith. "RevolutionärInnen am Fließband: a Comparative Gendered Analysis of the 1973 Pierburg and Ford Migrant Labor Strikes." PDXScholar, 2019. https://pdxscholar.library.pdx.edu/open_access_etds/4824.
Full textAbstract:
In the years following the end of the Second World War, the Federal Republic of Germany experienced a "golden age" of economic upturn. Due to the labor shortage in the aftermath of war and the division of Germany, West Germany initially looked to its eastern counterpart, the German Democratic Republic, to meet its labor needs in the immediate postwar years. Once East Germany tightened its border control, the Federal Republic of Germany extended bilateral agreements to Southern Mediterranean countries to meet the nation's labor needs. Italy was the first official nation to have a bilateral work agreement with West Germany in 1955, yet by the end of the labor program, the greatest population of "guest workers" in West Germany were Turkish nationals. The West German public initially heralded the arrival of guest workers as a boon, but by the program's end in November of 1973, the West German press reviled the Turkish migrant worker as they gradually moved out of isolated company employee barracks into single apartments, often with families or spouses joining them from Turkey. In spite of a lack of rights on West German soil, the year of 1973 was witness to a swell in migrant political activity, in the form of unsanctioned labor strikes.
Utilizing two of these strikes, this thesis will compare the strategies, support, opposition, and success of the Ford Cologne (Ford Köln-Niehl) Factory strike and the Pierburg factory strike in Neuss. In both instances, the degree of support by ethnic German coworkers and factory management influenced the success of the strike. Additionally, this analysis will demonstrate that gender, in concert with nationality, negatively affected the results of the Ford Cologne Strike by way of public reception, while the negotiation of the Pierburg strike through a gendered lens aided woman migrant workers in the cooperation of factory management, the worker's council, union, and the West German public. Regardless of the strikes' outcomes, the significance of the labor strikes of 1973 is emblematic of both the lack of human rights afforded migrant workers in West Germany at the time and the persistent determination of blue-collar migrant workers to claim space for themselves and their families.
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Lau, Yuk-wah Margaret, and 劉玉華. "The role of English in Hong Kong theatre and dance productions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26852792.
Full text
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D'Ávila, Flávia Ruchdeschel 1981. "Um teatro de metamorfoses : Philippe Genty entre o humano e o inanimado /." São Paulo, 2018. http://hdl.handle.net/11449/154462.
Full textAbstract:
Orientador(a): Wagner Francisco Araujo Cintra<br>Banca: Agnaldo Valente Germano da Silva<br>Banca: Dalmir Rogério Pereira<br>Banca: Mario Ferreira Piragibe<br>Banca: Vinicius Torres Machado<br>Resumo: A presente pesquisa se estrutura por dois eixos principais. O primeiro se orienta pela análise dos processos de transformações das dramaturgias da Companhia Philippe Genty, especialmente a partir da década de 1980. Esse momento foi marcado por mudanças nos processos criativos do grupo, desencadeadas com a inserção do humano na cena como parceiro de jogo do inanimado; com a investigação do corpo, do movimento e de suportes expressivos como o papel e o plástico; com a ressignificação artística de ideias psicanalíticas, possibilitando à Genty desenvolver dramaturgias fincadas na memória, no sonho e nas suas experiências de vida; além do desenvolvimento de novas técnicas cênicas e de novas relações de Philippe Genty e Mary Underwood com as suas criações. O segundo eixo se norteia pelas mudanças acarretadas, a partir de então, na poética da Companhia, que passou a se orientar, cada vez mais, pelos jogos de ilusões capazes de tornar visivelmente possíveis situações insólitas, e pelas dicotomias que nascem do encontro entre o humano e o inumano. O teatro gentyniano desenvolveu-se na direção de um teatro de constantes metamorfoses visuais, que desafia as convenções espaciais, gravitacionais e volumétricas e que amiudadamente coloca o espectador diante de encadeamentos de imagens incomuns e impossíveis<br>Resume: La présente recherche est structurée en deux axes principaux. Le premier s'oriente sur l'analyse des processus de transformations des dramaturgies de la Compagnie Philippe Genty, particulièrement à partir de la décennie de 1980. Ce moment a été marqué par des changements dans les processus créatifs du groupe, déclenchés par l'insertion de l'humain dans la scène en tant que partenaire de jeu de l'inanimé; avec l'étude du corps, du mouvement et des supports expressifs tels que le papier et le plastique; avec la re-signification artistique des idées psychanalytiques, permettant à Genty de développer des dramaturgies ancrées sur la mémoire, sur le rêve et dans leurs expériences de vie; ainsi que le développement de nouvelles techniques scéniques et de nouvelles relations entre Philippe Genty et Mary Underwood et leurs créations. Le deuxième axe est guidé par les changements apportés, de partir de là, à la poétique de la Compagnie, qui s'est de plus en plus orientée vers les jeux d'illusions capables de rendre visible ment possibles des situations inhabituelles, et par les dichotomies qui naissent de la rencontre entre l'humain et l'inhumain. Le théâtre gentynien a muté vers un théâtre de métamorphoses visuelles constantes, qui défie les conventions spatiales, gravitati onnelles et volumétriques et qui place largement le spectateur devant des fils d'images inhabituelles et impossibles<br>Doutor
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Henrique, Marilia Gomes. "O realismo critico-encantatorio de João das Neves." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285044.
Full textAbstract:
Orientador: Suzi Frankl Sperber<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-10T06:43:35Z (GMT). No. of bitstreams: 1
Henrique_MariliaGomes_M.pdf: 721441 bytes, checksum: 8ab25c43ab785a97a3d4e249183dba1d (MD5)
Previous issue date: 2006<br>Resumo: Esta pesquisa analisa a produção dramatúrgica de João das Neves, compreendendo, assim, os seguintes textos: O último carro (1964), O quintal (1978), Mural mulher (1979), Café da manhã (1980) e A pandorga e a lei (1983-1984), que, na sua totalidade, foram produzidos durante a ditadura militar no Brasil. O engajamento político de João das Neves possibilitou o desenvolvimento de
um teatro voltado para os problemas candentes da realidade social brasileira, levando-o a formular uma obra de estrutura épica com suas especificidades próprias. Seu teatro, nesse sentido, procura esclarecer ao público certos aspectos da engrenagem social, integrar o espectador no espaço cênico e apresentar as personagens a partir de uma ótica social - e não individualizada, como é o caso do drama burguês<br>Abstract: This research analyses the dramaturgic production of João das Neves, encompassing the following plays: O último carro (1964), O quintal (1978), Mural mulher (1979), Café da manhã (1980) e A pandorga e a lei (1983-1984). These works were produced during the military dictatorship in Brazil. The political engagement of João das Neves made possible the development of a theatre turned to the effervescent problems of the Brazilian social reality, and leading the author to formulate an epic-structured play with its particular specificities. In this sense his dramaturgy aims to enlighten the public about some aspects of the social machinery, integrating the viewer to the scenic space. He also presents the characters from a social perspective ¿ non-individualized, as it is the case of the bourgeois drama<br>Mestrado<br>Artes<br>Mestre em Artes
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Tozoglu, Ahmet Erdem. "Grand Hotels In Major Cities Of Turkey, 1950-1980: An Evaluation Of Modern Architecture And Tourism." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608662/index.pdf.
Full textAbstract:
This study aims to analyze the istanbul Hilton, the izmir Grand Efes and the Grand Ankara Hotels, which are owned by the Pension Fund, during the 1950-1980 period that witnessed the formation process of modern tourism and tourism architecture in Turkey.
As the first five-star hotels of their cities, these buildings provide the possibility of tracing the social transformation processes at the second half of the 20th century beyond their architectural properties that reflect and affect the zeitgeist of the period. In this manner, besides the architectural formation of the buildings, this thesis also aims to examine the participation of the hotels in social life and the relations of architecture with the changing city life and tourism. Moreover, this thesis offers historical perspectives about tourism architecture, about which adequate researches have not been provided yet.
Chronologically, the first chapter formulates a general introduction. The second chapter issues the 1950s&<br>#8217<br>Turkey and the istanbul Hilton Hotel. The third chapter issues the 1960s&<br>#8217<br>Turkey and the izmir Efes Hotel and the Grand Ankara Hotels. The fourth chapter examines the critique of tourism that developed in the 1970s&<br>#8217<br>social and political medium, and the last chapter is a general conclusion
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Duguay, Sylvain. "Le dialogue homosexuel dans Les feluettes de Michel Marc Bouchard /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30163.
Full textAbstract:
This thesis proposes to apply Queer theory as the framework for examining Michel Marc Bouchard's play Les Feluettes. This study is built around two methodological axes, one being the analysis of dialogue; the second, the application of Queer theory. Dialogue and staging are scrutinized in an effort to discover the Queer. The links between sex, power, language and knowledge will be specifically studied. The intention is to show how their relationship, based on opposition, can be modified by a subversive discourse. By way of introduction, a brief discussion of Queer theory will be presented to familiarize the reader with its origins, sources of inspiration and strategies of deconstruction. The first chapter will focus on the homosexual's interior monologue. Chapter two will focus on the homosexual's dialogue with other homosexuals. The third, and final chapter, will round out the analysis by studying the dialogue between the homosexual and heterosexuals. (Abstract shortened by UMI.)
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Percival, Gary William. "Developments towards a theatre of the absurd in England, 1956-1964." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/14879.
Full textAbstract:
In 1961 Martin Esslin created the term 'Theatre of the Absurd' as a working hypothesis, a device with which to make fundamental traits present in the plays of a number of France-based dramatists accessible to discussion by tracing the features they had in common. Despite the popularity of Esslin's study, there has been no comparable discussion of England-based absurdism. An explanation for this lack of critical attention may be found in the dogged insistence amongst scholars that there are only two absurd playwrights in the English theatre before 1967. My first aim in this thesis is to redress the imbalance in critical literature, to demonstrate that there existed in England, in the late 1950s and early 1960s, an indigenous expression of absurdism far broader and significantly more complex than that which has been recognised by theatrical reviewers during the past thirty years. Having identified an indigenous absurdism, I go on to challenge the generalisations and over-simplifications surrounding the English 'absurd', which are a product of its critical marginalisation and neglect. I discuss the complexities of the evolution of the English 'absurd', and the ramifications of its development, paying due regard to the theatrical, historical and social factors which shaped its early growth. The playwrights who represent the genre are examined in tum, and attention is devoted to the details of the development of an absurd dynamic within their works. The study falls into three parts. Part I attempts to explain why the English 'absurd' had such a limited impact within its own country up until the late 1960s. It is revealed that many of the writers of the English 'absurd' were incapable of divorcing their plays from the social-orientated drama which dominated English theatre in the late 1950s. The cross-fertilization of an overtly social theatre and absurdism resulted in an expression of the genre which was modified and, to an extent, compromised by its adherence to external, political realities. The focus shifts, in the second part, to accommodate those neglected writers of the English 'absurd' who managed to avoid such compromises and who created a more abstract theatre, the aesthetic and epistemological intentions of which resemble those of the French absurd. Part III explains why, despite the relative obscurity of the English 'absurd', a fragmented absurdism managed to be absorbed into the permanent vocabulary of dramatic expression in England in the 1960s. This final section examines the works of a number of non-absurd writers who took on isolated absurd devices as part of an experiment with the parameters of drama, thereby bringing those techniques into mainstream theatre.
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Ternar, Yeshim 1956. "The book and the veil : a critique of orientalism from a feminist perspective." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74261.
Full textAbstract:
"The Book and the Veil" is an experimental ethnographic study that presents a feminist critique of Orientalist discourse as it relates to Istanbul at the turn of the twentieth century.<br>The Preface reviews relevant anthropological literature in order to construct the theoretical context of the thesis. The Introduction then elaborates on the various voices embodied in the text, each of which expresses different types of cultural and critical information.<br>Part 1 (Chapters 1-4), comments on Grace Ellison's stay in Istanbul harems in 1914, as described in An Englishwoman in a Turkish Harem. Part 2 (Chapters 5-7), engages in a dialogue with Pierre Loti as a representative of Orientalist discourse and comments on Zeyneb Hanoum's A Turkish Woman's European Impressions. Zeyneb Hanoum's experiences in Europe are then compared with Grace Ellison's stay in Turkey.<br>The Conclusion offers a discussion and critique of feminism and representative writing.
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Duncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.
Full textAbstract:
Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.
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Riordan, Michael, and n/a. "Terrible Beauty: Ideology and Political Discourse in the Early Plays of Sean O'Casey." Griffith University. School of Humanities, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040615.132200.
Full textAbstract:
This thesis argues that prominent in the purposes of the dramaturgy of Irish playwright Sean O'Casey was the promotion of his political causes - most notably socialism. In his avidity for the cause of establishing a workers' paradise, following the Soviet model, in Ireland, his ire was drawn to the movements and institutions he perceived as distracting the masses from pursuit of this ideal: republicanism and the Church. These political ideals are prominent themes in his collected works - both fiction and non-fiction. The work is essentially divided into two sections. The first examines the development of O'Casey's ideologies - his socialism, anti-nationalism and anti-clericalism - and the backdrop against which they developed. The purpose is to establish just how passionately O'Casey felt about these ideals and how, in his letters, histories and autobiographies, he dedicated much of his effort to promoting them. Having dedicated so much time and energy to championing socialism and attacking the Church in these texts, it is little wonder they should appear so prominently in his plays. The thesis argues that O'Casey distorted the content of his Autobiographies to reinforce his role as self appointed champion of Dublin's "bottom fifth" and his beloved working class. It contends that O'Casey embellished the suffering of his childhood and the hardship endured by his family to fortify his credentials as a "socialist hero" - to be "for them" he sought to be "of them," and to provide a model for how learning and conversion to the socialist ideal would liberate them from the economic oppression that kept them low. A number of facts, even elementary ones like the number of children in the Casey brood and particular dates and addresses where he had lived, were changed to cultivate the working class hero image, the disadvantaged boy who rose up against all that an unjust and unsympathetic world could throw at him, that he so coveted. The more abject the origins, the greater the final triumph. The thesis then looks briefly at the origins and purposes of the Abbey Theatre, and its part in the Irish Renaissance that gave O'Casey his start. It focuses particularly on the role of Yeats, and his desire to build a dramatic movement which created work free from opinion. His famous determination to "reduce the world to wallpaper" brought him into conflict with O'Casey, who saw his plays as a legitimate vehicle for the expression of his own world view. It is important, in terms of the objective of this study, to establish that O'Casey's works were deliberately constructed pieces of didacticism, to demonstrate just how inimical to the original intent of the movement his purposes were. With this in mind, it is instructive to compare him with the other great Irish dramatist of the period, John Millington Synge, whose works, with their more rustic focus, promoted the kind of impressionistic 'slice of life' theatre the Abbey founders were championing. For O'Casey, the cause was paramount. He wrote morality plays. The study examines how O'Casey's dominant ideological position evolved by examining his own changing perspective about the world around him. It shows how O'Casey began to see all struggles in terms of the economic one between classes, and how he came to be converted to the tenets of socialism. His opposition to nationalism and his anti-clericalism essentially reflected his belief that they were hostile to the interests of the workers, and therefore must be engaged. The dominant sources in this section are O'Casey's letters, his Autobiographies, and his book, The Story of the Irish Citizen Army. The second section of the thesis focuses on the first seven extant plays: The Harvest Festival, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, The Silver Tassie, Within the Gates, and The Star Turns Red, and examines how each promotes O'Casey's causes. The purpose of the thesis is not to promote a reworking of the biographical detail of O'Casey's life, but to trace the shift in the playwright's ideology - from Protestant Orange to Republican Green and finally, and most steadfastly, Socialist Red - and examine how these beliefs found voice in the characters and construction of his earlier plays.
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Wright, Elizabeth Helena. "Virginia Woolf and the dramatic imagination." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.
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Idrissi, Nizar. "Stephen Poliakoff: another icon of contemporary British drama." Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210559.
Full textAbstract:
This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama.<br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished
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Drouin, Jennifer. ""To be or not to be free" : nation and gender in Québécois adaptations of Shakespeare." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85904.
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At first glance, the long tradition of Quebecois adaptations of Shakespeare might seem paradoxical, since Quebec is a francophone nation seeking political independence and has little direct connection to the British literary canon. However, it is precisely this cultural distance that allows Quebecois playwrights to play irreverently with Shakespeare and use his texts to explore issues of nation and gender which are closely connected to each other. Soon after the Quiet Revolution, adaptations such as Robert Gurik's Hamlet, prince du Quebec and Jean-Claude Germain's Rodeo et Juliette raised the question "To be or not to be free" in order to interrogate how Quebec could take action to achieve independence. In Macbeth and La tempete, Michel Garneau "tradapts" Shakespeare and situates his texts in the context of the Conquest. Jean-Pierre Ronfard's Lear and Vie et mort du Roi Boiteux carnivalize the nation and permit women to rise to power. Adaptations since 1990 reveal awareness of the need for cultural and gender diversity so that women, queers, and immigrants may contribute more to the nation's development. Since Quebec is simultaneously colonial, neo-colonial, and postcolonial, Quebecois playwrights negotiate differently than English Canadians the fine line between the enrichment of their local culture and its possible contamination, assimilation, or effacement by Shakespeare's overwhelming influence, which thus allows them to appropriate his texts in service of gender issues and the decolonization of the Quebec nation.
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Satyo, Priscilla Nomsa. "Women in Xhosa drama : dramatic and cultural perspectives." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52615.
Full textAbstract:
Thesis (PhD)--University of Stellenbosch, 2001.<br>ENGLISH ABSTRACT: This study aims at highlighting a crucial aspect of Xhosa drama: The portrayal of the role
women have been forced culturally to assume in society. A selection of Xhosa plays from
three periods (1958 - 1965; 1974 - 1982; and 1988 - 1997) is examined. In the process
of the study, the analysis and the interpretation of these dramas as well as the depiction
of women characters is examined.
Authors of the ten dramas under study advocate change through the powerful forces of
gender stereotypes and culture distortions.
The attributes that the authors commonly ascribe to women characters are passivity,
irrationality, compliancy and incorrigibility. An examination of the reasons behind this
proliferation of these female stereotypes and the lack of realistic women characters is
undertaken.
The study posits reasons why particular stereotypes appear in the works of several
authors over a period of time. The women characters are products of social conditioning,
that is, ideals or counter-ideals of the prevailing values of the authors' culture. They are a
symbolic fulfillment of the writers' needs.
The broad cultural perspectives of the authors also shape the texts they produce. These
dramas treat issues and themes, which become central to the formal and structural
ordering of the drama. Such themes have an impact at times on form and structure. In
each case the ideology of the class represented by authors under study is indeed reflected
in the text, to its detriment.
The dominating themes in the ten dramas are forced marriages and women abuse. The
authors are so preoccupied with injustices against women that they distort certain cultural
aspects by, for example, exaggeration. Women are constantly depicted as victims, while
there are no indications in the authors' depictions of women that perceptions of their
cultural role and status are in reality undergoing changes. The thesis is arranged as follows:
Chapter 1 introduces the aim, the scope, the theories and the methods of the study.
Chapter 2 deals with the development of plot within episodes in the dramas of the first
literary period (1958 - 1965). These episodes depict the different phases of the dramas.
A critical evaluation of the dramas by motivating their positive and negative aspects is
undertaken.
Chapter 3 deals with the development of plot within episodes in the dramas of the second
literary period (1974 - 1982). As in the first literary period, a critical evaluation of the
dramas by motivating their positive and negative aspects is examined.
Chapter 4 deals with the development of plot within episodes in the dramas of the third
literary period (1988 - 1997). A critical evaluation of the dramas by motivating their good
and bad points is undertaken.
Chapter 5 deals with woman as character in Xhosa dramas under study. A detailed
analysis of the main woman character in each drama is undertaken. Furthermore, a
critical summary of how the woman has been portrayed in the dramas is presented.
Chapter 6 presents depiction of Xhosa culture in the Xhosa dramas. From each drama,
certain selected aspects of culture are explored and an investigation of the portrayal of
these aspects is undertaken.
Chapter 7 summarizes the findings of the study.<br>AFRIKAANSE OPSOMMING: Die doelstelling van hierdie studie is om 'n kern aspek van Xhosa drama te belig: die rolle
wat vroue kultureel gedwing is om te vervul in die gemeenskap. 'n Seleksie Xhosa dramas
vanuit drie tydperke (1958 - 1965; 1974 - 1982; en 1988 - 1997) word ondersoek. In die
loop van die studie, ontleding en interpretasie van hierdie dramas word die uitbeelding
van vroue karakters ook ondersoek.
Die skrywers van die tien dramas wat bestudeer word, betoog vir verandering deur middel
van die sterk kragte van stereopites en kultureelverwronge voorstellings. Die eienskappe
wat die skrywers algemeen toeskryf aan vroue karakters is passiwiteit, irrasionele optrede,
gehoorsaamheid en deugsaamheid. 'n Ondersoek na die redes vir die proliferasie van
hierdie vroulike stereotipes en die tekortkoming aan realistiese vroue karakters in Xhosa
dramas word uitgevoer in die studie.
Die studie voer redes aan waarom bepaalde stereotipes in die werk van verskeie skrywers
oor 'n tydperk verskyn: hulle vrouekarakters is die produk van sosiale kondisionering, dit
wil sêm ideale of teen-ideale van die heersende waardes van die skrywer se kulturele
agtergrond en 'n simboliese vervulling van die skrywer se behoeftes.
Die algemene kulturele perspektiewe van die skrywers beïnvloed en vorm ook die tekste
wat hulle lewer. Hierdie dramas behandel naamlik vraagstukke tematies wat sentraalook
bepalend is ten opsigte van die vorm en struktuur van die drama. Sodanige temas het
gevolglik in bepaalde gevalle 'n invloed op die vorm en struktuur van die drama. Voorts
word die ideologie van die klas verteenwoordig deur die skrywers in elke geval
gereflekteer en die teks tot bepaalde nadele daarvan.
Die prominente temas in die tien dramas is gedwonge huwelike en vrouemishandeling.
Die skrywers is so gepre-okkupeer met die ongeregtighede teenoor vroue dat hulle
bepaalde kulturele aspekte verwring deur, byvoorbeeld, buitensporige voorstellings.
Vroue word voortdurend voorgestel as slagoffers, terwyl daar feitlik geen aanduidings is in
die skrywer se voorstelling van vroue, dat persepsies oor hulle kulturele rol en status
inderwaarheid besig is om veranderinge te ondergaan. Die proefskrif is soos volg gestruktureer:
Hoofstuk 1 gee die doelstellings, omvang, teorieë en metodes wat in die studie gevolg
word.
Hoofstuk 2 behandel die ontwikkeling van intrige binne verskillende episodes in die
dramas van die eerste literêre periode (1958 - 1965). Hierdie episodes gee 'n uitbeelding
van die verskillende fases van die dramas wat in die studie ondersoek word. 'n Kritiese
evaluering word van die dramas gedoen deur die positiewe en negatiewe aspekte daarvan
te motiveer.
Hoofstuk 3 behandel die ontwikkeling van intrige binne die episodes van die dramas van
die tweede literêre periode (1974 - 1982). Soos vir die eerste literêre periode, word 'n
kritiese evaluering gedoen van die dramas deur onder andere die positiewe en negatiewe
literêre aspekte daarvan te motiveer.
Hoofstuk 4 ondersoek die ontwikkeling van die intrige binne die episodes in die dramas
van die derde literêre periode (1988 - 1997). Die kritiese evaluering van hierdie dramas
sluit, soos vir die vorige periodes, 'n gemotiveerde beskouing in van die positiewe en
negatiewe aspekte.
Hoofstuk 5 ondersoek die vrou as karakter in die Xhosa dramas wat bestudeer word. 'n
Gedetaileerde analise van die hoof-vroue karakters in elke drama word gedoen. Daarna
word 'n kritiese oorsig aangebied van hoe die vrou voorgestel word in die dramas wat
bestudeer is.
Hoofstuk 6 bied 'n uitbeelding van Xhosa kultuur in die dramas wat ondersoek is.
Bepaalde aspekte van kultuur word vir elke drama ondersoek en die uitbeelding van
hierdie kultuur aspekte word behandel.
Hoofstuk 7 bied 'n opsomming van die belangrikste bevindinge van die studie.
42
Bain, Keith Norman. "Hyperartifical cinema and the art of cool." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52880.
Full textAbstract:
Thesis (PhD)--Stellenbosch University, 2002.<br>ENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed
by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using
Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both
human curiosity and a desire to place "reality" at a distance. While the spectator seeks
involvement with the viewed subject, he or she remains detached from the images which
simulate the various "realities" in which he or she becomes "involved" through the act of
viewing.
The contemporary Western subject is said to crave "meaning" in a universe which is
increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also
said to be more ironic, providing illusory concessions such as communication in lieu of
interaction, information instead of knowledge, choice in favour of quality, surfaces rather
than depth, and images which ultimately extinguish "the real". Moving images may be said to
allude to the artificial nature of a "reality" which is itself a human construction. This suggests
that the role of the camera is to place both the world and human subjects "at a distance",
thereby objectifying (and potentially dehumanising) the subject-objects of the gaze.
Many postmodern films are concerned with the functioning of the cinematic apparatus itself,
and these films - implicitly and explicitly - deal with the way in which subjectivity is
established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted
from the documentation of the world, to techniques which problematise the viewer's
experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic
imaging, have contributed to the confusion of various forms of screen "realism", arguably
impacting on the viewer's experience of "reality".
In another sense, "reality" has been transformed by the blurring of distinctions between high
and low cultural paradigms, increasingly evident in work that privileges the showing of
"perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between
private and publiC spaces are eroded as the cinematic apparatus takes spectators into
increasingly intimate personal spaces, demystifying and popularising the unknown and
previously hidden.
Considering the influence of commercial and socio-economic factors on the development of
contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic
and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an
inability to say anything "new"), some label "empty" (meaningless) and many see as
"schizoid" (able to be read in various, often contradictory, ways).
The thesis proposes that contemporary (postmodern) cinema is a "pure" form which
increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also
demonstrates how contemporary films serve as reflections of a world which is itself nothing
but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities",
the cinema represents a form of "remembering" which is detached from any particular time
or space. In this sense, cinematic moving images enable viewers to engage with aspects of
their own humanity which may be quite independent of the "reality" status of the world.<br>AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean
Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film
te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese
apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om
"realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat
bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie
"werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak.
Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal
wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word.
Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid",
byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in
plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en
beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde
(moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike
konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide
die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en
moontlik te dehumaniseer).
Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self
funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die
kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die
dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde
beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat
mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het.
In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur
die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word
deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete
"realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese
apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat
voorheen onbekende en versteek was te demistifiseer en populariseer.
Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die
ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die
estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films
kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel
word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander
as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in
verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word).
Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer"
vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie
illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as
refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie.
Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou"
(remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese
beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat
onafhanklik is van hul werklikheidsstatus in die wêreld.
43
Bouko, Catherine. "La réception spectatorielle et les formes postdramatiques du spectacle vivant." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210342.
Full textAbstract:
Selon différents théoriciens (Guénoun, Lehmann, Ryngaert, etc.), la fin du vingtième siècle se caractérise par l'émergence de nouvelles formes théâtrales, marquées par la contamination des pratiques spectaculaires.<p>Hans-Thies Lehmann reprend la notion de "théâtre postdramatique" proposée par Richard Schechner pour qualifier ces formes métissées de spectacle vivant La thèse défendue est la suivante :le théâtre postdramatique trouve sa spécificité non seulement dans la transgression des codes dramatiques mais surtout dans des processus de réception spécifiques qu'il importe de définir, à l'aide d'outils notamment sémiotiques. Ces processus sont situés et construits par rapport à différents modèles interdisciplinaires.<br>Doctorat en Information et communication<br>info:eu-repo/semantics/nonPublished
44
De, Wagter Caroline. "Mouths on fire with songs: negotiating multi-ethnic identities on the contemporary North american stage." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210237.
Full textAbstract:
A travers une étude interculturelle détaillée et comparée de la production théâtrale minoritaire canadienne et américaine, ma thèse cherche à mettre en lumière les les apports thématiques et esthétiques du théâtre multi-ethnicque nord-américain contemporain à la tradition anglo-américaine du 20ème siècle. Les communautés asiatiques, africaines et aborigènes sont retenues comme poste d'observation privilégié de l'expression esthétique de la condition multiculturelle postcoloniale dans le théâtre nord-américain de la période allant de 1972 à nos jours. Sur base d'un corpus de pièces de théâtre, ma recherche m'a permis de redéfinir les grandes articulations des notions d'hybridité, d'identité et de communauté/nation postcoloniale.<p><p>Through a detailed cross-cultural approach of the English Canadian and American minority theatrical production, my thesis aims to identify the thematic and aesthetic contributions of multi-ethnic North American drama to the Anglo-American tradition of the 20th century. My study examines North American drama from the vantage points of African, Asian, and Native communities from 1972 until today. Relying on a number of case studies, my research opened up new avenues for rethinking the notions of hybridity and identity in relation to the postcolonial community/nation. <p><br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished
45
Hennaut, Benoît. "Théâtre et récit, l'impossible rupture: la place du spectacle dans le spectacle postdramatique entre 1975 et 2004, selon Romeo Castellucci, Jan Lauwers, Elizabeth LeCompte." Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209559.
Full textAbstract:
Dans sa période particulièrement dense de production au cours des années 1980 et 1990, le spectacle dit « postdramatique » affirme régulièrement sa volonté de rompre avec toute forme de narration qu’illustrent des formes dramatiques plus conventionnelles. C’est même devenu un topos critique de dire que le théâtre postdramatique échappe à la narration ou la rend problématique, tant pour qualifier sa production (en termes de projet dramaturgique) que sa réception par le public.<p>Cependant, la force du déni installe le doute. Je me suis inquiété de l’insistance avec laquelle une certaine manière de concevoir le théâtre écartait ou s’opposait à un élément aussi structurant et persistant que le récit (en termes culturels, littéraires, dramatiques, …). Après avoir posé les termes de sa définition, j’ai voulu vérifier si le spectacle postdramatique ne contenait vraiment plus aucune forme de récit, quand bien même cette fonction lui serait implicitement ou explicitement contestée. Ma décision de mener l’enquête a été essentiellement provoquée par deux phénomènes :une intuition narrative qui se manifeste quand même vis-à-vis de ces spectacles (sur quoi est-elle fondée ?), et l’existence de textes qui en font le compte-rendu sur un mode narratif à la réception. Par ailleurs, j’ai senti le besoin d’analyser de manière un peu plus fine cette poétique non-narrative déclarée par les auteurs.<p><p>* * *<p><p>During a particularly dense production period running in the 1980s and 1990s, the so-called “postdramatic” theatre regularly attempted to break from all forms of narration utilized in more conventional dramatic forms. It became a recurring critical leitmotif to say that postdramatic theatre either eschewed narration entirely or rendered it problematic, whether as a qualifier to its production (in dramaturgical terms) or to explain audience reaction.<p>However, repeated denial definitely inspires doubt. I was concerned that one particular way of thinking about theatre seemed to refuse or rule out such a consistent and structural element as the narrative (culturally, dramatically, as well as in literary terms). I therefore wished to be sure that certain postdramatic pieces really had not retained any form of storytelling, had the choice been made implicitly or explicitly to exclude it. My decision to begin this investigation was triggered by two specific phenomena: a narrative intuition which manifests itself whether one wants it or not when one sees one of these pieces (what is its foundation?), and the existence of texts produced at the reception level which still seem to form a narrative stream when examined. I also felt the need to undertake a more detailed analysis of this non-narrative poetics as laid out by its creators.<p><br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished
46
Tang, Cheong Wai Acty. "Gazing at horror: body performance in the wake of mass social trauma." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002381.
Full textAbstract:
This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides a way in for investigating the dynamics of theatrical performance and its corporeal presence, by focusing on desire and its implication in the notions of loss and anxiety. The theories of the unconscious and the gaze have epistemological implications, shifting definitions of “presence” and “truth” in theatre performance and writing about theatre. This chapter tries to outline the rationale for, as well as to enact, an alternative methodology for writing, as an ethical response to loss that does not insist on consensus and truth. Chapter 2: (Refusing to) Look at Trauma This chapter examines the politics that strives to make suffering visible. Discursive binaries of public/private, dead/living, and invisible/visible underlie the politics of AIDS and sexuality. These discourses impact on the reception of Bill T. Jones's choreography, despite his use of modernist artistic processes in search of a bodily presence that aims to collapse the binary of representation (text) and its subject (being). The theory of the gaze shows this politics to be a phallocentric discourse; and narrative analysis traces the metanarrative that results in the commodification of oppositional identities, so that spectators participate in the politics as consumers. An ethical artistic response thus needs to shift its focus to the subjectivity of the spectator. Chapter 3: The Screen and the Viewer’s Blindness By appealing to a transcendent reality, and by constituting spectators as a participative community, ritual theatre claims to enact change. The “truth” of ritual rests not on rational knowledge, but on the performer’s competence to produce a shamanic presence, which director Brett Bailey embraces in his early work. Ritual presence operates by identification and belonging to a father/god as the source of meaning; but it represses the loss of this originary wholeness. Spectators of ritual theatre are drawn into an enactment of communion/community, the centre of which is, however, loss/emptiness. The claim of enacting change becomes problematic for its absence of truth. Bailey attempts to perform a hybrid, postcolonial aesthetics; but the problem rests in the larger context of performing the notion of “South Africa”, a communal identity hardened around the metanarrative of suffering, abjecting those that do not belong to the land of the father/god – foreigners that unsettle the meaning of South African identity. Conclusion: Bodies of Discontent The South African stage is circumscribed by political and economic discourses; the problematization of national identity is also a problematization of image-identification in the theatre. In search for a way to unsettle these interrogative discourses, two moments of performing foreignness are examined, one fictional, one theatrical. These moments enact a parallel to the feminine hysteric, who disturbs the phallocentric truth of the psychoanalyst through body performance. These moments of disturbing spectatorship are reflected in the works of performance artist Marina Abramovic. Her explorations into passive-aggression, shamanism and finally theatricality and the morality of spectatorship allow for an overview of the issues raised in this thesis regarding body, viewing, and subjecthood. Sensitivity to the body and its discontent on the part of the viewer becomes crucial to ethical performance.
47
Lumière, Émilie. "Clio en question : le théâtre métahistorique en Espagne (1980-2010)." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20084.
Full textAbstract:
Dans le contexte de la postmodernité, la question de l’écriture de l’histoire est devenue essentielle. « Tournant épistémologique » chez les historiens, « fiction métahistorique » chez les écrivains : cela semble témoigner d’une « conscience métahistorique » qui touche aujourd’hui les sociétés occidentales dans leur ensemble, invitant à penser l’histoire comme un palimpseste d’interprétations subjectives et contradictoires. L’Espagne, traversée par de récents conflits mémoriels, n’est pas en reste. Tout en cherchant à identifier les modalités et les enjeux de cette tendance métahistorique, cette thèse s’interroge sur la place du théâtre espagnol contemporain à l’intérieur de ce phénomène. Après voir retracé les évolutions des notions « métahistoire » et « fiction métahistorique », ce travail s’ouvre sur un premier chapitre proposant une ébauche de l’histoire de la métahistoire en Occident, étendue à l’historiographie, à l’art et au champ sociétal – limitée pour ce dernier à l’époque contemporaine. Si le phénomène métahistorique est loin d’être nouveau, la conscience métahistorique qui lui donne une force et une cohérence inédites semble se cristalliser dans le dernier tiers du xxe siècle. L’Espagne possède ses spécificités, liées notamment à l’héritage de la guerre civile et du franquisme. Ce chapitre s’achève sur un volet théorique où sont précisés des outils d’analyse pour la fiction métahistorique et une typologie (fiction métahistorique métafictionnelle ; fiction métahistorique historiographique), tout en envisageant quelques particularités du genre dramatique.L’examen, dans un second chapitre, d’une dizaine de pièces espagnoles écrites ces trente dernières années ‒ El retablo de Eldorado, Naufragios de Álvar Núñez, Lope de Aguirre, traidor et El sudario de tiza de J. Sanchis Sinisterra, ¡¡¡Tierraaaa… a… laaaa… vistaaa…!!! de M. Martínez Mediero, Yo tengo un tío en América d’A. Boadella, Retrato de gran almirante con perros de L. Riaza, Yo, maldita india… et El arquitecto y el relojero de J. López Mozo, El jardín quemado et La tortuga de Darwin de J. Mayorga, et Homenaje a los Malditos d’E. Calonge ‒ montre que le dispositif métahistorique se manifeste dans des dramaturgies variées. Ce corpus présente néanmoins une réelle unité : en écho à la préoccupation historiographique et sociétale actuelle pour l’écriture de l’histoire, il s’offre comme une manifestation artistique originale de la conscience métahistorique contemporaine, dans les particularités de l’aire espagnole. Ces textes semblent refléter par ailleurs l’affirmation progressive de la fiction métahistorique qui s’affranchit peu à peu de la fiction historique et de la métafiction. À l’heure où Clio est ramenée sur la scène des hommes, déconstruite et démythifiée, ces dramaturges n’en font pas moins acte de mémoire et offrent des espaces d’expression aux mémoires en souffrance. Résolument postmoderne, la fiction métahistorique contemporaine ne verse pas dans le nihilisme : elle démantèle les discours historiques pour mieux les comprendre ; elle les déconstruit pour proposer d’autres évocations du passé<br>In the context of postmodernism, history writing has become a crucial issue. Called “epistemological turn” by historians and “metahistorical fiction” by writers, such a tendency is the proof of a “metahistorical awareness” which arises nowadays in Western societies as a whole, inviting to consider history as a palimpsest of subjective and conflicting interpretations. Affected by recent memory conflicts, Spain is primarily concerned. This study wishes to identify the modalities and stakes of such metahistorical tendency while wondering about the place of contemporary Spanish drama within this phenomenon. After retracing the evolution of both notions of “metahistory” and “metahistorical fiction”, this dissertation opens on a first chapter sketching out a history of Western metahistory, extended to the historiographic, artistic and societal fields (choosing to limit the latter to the contemporary period). If the metahistorical phenomenon is not new, metahistorical awareness which provides it with an original strength and coherence seems to crystallize over the last part of the 20th century. Spain has its own specificities ‒ especially due to the legacy of the Spanish Civil War and Franco’s dictatorship. This chapter ends on a theoretical part offering analytic tools for metahistorical fiction and a typology (metafictional metahistorical fiction, historiographic metahistorical fiction), and also considers some particularities of the dramatic genre.The second chapter is the study of around ten Spanish dramas written over the past thirty years: El retablo de Eldorado, Naufragios de Álvar Núñez, Lope de Aguirre, traidor and El sudario de tiza by J. Sanchis Sinisterra, ¡¡¡Tierraaaa… a… laaaa… vistaaa…!!! by M. Martínez Mediero, Yo tengo un tío en América by A. Boadella, Retrato de gran almirante con perros by L. Riaza, Yo, maldita india… and El arquitecto y el relojero by J. López Mozo, El jardín quemado and La tortuga de Darwin by J. Mayorga, and Homenaje a los Malditos by E. Calonge. If it uses the metahistorical device through various dramaturgies, this corpus presents, however, a real unity: reminding of present-day historiographic and societal concerns in history writing, it becomes an original artistic manifestation of contemporary metahistorical awareness, exploring more closely the Spanish particularities. These texts also seem to reflect the progressive affirmation of metahistorical fiction which gradually parts from historical fiction and metafiction. As Clio is brought back to the humans’ stage, deconstructed and demystified, these playwrights do an “act of memory” and offer spaces of expression to traumatic memories. Contemporary metahistorical fiction, though definitely postmodern, is not nihilist: it dismantles historical discourses in order to better understand them; it deconstructs them in order to offer other evocations of the past<br>En el contexto de la posmodernidad, el tema de la escritura de la historia se ha vuelto esencial. “Giro epistemológico” para los historiadores, “ficción metahistórica” para los escritores: todo ello parece dar cuenta de una “consciencia metahistórica” que hoy toca a todas las sociedades occidentales, e invita a percibir la historia como un palimpsesto de interpretaciones subjetivas y contradictorias. España, afectada por recientes conflictos de memoria, no escapa a la regla. Esta tesis intenta identificar las modalidades y las implicaciones de esta tendencia metahistórica, analizando asimismo la posición del teatro español dentro de este fenómeno.Después de recordar las evoluciones de las nociones “metahistoria” y “ficción metahistórica”, este trabajo se abre con un primer capítulo que propone un esbozo de la historia de la metahistoria en Occidente, extendida a los campos de la historiografía, el arte y la sociedad –y limitada en este último aspecto a la época contemporánea. Si el fenómeno metahistórico no es nuevo, la consciencia metahistórica que le da una fuerza y una coherencia inéditas parecen cristalizarse en el último tercio del siglo XX. España tiene sus especificidades, estrechamente vinculadas con la herencia de la guerra civil y el franquismo. Este capítulo se cierra con una parte teórica que precisa unas herramientas para el análisis de la ficción metahistórica y una tipología (ficción metahistórica metaficcional; ficción metahistórica historiográfica), y enfoca algunas particularidades del género teatral. El examen, en un segundo capítulo, de doce dramas españoles escritos en las tres últimas décadas ‒El retablo de Eldorado, Naufragios de Álvar Núñez, Lope de Aguirre, traidor y El sudario de tiza de J. Sanchis Sinisterra, ¡¡¡Tierraaaa… a… laaaa… vistaaa…!!! de M. Martínez Mediero, Yo tengo un tío en América de A. Boadella, Retrato de gran almirante con perros de L. Riaza, Yo, maldita india… y El arquitecto y el relojero de J. López Mozo, El jardín quemado y La tortuga de Darwin de J. Mayorga, y Homenaje a los Malditos de E. Calonge‒ muestra que el dispositivo metahistórico puede manifestarse en obras muy diferentes. El corpus presenta sin embargo una fuerte unidad: aparece, conforme a la preocupación historiográfica y social actual para la escritura de la historia, como una manifestación artística original de la consciencia metahistórica contemporánea, ateniéndose a las particularidades españolas. Además, los textos parecen reflejar la afirmación progresiva de la ficción metahistórica, que poco a poco se independiza de la ficción histórica y la metaficción. Aunque llevan a Clío al escenario de los hombres, deconstruída y desmitificada, estos dramaturgos no dejan de realizar un acto de memoria y ofrecen unos espacios de expresión a las memorias negadas. Resueltamente posmoderna, la ficción metahistórica contemporánea no cede al nihilismo: deshace los discursos históricos para entenderlos mejor; los deconstruye para proponer otras evocaciones del pasado
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Tremblay, Janie. "Le personnage de la mere dans trois pieces quebecoises des annees 1980 /." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33938.
Full textAbstract:
The various transformations that Quebec society was undergoing throughout the 1980s are reflected in the dramaturgy of the period, notably in the critique of nationalist discourse, and in the writing of hitherto marginalized groups such as women, immigrants, and gays and lesbians.<br>The tensions within the family unit are one of the leitmotivs of Quebec theatre in the 1980s, which usually represents the mother either as a sort of monster who suffocates her children, or as a victim of the Law of the Father. When a woman decides to speak and to redefine motherhood, this dual model of the "patriarchal mother" crumbles and the universe of the family must be reconfigured.<br>In this thesis, we propose a semiological analysis for each of the plays of our corpus. The first chapter analyzes Addolorata, by Marco Micone. In this play, the mother's taking possession of speech not only destabilizes her family but also calls into question established structures within the Italo-Quebecois community. The second chapter examines Marie Laberge's Aurelie, ma soeur, a play which illustrates the (re)construction of the family unit around a nonbiological maternal bond. The third and final chapter studies Michel Marc Bouchard's Les Muses orphelines, in which access to speech and to the condition of mother is achieved through lies and truth. In the conclusion of this thesis, we bring together the principal characteristics of the feminine and maternal voices which are heard in the three plays, voices which are all defined by the desire, the need to affirm their subjectivity.
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Guégo, Rivalan Inès. "Les enjeux du renouveau du théâtre espagnol, forces et pouvoirs des synesthésies (1916-1934)." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100038.
Full textAbstract:
Au tournant du XXème siècle en Espagne, une réaction au naturalisme se fait jour dans un panorama théâtral dégradé. Dans ce contexte de crise des langages artistiques, une série de propositions dramaturgiques voit le jour à partir de 1916. Les œuvres retenues sont envisagées pour en dégager l’énergie plastique dans ses dimensions tant textuelles (littéraire, dramatique et dramaturgique) que scéniques, lorsque les œuvres ont été représentées à l’époque. Phénomène majeur de renouveau du théâtre entre 1916 et 1934, les synesthésies sont étudiées au croisement de l’émergence d’un théâtre du corps (cantonné jusqu’alors aux genres assimilés à la pantomime et à la revue), et de la naissance des grandes compagnies de danse, au moment de l’apogée de l’âge d’argent. Cette délimitation chronologique des textes choisis caractérise un intervalle temporel signifiant au regard de l’histoire culturelle et des problématiques esthétiques. La période correspond à l’arrivée des Ballets Russes à Madrid et s’étend jusqu’à la fondation et la dissolution de la Compañía de Bailes españoles par Encarnación López La Argentinita et F. García Lorca en 1933-1934. La thèse analyse les formes et les implications des synesthésies, procédés d’expression plastiques et rythmiques. Après la mise en évidence d’un contexte scientifique et artistique propice à l’avènement d’un théâtre synesthésique, le travail étudie les réponses apportées par des dramaturges (R. Alberti, M. Aub, J. Bergamín, T. Borrás, F. García Lorca, R. Gómez de la Serna, M. Hernández, G. Martínez Sierra, R. del Valle-Inclán) qui ont tiré parti des synesthésies pour semer dans leurs textes dramatiques les éléments d’une possible rénovation du théâtre espagnol de leur temps<br>A reaction against naturalism developed in Spanish drama at the turn of the 20th century against a backdrop of an impoverished national scene. In a context of crisis in artistic expression and codes, a number of responses came out from 1916 on. This doctoral thesis considers the dramatic works in the corpus to characterize their plastic energy in its various dimensions, textual — literary, dramatic and dramaturgic — as well as scenographic — when the plays were actually staged at the time. A major phenomenon in the revival of Spanish drama between 1916 and 1934, synaesthesias are studied in relation to the emergence of physical theatre and corporeal mime — then mostly confined to genres categorized as pantomime or cabaret — and the birth of major dance companies in the heyday of the Silver Age. The choice of such a chronological span for the texts selected identifies a relevant time frame in matters of cultural history and aesthetics as it coincides with the arrival of the Ballets Russes in Madrid and runs until the foundation and dissolution of the Compañía de Bailes españoles by Encarnación López La Argentinita and Federico García Lorca in 1933-1934. This thesis analyses the forms and significance of synesthesias as artistic and rhythmic modes of expression. After highlighting a scientific and artistic background propitious for the emergence of synesthetic drama, it examines the achievements of playwrights R. Alberti, M. Aub, J. Bergamín, T. Borrás, F. García Lorca, R. Gómez de la Serna, M. Hernández, G. Martínez Sierra and R. del Valle-Inclán who made use of synaesthesias to work in their texts elements that would energize a revival of Spanish drama<br>En el periodo de entresiglos (XIX-XX), en un panorama teatral degradado, surge en España una reacción contra el naturalismo. En un contexto de crisis de los lenguajes artísticos, despunta una serie de propuestas dramatúrgicas. Las obras de teatro seleccionadas se examinan intentando extraer de ellas la energía plástica en sus dimensiones tanto textuales como escénicas, en el caso de las obras puestas en escena en la época. Fenómeno mayor de renovación del teatro del primer tercio del siglo XX, las sinestesias se estudian en un conjunto de obras comprendido entre 1916 y 1934, en el cruce de la emergencia de un teatro del cuerpo, confinado hasta entonces a los géneros asimilados a la pantomima y a la revista, y del nacimiento de las grandes compañías de danza, en pleno apogeo de la Edad de Plata. Dicha delimitación cronológica de los textos escogidos caracteriza un intervalo temporal significativo desde el punto de vista de la historia cultural y de las problemáticas estéticas. El periodo coincide con la llegada de los Ballets Rusos a Madrid y se extiende hasta la fundación y disolución de la Compañía de Bailes españoles por Encarnación López La Argentinita y F. García Lorca en 1933-1934. La tesis analiza las formas e implicaciones de las sinestesias, recursos de expresión plásticos y rítmicos. Tras poner de relieve un contexto científico y artístico propicio para la emergencia de un teatro sinestésico, el trabajo consiste en estudiar las respuestas que propusieron los dramaturgos (R. Alberti, M. Aub, J. Bergamín, T. Borrás, F. García Lorca, R. Gómez de la Serna, M. Hernández, G. Martínez Sierra, R. del Valle-Inclán), que sacaron partido de las sinestesias para sembrar en sus textos dramáticos los elementos de una posible renovación del teatro español de su tiempo
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Gregorio, Amélie. "L’«Arabe» dans le théâtre français, du début de la colonisation de l’Algérie aux grandes expositions coloniales (1830-1931) : de représentations en discours." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2105.
Full textAbstract:
Dès 1830, le théâtre s’empare du thème de la conquête de l’Algérie puis il accompagne l’expansion coloniale en Afrique du Nord, événements majeurs qui ont marqué la vie politique française du XIXe et du début du XXe siècle. Véritable phénomène social et culturel de masse, il a fortement contribué à imposer l’esprit colonial et l’idée d’empire dans les mentalités. Mais dans quelle mesure exacte a-t-il été un acteur culturel de cette politique d’expansion et de domination ? Avec quelle fréquence, quelles inflexions ? Quelles représentations de l’« Arabe » a-t-il véhiculé, et comment les a-t-il transformées en discours idéologiques, reçus en direct par un public donné ? A-t-il été aussi le lieu d’une prise de distance, voire d’une contestation de la colonisation ? Au théâtre, l’altérité est mise en mots, mais aussi et surtout portée sur scène, par le corps et la voix du comédien, presque toujours français et blanc. L’autre, « indigène », celui qui interpelle, inquiète ou fascine, acquiert une visibilité accrue, le temps de la représentation. L’altérité est réduite par certains auteurs à des stéréotypes que d’autres mettent au contraire en question. L’image de l’Arabe, mais aussi du Kabyle, du Touareg et du métissé, a suivi les courants idéologiques qui ont sous-tendu les grandes étapes de l’expansion coloniale, jusqu’aux prémices des mouvements de décolonisation. Sur le plan esthétique, la représentation de l’« Arabe » est-elle l’occasion d’un renouvellement en matière de jeu, de langage, de décor et de costume ? La recherche de l’« exotisme » dans les formes spectaculaires laisse-t-elle parfois place au souci de rencontre et (re)connaissance de l’autre ? La portée à la fois littéraire, culturelle, sociale et historique du sujet nécessite de mobiliser et croiser des approches esthétique, dramaturgique, sociocritique et postcoloniale<br>Since 1830, drama has taken over the Algerian conquest theme then backed the colonial expansion in North Africa, two major events which marked French political life from the 19th century to the early 20th century. As a real social and cultural overall phenomenon, it has strongly contributed to impose the colonial spirit and the empire idea into people's minds. But to what extent exactly has it played a cultural role in this expansion and domination policy? At what frequency and with which inflexions? Which representations of the "Arab" has drama conveyed, and how has it transformed them into an ideological discourse, through a live performance received by a given audience? Has it also been a place of distancing, even contesting colonization? Otherness is put into words with drama, but it is also and mostly brought onto the scene through the body and the voice of the actor, almost always French and white. The other "native", the one who puts question, worries or fascinates, gains an enhanced visibility, for the time of the performance. Otherness is reduced to stereotypes by some authors while others call them into question. The image of the Arab – but also of the Kabylian, the Tuareg, and the mixed-race – has followed the ideological currents that have underlain the great steps of the colonial expansion, until the beginnings of the decolonization movement. On the aesthetic level, is the representation of the "Arab" the opportunity of a renewal in terms of performance, language, setting, and costumes? Does seeking "exoticism" in spectacular forms give sometimes way to concern about meeting and knowing, or acknowledging, the other? The literary, cultural, social and historical significance of the subject requires to mobilize and cross aesthetic, dramaturgic, sociocritical and post colonial approaches