Tesis: "Mari drama"

1

Britland, Karen. "Drama at the courts of Queen Henrietta Maria /". Cambridge : Cambridge university press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40142192q.

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2

Stehr, Claudia. "Shakespeare as transcultural narrative : Te tangata Whai rawa o Weniti = The Māori Merchant of Venice /". e-Book (PDF), 2006. http://www.library.auckland.ac.nz/eproducts/ebooks/Shakespeareastransculturalnarrative.pdf.

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Thesis (MA)--Technischen Universität Carolo-Wilhelmina zu Braunschweig, 2006.
Title from PDF cover (viewed on 5 October, 2007 ). "Magisterarbeit zur Erlangung des Magistergrades (M.A.) am Fachbereich für Geistes- und Erziehungswissenschaften".

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3

Bonnier, Anaïs. "L'empreinte des rituels. Persistance et mutations des formes et mécanismes rituels dans les dramaturgies occidentales des années 50 à nos jours". Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030145.

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Dans cette recherche, nous souhaitons mettre en jeu la mémoire des rites. Le rite est un élément fondamental de la vie sociale, un repère fixe et solide. Il demeure très présent dans le drame contemporain, vision réputée particulièrement sombre d’une société désenchantée. Regretté dans sa capacité dramatisante, le rite est d’abord réintroduit dans l’écriture comme une forme poétique, esthétique, déconnectée du divin mais capable d’élever le texte. Pourtant, déchu de sa place supérieure et dénué de symbole, il devient une forme dérisoire, vectrice de désespoir. Le rite est alors cible d’une dégradation qui suit deux logiques. D’une part un blasphème jubilatoire, qui cherche à le démystifier, rabaissant tous les modèles au niveau humain le plus abject. D’autre part un glissement progressif vers des avatars rituels sombres et aliénants. Le rituel, enfin, devient un prétexte pour parler du monde. Des quotidiens ritualisés interrogent la place laissée à l’homme par la société, des rites institutionnels veulent révéler la violence inhérente à la religion. Le rite devient aussi prétexte à diverses sortes de jeux qui, paradoxalement, font apparaître la noirceur à travers une innocence affichée. Dans les dramaturgies contemporaines, le rite est à la fois valorisé comme outil dramaturgique et dégradé, parce qu’il n’est plus considéré comme une construction sociale efficace. Il demeure à l’état d’empreinte, utilisée comme modèle de représentation, mais dans une forme toujours incomplète. Pour les dramaturges, l’empreinte du rituel est un champ d’expérimentation, qui permet de renouveler l’écriture théâtrale et de poser un défi à la scène
This research aims to explore the memory of rituals. Rituals are a fundamental element of our social life, a firmly established model. It remains very strongly present in contemporary drama, which is reputed to be a particularly dark vision of a disillusioned society. Missed in its dramatizing ability, the ritual is first reintroduced in drama as a poetic, aesthetic form, disconnected from divinity, but still able to elevate the text. However, being deprived of its former superiority and symbolism, it becomes an empty, trifling form, conveying despair. The rite is then debased in two ways. On the one hand, by a ferocious blasphemy aiming to demystify it, humbling all models to the worst human abjection. On the other hand, by slowly sliding into dark, alienating ritual avatars. Finally, the ritual is used as a pretext to comment upon the world. Ritualized everyday lives interrogate the place left to Man in society, and institutional rites aim to bring to light the violence inherent to religion. The rite also becomes a pretext for all sorts of games which paradoxically reveal darkness through apparent innocence. In contemporary drama, the rite is both valued as a dramatic tool and debased as an effective social construction. It remains as a mark, used as a representation model, but always in an incomplete form. For playwrights, the mark of the ritual is an experimentation field allowing them to renew dramatic writing as well as to challenge the stage

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4

Loehrmann, Jared. "Die Moderne Frau und ihr Drama: Marie Eugenie delle Grazies Drama Der Schatten (1901); ein Schlüsseltext zur Wiener Moderne". BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1552.

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Marie Eugenie delle Grazies Drama Der Schatten wurde am 28. September 1901 im Wiener Hofburgtheater, einer der bedeutendsten Bühnen Europas, uraufgeführt, jedoch nach nur vier Vorstellungen abgesetzt. Das mit dem Bauernfeld-Preis ausgezeichnete Stück bildet den Zenit von delle Grazies literarischem Schaffen und beinhaltet Diskurse von hohem damaligem Stellenwert, die uns einen tieferen Einblick, vom Standpunkt der modernen Frau, ins Fin-de-Siècle Wien geben können. Das Drama und seine Dichterin wurden im Wien der Jahrhundertwende sowohl gefeiert als auch gerügt. Delle Grazie hatte mit Vorurteilen gegen sie als Frau und Dichterin, sowie mit der Kritik an ihrer unkonventionellen Dramaturgie zu kämpfen. Betrachtet man Der Schatten jedoch im Kontext der Zeit, wird schnell erkennbar, dass die Wiener Dichterin sich vorzüglich darauf verstand die Diskurse ihrer Zeit aufzugreifen und künstlerisch und unikal zu verarbeiten. Inhaltlich ist ihr Protagonist, der Dichter Ernst Werner, die moderne Antwort auf Goethes Faust. Werner ist der faustische Künstler, der sich in freudscher Fasson mit seiner dunklen Seite, seinem Schatten, auseinandersetzt. Dabei werden immer wieder Nietzsches philosophische Ideen thematisiert, insbesondere die des Übermenschen, der sich seine Welt neu erschafft. Darüberhinaus weist das Drama in seiner Darstellung ritualistische Charakteristen auf und erschöpft in seiner Thematik postmodernes Gedankengut, wie es im Film der Jahrtausendwende problematisiert wird.

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5

Martin, Maria Jose. "Drama and Poetry in the Music of Maria Luisa Ozaita (b. 1939)". University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1006873170.

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6

O'Donnell, David O'Donnell y n/a. "Re-staging history : historiographic drama from New Zealand and Australia". University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.

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Since the 1980s, there has been an increasing emphasis on drama, in live theatre and on film, which re-addresses the ways in which the post-colonial histories of Australia and New Zealand have been written. Why is there such a focus on �historical� drama in these countries at the end of the twentieth century and what does this drama contribute to wider debates about post-colonial history? This thesis aims both to explore the connections between drama and history, and to analyse the interface between live and recorded drama. In order to discuss these issues, I have used the work of theatre and film critics and historians, supplemented by reference to writers working in the field of post-colonial and performance theory. In particular, I have utilised the methods of Helen Gilbert and Joanne Tompkins in Post-Colonial Drama: Theory, Practice, Politics, beginning with their claim that in the post-colonial situation history has been seen to determine reality itself. I have also drawn on theorists such as Michel Foucault, Linda Hutcheon and Guy Debord who question the �truth� value of official history-writing and emphasize the role of representation in determining popular perceptions of the past. This discussion is developed through reference to contemporary performance theory, particularly the work of Richard Schechner and Marvin Carlson, in order to suggest that there is no clear separation between performance and reality, and that access to history is only possible through re-enactments of it, whether in written or performative forms. Chapter One is a survey of the development of �historical� drama in theatre and film from New Zealand and Australia. This includes discussion of the diverse cultural and performative traditions which influence this drama, and establishment of the critical methodologies to be used in the thesis. Chapter Two examines four plays which are intercultural re-writings of canonical texts from the European dramatic tradition. In this chapter I analyse the formal and thematic strategies in each of these plays in relation to the source texts, and ask to what extent they function as canonical counter-discourse by offering a critique of the assumptions of the earlier play from a post-colonial perspective. The potential of dramatic representation in forming perceptions of reality has made it an attractive forum for Maori and Aboriginal artists, who are creating theatre which has both a political and a pedagogical function. This discussion demonstrates that much of the impetus towards historiographic drama in both countries has come from Maori and Aboriginal writers and directors working in collaboration with white practitioners. Such collaborations not only advance the project of historiographic drama, but also may form the basis of future theatre practice which departs from the Western tradition and is unique to each of New Zealand and Australia. In Chapter Three I explore the interface between live and recorded performance by comparing plays and films which dramatise similar historical material. I consider the relative effectiveness of theatre and film as media for historiographic critique. I suggest that although film often has a greater cultural impact than theatre, to date live theatre has been a more accessible form of expression for Maori and Aboriginal writers and directors. Furthermore, following theorists such as Brecht and Brook, I argue that such aspects as the presence of the live performer and the design of the physical space shared by actors and audience give theatre considerable potential for creating an immediate engagement with historiographic themes. In Chapter Four, I discuss two contrasting examples of recorded drama in order to highlight the potential of film and television as media for historiographic critique. I question the divisions between the documentary and dramatic genres, and use Derrida�s notion of play to suggest that there is a constant slippage between the dramatic and the real, between the past and the present. In Chapter Five, I summarize the arguments advanced in previous chapters, using the example of the national museum of New Zealand, Te Papa Tongarewa, to illustrate that the �performance� of history has become part of popular culture. Like the interactive displays at Te Papa, the texts studied in this thesis demonstrate that dramatic representation has the potential to re-define perceptions of historical �reality�. With its superior capacity for creating illusion, film is a dynamic medium for exploring the imaginative process of history is that in the live performance the spectator symbolically comes into the presence of the past.

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7

O'Connor, Peter J. y n/a. "Reflection and Refraction: The Dimpled Mirror of Process Drama: How Process Drama Assists People to Reflect on Their Attitudes and Behaviours Associated with Mental Illness". Griffith University. School of Vocational, Technology and Arts Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031210.113358.

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The National Project to Counter Stigma and Discrimination was established by the New Zealand government in 1997. The Project recognised that people with a diagnosis of mental illness are marginalized and excluded from full participation in society. The Mental Health Foundation was contracted to provide workshops for mental health service providers to shift workplace attitudes and behaviours that were discriminatory or stigmatising. This thesis used a case study approach to capture and evaluate the significance and nature of the transitory form of process drama in three workshops I facilitated in largely Maori communities in the far north of the North Island. The principles of reflective practitioner research informed the use of research tools, data collection and analysis. This research focused particularly on reflective strategies that occurred inside process drama work and the way in which meaning was constructed in that context. The central research question asked: 'In what ways does process drama work to assist people to reflect on their attitudes and behaviours associated with mental illness?' This raised a secondary question: 'What potential is there for a model to counter stigma and discrimination that uses process drama as a central strategy?' This thesis posits a new model for understanding the nature of reflection in process drama. The mimetic notions of the fictional and the real as discrete and defined entities should instead be seen as permeable frames of existence that on occasions collide and collapse into each other. The double paradox of process drama is that, having created an empathetic relationship with the roles taken, we purposefully structure distance so we can then deliberately collapse the distance to create deep moments of reflection. I suggest a more accurate term to describe reflection in process drama is refraction. Refraction acknowledges that, rather than clarity, process drama seeks ambiguity: instead of resolving issues it seeks to further problematise and complexify. The tension of working with a democratic and open-ended art form towards a pre-ordained end as part of the project is closely examined. The impact of performative rituals and proto drama processes as part of the context of working in Maori settings is also explored. A three step model for countering stigma and discrimination is formulated and workshopped. The content of the model is based on an analysis of research undertaken within an anti-racist context, and models that have informed similar mental health campaigns. The form of the model is process drama. An analysis of the workshops demonstrated that the first model developed was limited in its effectiveness. Instead, participants should engage in repeating cycles of generating and investigating images. This leads to the development of what I have termed the Spiral Three Step Model. Although the effectiveness of the Spiral model is not tested in this research, it became apparent that the workshops based on this structure provided opportunities for participants to consider and reflect/refract deeply on their workplace's attitudes and behaviours.

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8

O'Connor, Peter J. "Reflection and Refraction: The Dimpled Mirror of Process Drama: How Process Drama Assists People to Reflect on Their Attitudes and Behaviours Associated with Mental Illness". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/366538.

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The National Project to Counter Stigma and Discrimination was established by the New Zealand government in1997. The Project recognised that people with a diagnosis of mental illness are marginalized and excluded from full participation in society. The Mental Health Foundation was contracted to provide workshops for mental health service providers to shift workplace attitudes and behaviours that were discriminatory or stigmatising. This thesis used a case study approach to capture and evaluate the significance and nature of the transitory form of process drama in three workshops I facilitated in largely Maori communities in the far north of the North Island. The principles of reflective practitioner research informed the use of research tools, data collection and analysis. This research focused particularly on reflective strategies that occurred inside process drama work and the way in which meaning was constructed in that context. The central research question asked: 'In what ways does process drama work to assist people to reflect on their attitudes and behaviours associated with mental illness?' This raised a secondary question: 'What potential is there for a model to counter stigma and discrimination that uses process drama as a central strategy?' This thesis posits a new model for understanding the nature of reflection in process drama. The mimetic notions of the fictional and the real as discrete and defined entities should instead be seen as permeable frames of existence that on occasions collide and collapse into each other. The double paradox of process drama is that, having created an empathetic relationship with the roles taken, we purposefully structure distance so we can then deliberately collapse the distance to create deep moments of reflection. I suggest a more accurate term to describe reflection in process drama is refraction. Refraction acknowledges that, rather than clarity, process drama seeks ambiguity: instead of resolving issues it seeks to further problematise and complexify. The tension of working with a democratic and open-ended art form towards a pre-ordained end as part of the project is closely examined. The impact of performative rituals and proto drama processes as part of the context of working in Maori settings is also explored. A three step model for countering stigma and discrimination is formulated and workshopped. The content of the model is based on an analysis of research undertaken within an anti-racist context, and models that have informed similar mental health campaigns. The form of the model is process drama. An analysis of the workshops demonstrated that the first model developed was limited in its effectiveness. Instead, participants should engage in repeating cycles of generating and investigating images. This leads to the development of what I have termed the Spiral Three Step Model. Although the effectiveness of the Spiral model is not tested in this research, it became apparent that the workshops based on this structure provided opportunities for participants to consider and reflect/refract deeply on their workplace's attitudes and behaviours.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
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9

Zingano, Erica. "Livro em deriva, percursos do EU no drama-poesia de Maria Gabriela Llansol". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-16082011-154951/.

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Livro em deriva, percursos do EU no drama-poesia de Maria Gabriela Llansol se aproxima de Onde vais, drama-poesia? (2000), da portuguesa Maria Gabriela Llansol (1931-2008), para atravessá-lo, seccionando-o, ao criar percursos de legência que acompanham algumas das várias linhas-camadas que compõem o livro. As linhas, derivas pensadas como desvios, cruzam o EU sob diferentes perspectivas: da autobiografia, ao jogo de cena, observando a questão da autoria e da alteridade, até o fragmento. Deambulações, tendo sempre como eixo o marco zero, a textualidade.
Livro em deriva, percursos do EU no drama-poesia de Maria Gabriela Llansol approaches the book Onde vais, drama-poesia? (2000), by the portuguese Maria Gabriela Llansol (1931-2008), in order to traverse it, dividing it into sections to articulate reading guidelines or pathways, which follow some of the various lines-layers that compose the book. These lines, drifts understood as detours, intersect the I from different perspectives: from autobiography to theatrical playing, taking into account the questions of the authorship and alterity, to the fragment. Wanderings, wich always regard textuality as the ground zero.

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10

Summers, Julie Anne. "'Writing on the frontier' : European identification and the drama of Bernard-Marie KolteÌ€s". Thesis, University of Birmingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423363.

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The overarching aim of this thesis is to give an account of the theatre of Bernard-Marie Koltes in relation to contemporary France and Europe. It highlights the aspects of his work that convey a sense of Europe's common cultural heritage, and considers its potential role in promoting processes of identification across national frontiers. The study is divided into two distinct sections. Part 1 focuses on textual analysis, and Part 2 on performance. Part 1 analyses the thematic structure of Koltes's drama, together with the myths and language therein. A key argument is that, whilst Koltes's drama is firmly located within the national context of France, traditional notions of `Frenchness' are challenged. The ideas the plays address can be seen as also relevant to a wider European audience, and can help define a contemporary view of `Europeanness'. Part 2 examines how Koltes's themes and ideas have been conveyed on stage. It considers productions of his drama in the differing contexts of France, Africa, Germany and Britain, in relation to the themes and ideas outlined in Part 1. The analysis teases out those aspects of the work that are perceived as `French' - such as the language and style of the drama - and those which have apparently crossed cultural frontiers - such as its settings and themes. The thesis concludes that Koltes's drama is both French and European. It suggests that his theatre opens channels for European identification between France and other cultures - particularly those that share western capitalist values and a history of colonial adventure. However, a further conclusion is that Koltes's plays do not furnish audiences with a comfortable image of the individual in contemporary Western European society.

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11

Terzakis, Louisa. "Maria Magdalena und der Wandel von Familie und Vaterfigur". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23621.

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12

Mehler, Ulrich. "Marienklage im spätmittelalterlichen und früneuzeitlichen Deutschland : Textversikel und Melodietypen /". Amsterdam ; Atlanta (Ga.) : Rodopi, 1997. http://catalogue.bnf.fr/ark:/12148/cb373197810.

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13

Bailey, Rebecca A. "Queen Henrietta Maria, the 'old faith' and 'her Majesties servants' : Roman Catholicism and Caroline drama". Thesis, Birkbeck (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407284.

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14

Bal, Mustafa. "The End: The Apocalyptic In In-yer-face Drama". Phd thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12610781/index.pdf.

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This thesis presents a close analysis of one of the ageless discourses of human life &ndash
apocalypse, or the End &ndash
within the highly controversial In-Yer-Face drama of the 1990s British stage. The study particularly argues that there is a strong apocalyptic sense in the plays of the decade, and it discovers that the apocalyptic representation within these plays varies. Five plays by three prominent playwrights of the decade are used to illustrate and expand the focus. After a detailed examination of the apocalyptic discourse, it is claimed that Mark Ravenhill&rsquo
s Shopping and F***ing and Faust is Dead are based on certain philosophical ideas of the End, Anthony Neilson&rsquo
s Normal and Penetrator reveal the apocalyptic through an extreme use of violence, and Sarah Kane&rsquo
s 4.48 Psychosis comingles representations of the apocalyptic and psychological trauma.

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15

Souza, Carlos Eduardo Batista de. "A boa nova anunciada à natureza: o 'drama-poesia' em três discursos de Maria Gabriela Llansol". Universidade Federal de Minas Gerais, 2011. http://hdl.handle.net/1843/ECAP-8G9Q2U.

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"Para que o romance não morra" [Pour que le roman ne meurt pas], "Nuvens" [Des Nuages] et "O encontro inesperado do diverso" [La rencontre inattendue du divers] - des discours prononcés en 1991, dans des contextes divers, par Maria Gabriela Llansol sont les textes qui orientent cette lecture, qui a comme objectif la scrutation, dans lespace de louvre de Llansol, du concept esthétique llansolien drama-poesia [drame-poésie] en rapport avec la reproduction esthétique du monde à la recherche de ce que lauteur portuguaise appelle la bonne nouvelle anoncée à la nature. Le rapport entre le désir et lécriture chez Roland Barthes; la notion de "parole commençante" développée par Maurice Blanchot; la notion daffect développée par Espinosa travérs la lecture de Gilles Deleuze; et aussi la notion de léternel retour chez Nietzsche, amplifiée par la pensée llansolienne, sont la base théorique de ce travail
"Para que o romance não morra", 'Nuvens", "O encontro inesperado do diverso" - discursos pronunciados por Maria Gabriela Llansol em 1991, em contextos diversos - são os textos que orientam esta leitura, que objetiva perscrutar, no espaço da obra llansoliana, o conceito estético llansoliano drama-poesia em relação com a reprodução estética do mundo, em busca do que a autora portuguesa chama de a boa nova anunciada à natureza. A relação entre desejo e escritura em Roland Barthes; a noção de "palavra começante" desenvolvida por Maurice Blanchot; a noção de afecto desenvolvida por Espinosa, através da leitura de Gilles Deleuze; e, também, a noção de eterno retorno em Nietzsche, amplificada pelo pensamento llansoliano, são as bases teóricas deste trabalho.

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16

Naeser, Jessica. "Det gemensamma skapandets magi. Om förutsättningar för kreativitet". Thesis, Malmö högskola, Lärarutbildningen (LUT), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35771.

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Syftet med följande uppsats är att undersöka och beskriva förutsättningarna för kreativitet i drama- och teaterarbete. I detta inkluderas att undersöka ledarskapets betydelse för de kreativa processerna samt att undersöka förhållandet mellan process- och resultatfokuserat arbete i relation till kreativitet.MetodUppsatsens syfte har undersökts med hjälp av en intervjubaserad fallstudie av den danska teatergruppen Sort Samvittighed i förbindelse med deras föreställning Hvid Magi. Tre kvalitativa intervjuer är gjorda med tre medlemmar ur Sort Samvittighed: regissören, den musikaliska ledaren och skådespelaren. Utöver fallstudien involverades litteraturstudier om kreativitet, Maslows motivationsteori och dramapedagogisk teori med extra vikt på det konstpedagogiska perspektivet. ResultatDet framgår av resultatet att gruppen Sort Samvittighed värderar kollektivet och medskapandet högt vilket utgör det fundament som de kreativa processerna och föreställningen Hvid Magi utgår ifrån. Resultatet visar på flera förutsättningar för kreativitet där faktorer som trygghet och öppna kreativa processer spelar centrala roller. Det framgår att det var viktigt att föreställningen Hvid Magi blev bra men att det inte var viktigare än själva processen. Sort Samvittighed söker ett gemensamt uttryck i mötet med publiken och säger sig sträva efter icke-perfektion. Icke-perfektion framstår vara den centrala förutsättning som ger föreställningen dess liv, gör den nyskapande samt det som utgör länken mellan aktörer och publik. Resultatet har utmynnat i en kreativitetspyramid som illustrerar fem förutsättningar för kreativitet i drama- och teaterarbete.

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17

Bueno, André Curiati de Paula. "Palhaços da cara preta: Pai Francisco, Catirina, Mateus e Bastião, parentes de Macunaíma nos Bumba-bois e Folias-de-Reis - MA, PE, MG". Universidade de São Paulo, 2005. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-04122012-094809/.

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Trabalho voltado a três brincadeiras populares com personagem negro de máscara, em três Estados brasileiros, e a comparações com o personagem Macunaíma, de Mário de Andrade. Foi realizada pesquisa de campo com registro áudio-visual por quatro anos, em continuidade com pesquisa anterior de Mestrado. O capítulo 1 introduz abordagens de Mário de Andrade, etnomusicologia, semiótica, estudos africanos e afro-brasileiros. O capítulo 2 avalia grandezas reunidas em Macunaíma, da fonte etnográfica às visões dos personagens negros da cultura popular, com índices da própria obra, da correspondência com Bandeira e da crítica. O capítulo 3 tange à experiência de campo, ao registro de Mário de Andrade do palhaço Veludo no Lundu do Escravo e à visão de Tinhorão dos palhaços negros cantores. No capítulo 4 vêm as transcrições dos textos registrados em campo com os personagens Pai Francisco, Catirina, Mateus e Bastião, nos três Estados. E o capítulo 5 traz balanço comparativo dos três registros e coerências com Macunaíma. A conclusão aborda o disfarce social e a vitalidade das representações negras.
This is a study of three dramatic dances with masked black character, from three states of Brazil, in comparison with Mario de Andrade´s character Macunaíma. Field research with audio/video capture was done in four years, in continuity with the research for a previous thesis. Chapter 1 introduces Mário de Andrade´s approaches, ethnomusicology, semiotics, African and Afro-brazilian studies. Chapter 2 considers diferent values in Macunaíma, from the ethnographic base to visions of black characters in Brazilian popular culture, referring data from the book itself, from Andrade´s letters to Manuel Bandeira and from the critics. Chapter 3 discusses field experience, Andrade´s register of the clown Veludo in Lundu do Escravo and Tinhorão´s vision of the singing black minstrels. Chapter 4 brings transcriptions of texts registered in field with the characters Black Francisco, Catirina, Mateus and Bastião in three states of Brazil. And chapter 5 brings comparisons of the three narratives, and coherences with Macunaíma. The conclusion approaches social disguise and masks and vitality of black representations.

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18

Williams, Ian Kennedy. "Re-igniting the Gothic: Contemporary Drama in the Classic Mode". Queensland University of Technology, 2005. http://eprints.qut.edu.au/16033/.

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While the gothic in its various interpretations is well established in contemporary culture, the traditional form, rooted in its late eighteenth century literary conventions, would seem to have little relevance for theatre audiences today. A reappraisal of the convention's foundations, however, offers the playwright opportunities to explore new narratives in which the tradition can be re-inflected in the present. An analysis of the writing of my play Burn, which presents as a contemporary family drama, will demonstrate how the narrative can be structured with deliberate reference to the established tropes of the classic gothic mode. It will be shown that a re-engagement with the tradition in concert with new interpretations of the gothic can reinvigorate the form as a mode of playwriting practice.

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19

Williams, Ian Kennedy. "Re-igniting the Gothic : contemporary drama in the classic mode". Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16033/1/Ian_Williams_Thesis.pdf.

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While the gothic in its various interpretations is well established in contemporary culture, the traditional form, rooted in its late eighteenth century literary conventions, would seem to have little relevance for theatre audiences today. A reappraisal of the convention's foundations, however, offers the playwright opportunities to explore new narratives in which the tradition can be re-inflected in the present. An analysis of the writing of my play Burn, which presents as a contemporary family drama, will demonstrate how the narrative can be structured with deliberate reference to the established tropes of the classic gothic mode. It will be shown that a re-engagement with the tradition in concert with new interpretations of the gothic can reinvigorate the form as a mode of playwriting practice.

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20

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.

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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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21

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.

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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.
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.
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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22

Souza, Firmiane Venâncio do Carmo. "Entre tramas e dramas: as percepções de mulheres sobre medidas protetivas em tempos de lei Maria da Penha Salvador". Faculdade de Filosofia e Ciências Humanas, 2016. http://repositorio.ufba.br/ri/handle/ri/23861.

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O presente trabalho se destina a investigar os impactos que mecanismos processuais de proteção à mulher tais como as medidas protetivas estabelecidas pela Lei Maria da Penha tiveram na vida de mulheres atendidas pelo Núcleo de Defesa da Mulher da Defensoria Pública do Estado da Bahia entre os anos de 2012 e 2015. Para tanto, foram realizadas entrevistas semiestruturadas com oito mulheres que viveram situações de violência e tiveram processos judiciais de medidas protetivas ajuizados perante a 1ª Vara de Violência Doméstica e Familiar contra a mulher de Salvador. Na análise dos impactos que essa passagem por um processo da Lei Maria da Penha trouxe para as mulheres, são identificadas as dificuldades, insuficiências estruturais e ideológicas do sistema protetivo estabelecido pela Lei 11.340/2006 bem como apontados modelos que possam permitir o ingresso das mulheres em situação de violência em etapas mais profundas e eficazes de empoderamento.
This research sought to investigate the impact of procedural mechanisms of protection of women, such as the protective measures established by the Maria da Penha Law, had in the lives of women attending by the Public Defender Women's Defense Center of Bahia between 2012 and 2015. We realized semi-structured interviews, applied to eight women who experienced domestic violence and need protective measures before decision of judge in court first instance of Domestic and Family violence against women in Salvador, Bahia. In the analysis of the impacts in the passage by a process of Maria da Penha Law has brought to women, we try identify the difficulties, structural and ideological shortcomings of the protective system established by Law 11.340/ 006, thinking about models to women in domestic violence situation have acess the process of women's empowerment.

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23

Tuesta, Figueroa Teresa Adelaida Aurora. "Lo femenino en la obra dramática (1981-1986) de Mario Vargas Llosa". Master's thesis, Universidad Nacional Mayor de San Marcos, 2017. https://hdl.handle.net/20.500.12672/7523.

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Analiza cómo construye Vargas Llosa a los personajes femeninos de su obra teatral iniciática, y como es que el autor pretende plasmar, de manera crítica, las nulas opciones para la mujer en un entorno adverso. Con la publicación de La Señorita de Tacna, Kathie y el hipopótamo y La Chunga, primeras obras de teatro de Mario Vargas Llosa, los personajes femeninos del autor, que habían quedado relegados a un rol secundario en su narrativa, protagonizan la acción. Se analiza en las obras el tratamiento de lo femenino, ya que los personajes no se sumergen en estereotipos, son más bien complejos, de pinceladas conductuales diversas. La hipótesis es que el discurso de lo femenino en la obra dramática de Vargas Llosa faculta al autor recrear la violencia del orden patriarcal. El personaje femenino es un ser complejo, abnegado y angelical, pero a la vez malvado y pasional, lo que advierte un ser femenino que pretende alejarse de los límites de los estereotipos establecidos por el mundo simbólico. La configuración de este orden, permite el desarrollo de las ideas del autor relacionadas al amor, la sexualidad, la violencia y la libertad; resaltando cómo la fémina intenta rebelarse y fracasa ante los esquemas de lo establecido, pues el orden patriarcal existente la derrota. Asimismo, el recurso del meta-texto en la obra teatral recrea y hace explícita la violencia inherente en el universo de lo femenino.
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24

Berg, Jesper. "Noblesse Oblige: Ett rollspel : 1600-talets svenska adel, skyldigheter och plikter och skapandet av ett rollspel". Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40803.

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Abstract – Noblesse oblige: a roleplaying game During the 17th-century the Swedish nobility was forced to deal with a number of new challenges. They reached the height of their power, but also began their downfall. How did the nobility’s ideal come to be in the face of this? Can we in these ideals find the duties and obligations of the nobility? And if we can, how can a roleplaying game be made out of the historical facts? A roleplaying game meant for educational means, well suited for the classroom and teachers, capable of stimulating the young minds and offering them an in depth understanding of how the nobility’s minds moved. In this study it will show, with the help of a qualitative method along with the theory of Mark Edward Motley and a look at social sanctions from the time. We shall find that the nobility indeed held obligations and duties both.

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25

Ugalde, Pascual Begoña. "“Kinder”: un texto que se escenifica en cuerpo". Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/110475.

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A partir de las inquietudes que me despierta el teatro como Manifestación artística que además de textos literarios, integra en su forma de representación múltiples lenguajes y disciplinas, elegí como objeto de análisis la obra “Kinder” , escrita y dirigida en el 2002 por Ana María Harcha y Francisca Bernardi. Me centraré principalmente para mi reflexión en algunas perspectivas que he desprendido tanto de los testimonios de Ana Harcha, como de textos críticos y poéticas que ha realizado ella misma en torno de su obra. Asimismo consideraré ideas obtenidas a partir de una entrevista que realicé a Francisca Bernardi. Me parece interesante elegir un objeto literario sobre el cual no se ha desarrollado una crítica abundante, debido a que esto me permite investigar la obra en su contexto e informarme acerca de lo que está pasando actualmente con la escena teatral chilena, y con las artes contemporáneas en general.

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26

Sfeir, Maya. "A Comparative Analysis of Language and Gender in Selected French and American Modern Drama". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA021.

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Notre étude a pour objet d’examiner comment le genre et les relations de pouvoir et d’affinité sont construits à travers le discours dans deux pièces de théâtre françaises et deux pièces de théâtre américaines écrites durant l’époque moderne (1890-1914), Margaret Fleming (1890) de James A. Herne, He and She (1911) de Rachel Crothers, Les avariés (1902) de Eugène Brieux et La triomphatrice (1914) de Marie Lenéru. Le but de l’étude est de combler l’écart entre le champ d’étude du langage et du genre ainsi que dans le champ de l’analyse linguistique des textes de théâtre dans les mondes francophones et anglophones. Pour combler cette lacune, nous avons choisi de développer un modèle d’analyse ancré dans l’évolution récente du champ de langage et de genre tout en prenant en considération l’analyse linguistique des textes de théâtres. Le modèle joint les théories anglophones de l’analyse critique du discours ainsi que les théories de l’analyse du discours françaises et les théories d’énonciation. Notre analyse nous a démontré que dans les pièces françaises et américaines, les systèmes linguistiques français et anglais utilisent les mêmes stratégies et procès linguistiques pour représenter le genre et les relations. Nous avons également constaté que dans les textes dramatiques, le genre est situationnel, dépendant du contexte, et intersectionnel, se croisant avec d’autres catégories tels la classe, l’âge et l’ethnicité, et dans le cas des textes dramatiques, les genres dramatiques et les rôles des personnages. Nos résultats présentent de nouvelles façons d’étudier et de lire le genre dans les discours dramatiques et montrent aussi l’importance de joindre des approches multiculturelles
The purpose of this study was to investigate how gender, and power and affinity relationships areconstructed via discourse in two French and two American plays composed during the modern period (1890-1914): James A. Herne’s Margaret Fleming (1890), Rachel Crothers’s He and She (1911), Eugène Brieux’sLes Avariés (1902), and Marie Lenéru’s La Triomphatrice (1914). The study sought to fill the gap between,on the one hand, research in the field of language and gender that unsystematically analyzed literary anddramatic texts, and, on the other hand, studies in the field of the linguistic analysis of drama that analyzedlanguage and gender in plays without recourse to the theoretical underpinnings in language and genderstudies. To address this gap, a three-partite model analyzing the dramatic text, the situation of enunciation,and gendered discourses was developed, building on Critical Discourse Analysis and French DiscourseAnalysis, as well as research from the fields of language and gender, and the linguistic analysis of drama. Aclose examination of gendered representations and gendered usage using the model revealed that in Frenchand American drama, similar linguistic features are mostly deployed to construct gender and relationships.Results also showed that in dramatic texts, gender is situational, depending on context, and intersectional,often intersecting with other categories like class, age, and ethnicity, and in the case of dramatic texts,dramatic genres and roles. These findings present new ways of researching and reading gender in dramaticdiscourse. They also highlight the importance of combining multi-cultural approaches to analyze gender indramatic texts

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27

Böhm, Christine. "Parallelwelten". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23474.

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28

Johnston, Emma Anne. "Healing maori through song and dance? Three case studies of recent New Zealand music theatre". Thesis, University of Canterbury. Theatre and Film Studies, 2007. http://hdl.handle.net/10092/980.

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This thesis investigates the way "healing" may be seen to be represented and enacted by three recent New Zealand music theatre productions: Once Were Warriors, the Musical-Drama; The Whale Rider, On Stage; and Footprints/Tapuwae, a bicultural opera. This thesis addresses the ways each of these music theatre productions can be seen to dramatise ideologically informed notions of Maori cultural health through the encounter of Maori performance practices with American and European music theatre forms. Because the original colonial encounter between Maori and Pakeha was a wounding process, it may be possible that in order to construct a theatrical meeting between the "colonised" Maori and the "colonial" non-Maori, "healing" is an essential element by which to foster an idea of the post-colonial, bicultural togetherness of the nation. In all three productions, Maori song and dance forms are incorporated into a distinctive form of western music theatre: the American musical; the international spectacle; Wagnerian opera. Wagner's attempts to regenerate German culture through his music dramas can be compared to Maori renaissance idea(l)s of cultural "healing" through a "return" to Maori myths, traditions and song and dance.

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29

Samboo, Sachita. "Le drame familial chez les romanciers français : François Mauriac et Hervé Bazin et les romanciers mauriciens : Loys Masson et Marie-Thérèse Humbert : du XXe siècle". Bordeaux 3, 2008. http://www.theses.fr/2008BOR30009.

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Comment le drame familial est-il représenté chez deux romanciers français – François Mauriac et Hervé Bazin – et deux romanciers mauriciens – Loys Masson et Marie-Thérèse Humbert – du XXe siècle ? A partir d’un corpus de cinq romans français et de cinq romans mauriciens, cette étude propose une démarche à la fois comparatiste, thématique, psychanalytique, sociocritique, narratologique et énonciative pour cerner, d’une part, les points communs aux deux littératures : la manifestation similaire du drame familial chez les deux groupes de romanciers, avec la récurrence du drame du couple, du drame de l’enfant et des mêmes types de procédés narratifs qui font ressortir le caractère inéluctable du drame familial. D’autre part, le cadre géographique aussi bien que socio-historique constitue la distinction majeure entre les deux groupes de romans. Du point de vue du cadre de l’énoncé, Mauriac et Bazin dépeignent surtout des drames de la bourgeoisie provinciale ; Masson et Humbert, des drames du « mauricianisme ». Du point de vue du cadre de l’énonciation, la correspondance, ou non, entre le cadre de l’énoncé et le cadre de l’énonciation donne lieu à une impression d’enracinement, ou de déracinement, des personnages, narrateurs et auteurs. Le constat est le suivant : l’enracinement concerne les romanciers français ; le déracinement, les romanciers mauriciens. Par ailleurs, d’autres perspectives de comparaison, comme l’ouverture possible de notre corpus de romanciers et de romans, ainsi que les différences entre deux auteurs ayant pourtant le même pays d’origine, nous donnent une autre vision : celle de drames familiaux pas tant « nationaux » qu’« individuels »
How do François Mauriac and Hervé Bazin (two French novelists), Loys Masson and Marie-Thérèse Humbert (two Mauritian novelists) depict domestic tragedy ? The thematic, comparative, psychoanalytical, sociological, narratological, as well as enunciative interpretation, of a corpus of five French novels and five Mauritian novels, first gives rise to the following : certain similar characteristics can be found between the French and the Mauritian literary texts, in terms of recurrence of the same expressions of domestic tragedy, from the point of view of both the child and the couple, and backed by comparable narrative techniques. However, one main difference between the two groups of authors lies in their opposite geographical, historical and social background. And yet, the possibility of widening our corpus of novelists and novels, together with the dissimilarities between authors of the same origin, contributes to a new concept of less “national” and more “individual” domestic tragedy

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30

Guimaraes, Ferrer Carrilho Maria Clara. "Devenir-paysage de la scène contemporaine. Le dépaysement du drame". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030160.

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En écho avec la réflexion de Gertrude Stein sur le théâtre, la présente thèse explore l’idée de paysage comme moteur, dissident de la trame d’une histoire, de l’action scénique et de l’émotion du spectateur. Quoique récurrente dans le discours théâtral actuel, l’association entre théâtre et paysage ne va pas de soi. Il y a là comme des « noces contre nature » entre deux règnes et deux échelles différentes : la scène théâtrale, règne du drame, bâtie poétiquement et architecturalement à l’échelle de l’homme, et le paysage, règne de la nature qui ne peut se concevoir qu’à l’échelle de l’infini. Des « noces contre nature » qui, pour être fécondes, exigent une double émancipation : celle de la paysagéité hors du cadre pictural d’où elle est née en même temps que celle de la dramaticité hors de la matrice aristotélicienne qui l’a forgée.En partant de l’étude du concept de paysage et de l’évolution du genre pictural paysager, la thèse cherche à mettre en perspective la façon dont la paysagéité s’est immiscée dans l’art théâtral. Dans le sillage du concept de pièce-paysage introduit par Gertrude Stein en 1934, l’écriture théâtrale contemporaine, libérée de la nécessité de raconter une histoire, convoque une scène mentale pour une action qui ne peut se projeter que dans l’espace infiniment petit et infiniment grand de la pensée. Cristallisant les intuitions dramaturgiques steiniennes, l’œuvre de Robert Wilson fonctionne comme un prisme à travers lequel s’affirme l’esthétique scénique paysagère: l’homme et sa parole sont décentrés au sein d’un espace qui s’ouvre vers l’horizon. On en trouve l’écho dans une série d’œuvres scéniques contemporaines – Claude Régy, Maguy Marin, Joël Pommerat, Heiner Goebbels, François Tanguy – qui déclinent à leur façon les critères esthétiques d’un spectacle-paysage que le théâtre de Robert Wilson aura permis de forger.Le devenir-paysage de la scène s’accomplit au prix d’un dépaysement du drame et de son spectateur
The present thesis falls within Gertrude Stein’s legacy and explores the concept of landscape as a driving force of scenic action and audience emotion that is independent of the plot.Although it is now common in the theatrical discourse, the association between theatre and landscape is not a given one. It is a sort of “counter-natural alliance” between two different realms and scales. The stage, which belongs to the realm of theatre, is built both poetically and architecturally to the human scale, whereas a landscape, which belongs to the realm of nature, can only be conceived of on an infinite scale. This “counter-natural alliance” can only be fertile if two emancipations occur: that of the landscape from the pictorial frame from which it was born, and that of drama from the Aristotelian matrix which constructed it.The thesis starts from a study of the evolution of the pictorial genre of the landscape and the concept of the same to examine how it infiltrated theatrical art. Contemporary theatrical writing followed in the footsteps of Gertrude Stein’s concept of the landscape play introduced in 1934 and was free of the necessity to tell a story. It conjures up a mental stage for actions which can only be envisaged in the infinitely small and infinitely large spaces of thought.Robert Wilson’s work crystallized Stein’s dramaturgic intuitions. It acted as a prism through which the stage esthetics of landscape was focused; therein, man and speech are decentralized within a space which opens towards the horizon. Many contemporary scenic works echo this, including those of Claude Régy, Maguy Marin, Joël Pommerat, Heiner Goebbels and François Tanguy, who play with the esthetic criteria of the landscape play which Robert Wilson’s work initially forged.The stage becomes a landscape through the disorientation of drama and its audience

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Gordana, Todorić. "Поетика постмодернизмау драмама Александра Поповића(књижевни поступци, деконструкција темељних образаца, ново читање традиције)". Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2015. http://www.cris.uns.ac.rs/record.jsf?recordId=91728&source=NDLTD&language=en.

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U našem radu pokušaćemo da, na korpusu drama za odrasle, koje su u štampanom obliku dostupne javnosti, izdvajanjem samo nekih interpretativnih problema, ukažemo na ono za šta pretpostavljamo da je po-etička osnova Popovićevog rukopisa. Njihova priroda nametnula je aparaturu i strategije koje pripadaju postmodernizmu. To je stoga što i sam pisac, verujemo, jeste postmoderni pisac.Pre svega, Popovićev opus hronološki posmatrano, interferira s postmodernizmom u srpskoj književnosti, pa nas zanima priroda veze ove dve pojave. Takođe, u Popovićevom delu značajno je prisutna, prvenstveno jezička, građa preuzeta iz srpskog književnog nasleđa, te tradicionalne kulture, a upravo je odnos prema tradiciji jedno od relevantnih pitanja koje postmoderna postavlja. Slično se može reći i za problem književnog redefinisanje obrazaca kulture. Doslednim preoblikovanjem farse, temeljnim postupka prema žanru kojim se A. Popović služi, on je ne samo na tragu opštih književnih težnji dvadesetog veka, nego posebnim poetskim postupcima čini vidljivim one kulturne pojave koje su u vreme nastanka Popovićevog opusa bitno uticale na kulturnu matricu Srbije, ali i naznačile ono što će se u kulturi (pa tako i u književnosti) tek dogoditi.U hermetičnim tekstovima, dakle onima koje smo svrstali u drugu tendenciju Popovićevog opusa, predstavljanje značenja kao nepredstavljivog, realizovano je i kao igranje (jezičkih) igara, što je drugo ime za apofatičku misao koja, verujemo, prožima Popovićevo celokupno delo. Nihilizam neće završiti u samoubistvu nijednog njegovog lika (što bi predstavljalo tragičnu preteču postdramskog teatra u verziji Sare Kejn), nego u samožrtvovanju (u drami Afera Ljiljak i njenom negativu – Ružičastoj noći), svojevrsnoj razradi Popovićeve teme potrage, koja signalizira suštinsko nepristajanje na logos vidljive stvarnosti. On zna da je nasleđeni koncept o diskurzivnim hijerarhijama – obmana, ali nije napustio ideju potrage za aksisom.Time što problematizuje binom centar-margina, što dekonstruiše velike narative kulture uspostavljajući tako svojevrsni kontinuitet s nasleđem (i onim koje je ostalo skrajnuto), što ukida hijerarhije kulturnih kodova, što tematizacijom jezika diskutuje metafiziku prisustva i označiteljske prakse kulturnog kanona kojem pripada, Popović postavlja okvir za (re)konstrukciju poetičkih načela svog opusa. Konačno, tezom o apofatizmu, koja svoju paralelu ima u ruskom postmodernizmu, ma koliko na prvi pogled bila nespojiva s Popovićem i njegovim dramama, onakvim kako ga pamti ideološki opterećeno književnoj nasleđe, verujemo da odgovaramo na pitanje zašto Popović piše, tada i tako.
In our paper-work we shall try, concerning the corpus of dramas for adults, which are in printed forms available to the public, to point to what we assume is po-etic basis of Popovic's writings, by singling out certain interpretative problems. The nature of those works imposed apparatus and strategies that belong to the postmodernism. It is because the writer himself, as we belive, is postmodern writer.First of all, Popovic's oeuvre, chronologically speaking, interferes with postmodernism in Serbian literature and we are interested in the conection between these two phenomena. Also, in his literary work there is a significal presence of, primarly linguistic, material taken from Serbian literary heritage and traditional culture, and the relationship to the tradition is the one of the relevant questions that postmodernism raises. The same can be said about the problem of literary redefining cultural patterns. By consequent reshaping of farce genre аs the fundamental Popovic`s mood, he is not just on the trail of XXth centuryliterary aspiration, but through special poetic procedures he makes visible those cultural phenomena that had, at the time when Popovic`s oeuvre appeared, significant impact on cultural matrix of Serbia and indicate what in culture (incuding literature) will only happen in the future.In hermetic texts, those considered as the second tendency of Popovic`s oeuvre, representing void as unimaginable, implemented as a play (language) games, is another name for the apophatism, which, we believe, permeates entire Popovic`s oeuvre. Nihilism will not end up in suicide of any of his characters (which would be a tragic forerunner of postdramatic theater in Sarah Kane`s version) but in self-sacrificing (in drama Afera Ljiljak and its opposite – Ružičasta noć), a kind of working out of Popovic`s theme – quest, which signals a fundamental refusa of visible reality. He knows that inherited concept of discursive hierarchies is deception but he did not abandon the idea of searching for Axis.By problematizing binary opposition center – margine, by deconstruction of the grand narratives of culture which means establishing specific kind of continuity with legacy (even with those remained sidelined), by terminating the hierarchy of cultural codes, by discussing the metaphysics of presence and practice of signification to which he belongs (by focussing language), Popovic sets the framework for (re)construction оf poetic principles of his ouvre.Finally, through the thesis on apophatism which has its parallel in Russian postmodenism, although, at first glance, that thesis is incompatible with Popovic and his dramas, as it is remembered by ideologically laden literary legacy, we believe that we have answered the question why Popovic has been writing, then and so.

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Castro, Pedro Lopes e. "A serenata na Corte de D. Maria I e o legado de João de Sousa Carvalho (1777-1792)". Doctoral thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/22451.

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Doutoramento em Música
O presente trabalho pretende caracterizar e aprofundar o conhecimento sobre a tradição da serenata de corte no tempo de D. Maria I através da análise dos respectivos textos musicais, dos libretos e da restante documentação onde se pode encontrar evidências da prática performativa deste repertório. Tendo sido João de Sousa Carvalho o compositor preferido da corte na realização deste tipo de música dramática, o seu legado serve como ponto de partida e referência principal neste estudo. É também analisada em detalhe uma das suas serenatas que foi, de resto, executada e gravada modernamente como parte integrante deste estudo, revelando todo o processo através do qual a informação de prática performativa histórica foi, num primeiro momento, compilada, reflectida e assimilada, para ser depois criativamente aplicada na respectiva performance.
This study aims to characterize and provide further insight into the tradition of court Serenata in the time of queen Maria I by analyzing the musical texts, the librettos and other documentation where evidence of the performance practice of this repertoire can be found. João de Sousa Carvalho was the court's favourite composer in creating this type of musical dram, therefore his legacy serves as a starting point and main reference to this study. One of his serenatas is analized in detail and was performed and recorded as part of this investigation, revealing the process by which the perfoming practice information was, first, compiled, reflected upon and assimilated, to be creatively applied afterwards to its performance.

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Marzani, Caroline. "Sou José, sou Maria: efeitos trans(gressores) no espetáculo Escravagina, da companhia Rainha de Duas Cabeças". Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2594.

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Esta pesquisa analisou o efeito transgressor de gênero artístico, de identidade de gênero, de sexualidade e de comportamento social apresentados na peça teatral Escravagina, produzida pelo grupo Rainha de Duas Cabeças, de Curitiba-PR, produção teatral estreada em 2014. A peça conta com dramaturgia e direção de Cesar Almeida e com atuação da atriz Maite Schneider. O espetáculo narra a história pessoal da atriz que passou por um processo de transexualização. Na peça são discutidos padrões de beleza corporal, instituições normatizadoras e reguladoras de sexualidade, gênero, orientação sexual, desejo e comportamentos sociais impostos. Buscamos compreender a maneira como os artistas utilizaram-se das tecnologias e das técnicas de cena, ou seja, os elementos e procedimentos constituintes para a produção do espetáculo teatral com o propósito de transgressão (FOUCAULT, 2009) das noções socialmente estabelecidas sobre identidades focadas em polaridades ou identidades fixas. Nossa pesquisa apontou para a utilização de traços do grotesco e da carnavalização (BAKHTIN, 2013), do kitsch (MOLES, 1975), da ironia, da paródia e do intertexto (HUTCHEON, 1991), do hibridismo cultural (CANCLINI, 2013), do Business gay (LIPOVETSKY, 2015), do paradoxo (COMPAGNON, 2010) e da profanação (AGAMBEN, 2007), percebidos por meio de elementos e procedimentos que incluem uma ou múltiplas técnicas/tecnologias da cena para obtenção do efeito desejado. Nossa pesquisa também questionou as aproximações entre corpo e tecnologia e sua relação com a transexualidade. Para tanto, o estudo se utilizou de metodologia da Análise dos Espetáculos (PAVIS, 2015) e da Análise Matricial (BRITO, 1999). Os materiais primários de análise foram o vídeo do espetáculo e o texto teatral. Como material secundário utilizamos as entrevistas realizadas com os artistas (em 2015 e em 2016), o material de divulgação, o paratexto publicitário, os diários de itinerância e a tomada de notas realizada pela pesquisadora durante a observação in loco do espetáculo, assistido no ano de 2016.
This research analyzed the transgressive effect of artistic genre, gender identity, sexuality and social behavior presented in the play Escravagina, produced by the group Rainha de Duas Cabeças, from Curitiba/PR, a theatrical production premiered in 2014. The play counts on the dramaturgy and direction of Cesar Almeida, as well as the performance of the actress Maite Schneider. The show narrates the personal story of the actress who underwent a process of transsexualization. In the play, the standards of body beauty are discussed, as well as the normative institutions and regulators of sexuality, gender, sexual orientation, desire and social behaviors imposed. We seek to understand the way in which the artists used the technologies and techniques of scene, that is, the constituent elements and procedures for the production of the theatrical spectacle, with the purpose of transgression (FOUCAULT, 2009) of socially established notions on identities focused on polarities or fixed identities. Our research pointed to the use of traces of the grotesque and carnivalization (BAKHTIN, 2013), of kitsch (MOLES, 1975), the irony, parody and intertext (HUTCHEON, 1991), the cultural hybridity (CANCLINI, 2013), the Business gay (LIPOVETSKY, 2015), paradox (COMPAGNON, 2010) and the profanation (AGAMBEN, 2007) perceived by means of elements and procedures that include one or multiple scene techniques/technologies to achieve the desired effect. Our research also questioned the approximations between body and technology and their relation with transsexuality. For this, the study was based on the methodology of Analysis of Spectacles (PAVIS, 2015) and Matricial Analysis (BRITO, 1999). The primary materials of analysis were the video of the theatre show and the theatrical text. As secondary material, we used interviews with the artists (in 2015 and 2016), the advertising material, the advertising paratext, the itinerancy journals and the notes taken by the researcher herself during the on-site observation of the theatre show assisted in 2016.

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Kim, Dong Hun [Verfasser], Benedikt [Gutachter] Jeßing y Ralph [Gutachter] Köhnen. "Umsetzung und Verwandlung der Konzeption des Erhabenen bei Schiller : eine Untersuchung über die Wechselwirkung zwischen Dramentheorie, Drama und Inszenierung am Beispiel von Schillers \(\textit Maria Stuart}\) / Dong Hun Kim ; Gutachter: Benedikt Jeßing, Ralph Köhnen ; Fakultät für Philologie". Bochum : Ruhr-Universität Bochum, 2019. http://d-nb.info/1185171908/34.

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Roy, André. "LE «DRAME HUMAIN» CHEZ POLLOCK ET ROTHKO Authenticité, subjectivité et quête existentielle dans la peinture abstraite américaine du milieu du 20e siècle". Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27846/27846.pdf.

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Bond, Greta Jane. "Evangelistic Performance in New Zealand: The Word and What is Not Said". Thesis, University of Canterbury. Theatre and Film Studies, 2008. http://hdl.handle.net/10092/1804.

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In 1518, Martin Luther is reputed to have nailed his 95 theses to the door of the Castle Church at Wittenberg, an act that sparked the Protestant Reformation. Luther sought change in the Catholic Church: a return to an unmediated relationship with God based on a closer understanding of the Word. Since then, Protestant evangelism has been a force for social change: and this is particularly true in New Zealand, where evangelism has gone hand in hand with the colonisation of the country. This thesis proposes that it is not, in fact, the literal understanding of the Word that gives these services meaning, and that such an understanding is problematic and perhaps even impossible: the Word is always a translation. Instead, it is through what is not said - the performative aspects of evangelistic services, including the use of space, the actions of the evangelist, and pre-existing cultural “horizons of expectation” - that meanings are produced. Taking as material Samuel Marsden’s first service in New Zealand in 1814, in which the Word was preached in English to a congregation who primarily spoke only Maori, the more contemporary example of televangelist Benny Hinn, who performs miracles to television cameras, and the religious and political performances of Destiny Church’s Brian Tamaki, this thesis uses the tools of performance studies to undertake an ethnographic study of evangelistic services. This brings into focus the ways in which evangelists may create congregations and produce meanings in their services through different modes of performance and the ways in which these ulterior meanings impact, and have impacted, on New Zealand society.

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Rauer, Selim. "Les frontières de l'exil, ou les figures et territoires de l'étranger". Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030057.

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Cette thèse de doctorat, intitulée « Les frontières de l’exil : figures et territoires de l’étranger», vient questionner les notions de frontière et d’exil dans les périodes postcoloniale et post-Shoah. Ces notions sont ici caractérisées comme des territoires à la fois spirituels, politiques, symboliques, et économiques, dans lesquels une expérience de la domination est vécue, souvent subie, par des individus ou des groupes stigmatisés par leur origine ethnique, leur sexe, leur culture, ou leur condition socio-économique notamment. En me rattachant à superstructuration politique, culturelle, et historique de cette expérience de la domination, Selim Rauer tente de montrer comment, dans les ères postcoloniale et post-Holocauste, une économie mondialisée recrée ou intensifie en fait le concept de « zone (s) » - telle qu’il a été défini par Frantz Fanon dans Les damnés de la terre, 1961 – générant ainsi des centres et des marges permettant d’établir des espaces culturels et géographiques procédant d’une généalogie raciale, sexuelle venant soutenir des dynamiques économiques qui dérivent de la théologie politique, comme c’est le cas du néolibéralisme et de l’ultralibéralisme aujourd’hui. La figure de l'ennemi (ou celle de l'adversaire) est au cœur de ce système de pensée. L’ennemi est une représentation biopolitique et théologique essentielle dans une réflexion productive liée à l’altérité, à la figure multiforme de l'étranger, à travers laquelle une conception spécifique de la frontière peut être établie comme limite ou division, plutôt que comme trait d'union. Cette réflexion procède de la lecture et de l’analyse d’un corpus littéraire français et francophone alliant à la fois le roman, le drame, le récit et l’essai de 1945 à aujourd’hui. Les œuvres de ce corpus littéraire sont issues d’écrivains tels que Jean Genet (1910-1986), Patrick Modiano (1945), Bernard-Marie Koltès (1948-1989), Koffi Kwahulé (1956), Marie NDiaye (1967), Wajdi Mouawad (1968), et Léonora Miano (1973). Chacune de leurs œuvres regroupées ici donne à voir une certaine expérience du pouvoir, de l’aliénation, de la souveraineté et de la biopolitique dans un cadre éthique et morale qui inévitablement met en lumière et sonde le « mal ». Un mal qui, comme l'a exprimé Rüdiger Safranski, dérive d’une certaine pratique de la liberté (Le Mal, ou le théâtre de la liberté, 1997/1999)
This doctoral dissertation, entitled The Borders of Exile: Figures and Territories of Foreignness, reinterprets the notion of the border as an expanding territory of estrangement and seclusion in the aftermath of colonialism and the Shoah, in an era characterized by global market economies. While allegedly situated beyond racial and sexual hegemonic claims, Selim Rauer shows how this globalized economy, in fact, recreates or intensifies a concept of “zone(s)” --as defined by Frantz Fanon in Les damnés de la terre, 1961--that draws centers and margins, and establishes sites of domination structured by a historical and political unconscious. At the core of this unconscious lies the figure of the enemy or the adversary. The latter is an essential biopolitical and theological representation of otherness and foreignness through which a specific border definition can be established as limit rather than hyphen. Thus, in this project, Rauer scrutinizes a multidimensional literary corpus comprised of works by figures such as Jean Genet (1910-1986), Patrick Modiano (1945), Bernard-Marie Koltès (1948-1989), Koffi Kwahulé (1956), Marie NDiaye (1967), Wajdi Mouawad (1968), and Léonora Miano (1973), each of whose works investigate a certain definition and practice of power and sovereignty as part of an ethical and moral reflection on “evil,” or as Rüdiger Safranski defined it, as the moral and ethical burden that accompanies the practice of freedom (Evil, or the Drama of Freedom, 1997)

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Maunder, Paul Allan. "The Rebellious Mirror,Before and after 1984:Community-based theatre in Aotearoa". Thesis, University of Canterbury. Theatre and Film Studies, 2010. http://hdl.handle.net/10092/5381.

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In this thesis I outline the contribution Community-based theatre has made to New Zealand theatre. This involves a defining of theatre production as a material practice. Community-based theatre was a tendency from the 1930s, a promise of the left theatre movement and, I argue, was being searched for as a form of practice by the avant-garde, experimental practitioners of the 1970s. At the same time, early Māori theatre began as a Community-based practice before moving into the mainstream. With the arrival of neo-liberalism to Aotearoa in 1984, community groups and Community-based theatre could become official providers within the political system. This led to a flowering of practices, which I describe, together with the tensions that arise from being a part of that system. However, neo-liberalism introduced managerial practices into state contracting and patronage policy, which effectively denied this flowering the sustenance deserved. At the same time, these policies commodified mainstream theatre production. In conclusion, I argue that in the current situation of global crisis, Community-based theatre practice has a continuing role to play in giving voice to the multitude and by being a practice of the Common.

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FEDERICO, LUCA. "L'apprendistato letterario di Raffaele La Capria". Doctoral thesis, Università degli studi di Genova, 2020. http://hdl.handle.net/11567/1005664.

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Superati «novant’anni d’impazienza» e dopo un lungo periodo votato all’autocommento e all’esplorazione delle proprie intenzioni, Raffaele La Capria ha raccolto le sue opere in due Meridiani curati da Silvio Perrella. La Capria ne ha celebrato l’uscita nella prolusione inaugurale di Salerno Letteratura, poi confluita nel breve autoritratto narrativo "Introduzione a me stesso" (2014). In questa sede, l’autore è tornato su alcuni punti essenziali della sua riflessione sulla scrittura, come la relazione, reciproca e ineludibile, fra tradizione e contemporaneità. All’epilogo del «romanzo involontario» di una vita, La Capria guarda retrospettivamente alla propria esperienza come ad un’autentica educazione intellettuale. Perciò, muovendo da un’intervista inedita del 2015, riportata integralmente in appendice, la tesi ha l’obiettivo di ricostruire l’apprendistato letterario di La Capria dai primi anni Trenta, quando l’autore ancora frequentava il ginnasio, fino all’inizio dei Sessanta, quando ottenne il premio che ne avrebbe assicurato il successo. Il percorso, che riesamina l’intera bibliografia lacapriana nella sua varietà e nella sua stratificazione, si articola in una serie di fasi interdipendenti: la partecipazione indiretta alle iniziative dei GUF (intorno alle riviste «IX maggio» e «Pattuglia»); l’incursione nel giornalismo e l’impegno culturale nell’immediato dopoguerra (sulle pagine di «Latitudine» e di «SUD»); l’attività di traduttore dal francese e dall’inglese (da André Gide a T.S. Eliot); l’impiego alla RAI come autore e conduttore radiofonico (con trasmissioni dedicate a Orwell, Stevenson, Saroyan e Faulkner); la collaborazione con «Il Gatto Selvatico», la rivista dell’ENI voluta da Enrico Mattei e diretta da Attilio Bertolucci; e le vicende editoriali dei suoi primi due romanzi, “Un giorno d’impazienza” (1952) e “Ferito a morte” (1961), fino alla conquista dello Strega. La rilettura dell’opera di uno scrittore semi-autobiografico come La Capria, attraverso il costante riscontro di fonti giornalistiche, testimonianze epistolari e documenti d’archivio che avvalorano e occasionalmente smentiscono la sua versione dei fatti, diventa allora un’occasione per immergersi nella sua mitografia personale e avventurarsi in territori finora poco esplorati: come la ricostruzione del suo profilo culturale, a partire dal milieu in cui La Capria vive e opera, o l’incidenza delle letture e delle esperienze giovanili sulla sua prassi letteraria.

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Niebrzydowska, Danuta. "Biblijna Maria Magdalena w dramacie polskim przełomu XIX i XX wieku". Phd thesis, 2021. http://hdl.handle.net/11320/10996.

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Praca została udostępniona 10 dni przed obroną, włącznie z dniem obrony
Tematyka i pole badawcze niniejszej rozprawy dotyczy motywu Marii Magdaleny w obrębie późnoromantycznego i młodopolskiego dramatu. We wskazanej, w temacie pracy, kategorii „przełomu XIX i XX wieku” sytuuje się nie tylko dramat młodopolski. Równoprawnym jej bohaterem jest również dramat o Marii Magdalenie autorstwa Krystyna Ostrowskiego (ur. 1811), który moglibyśmy nazwać późnoromantycznym (ukazał się w: Dzieła Polskie Krystyna Ostrowskiego. Dramata i komedie. Ulotne jamby – nowe fraszki – dodatek w 1876 roku). W dramacie Ostrowskiego łączą się elementy romantyczne z charakterystycznymi dla drugiej połowy XIX wieku – dokonuje się w nim heterodoksyjna reinterpretacja wątku magdalenicznego. Młodopolską część moich badań wyznaczają analizy tekstów Antoniego Szandlerowskiego, Karola Huberta Rostworowskiego, Kazimierza Przerwy-Tetmajera. Natomiast na drugim biegunie chronologicznym znajdujemy tekst o charakterze dramatycznym autorstwa Józefa Jankowskiego, który pochodzi z roku 1928, lecz swymi korzeniami wyraźnie sięga Młodej Polski i Romantyzmu. „Przełomowość”, jest tu więc kategorią dość szeroką, jednak wszystkie dramaty analizowane w pracy różnią się od dramaturgii mieszczańskiej epoki pozytywizmu. Wszystkie łączy też to, że tytułowa bohaterka zawieszona jest między dominium wartości duchowych a pełną pokus sferą cielesności, zaś autorzy badanych tekstów śmiało eksperymentują nie tyle z formą dramatyczną, ile z możliwościami, jakie daje kreacja głównej bohaterki. Dla moich badań szczególnie ważna, ale też jeszcze być może ryzykowana interpretacyjnie, byłaby kategoria dziewiętnastowieczności, definiowana w pracach między innymi Józefa Bachórza, Aliny Kowalczykowej, Tomasza Sobieraja, Anny Janickiej i Ewy Paczoskiej jako wspólna, dość różnokształtna, ale spojona estetycznie i poprzez wspólnotę doświadczeń historycznych przestrzeń literacka lat 1795 – 1918. W istocie dramaty Ostrowskiego, Szandlerowskiego, a nawet późniejszy utwór Jankowskiego, wykazują niemałe podobieństwa właśnie, jako wytwory formacji XIX-wiecznej pojętej jako pełna całość. Konkluzje ostateczne zamykają rozprawę nad kreacją biblijnej Marii Magdaleny w dramacie polskim przełomu XIX i XX wieku i zarysowują pewne propozycje interpretacyjne. Jedno z pytań badawczych niniejszej rozprawy dotyczyło kwestii: kim jest Maria Magdalena, gdy stoi „u granic”, a kim się staje po ich przekroczeniu. W analizowanych dramatach jej życie przed „przekroczeniem granicy” było grzeszne, przepełnione cielesnością, erosem, ale już życie po „przekroczeniu granicy” staje się wypełnione du-chowością i czystą miłością. Związane jest to z problematyką ciała, sposobem jego przedstawiania, łamaniem stereotypów – wszystkim, co miało szokować odbiorcę i popychać do przekraczania granic estetycznych i moralnych. Z jednej strony zaczęły pojawiać się perwersyjne opisy łączące seksualność z duchowością, a z drugiej strony – koncepcja odkrywania i eksponowania natury człowieka i jego instynktownych zachowań. Szczególnym zainteresowaniem cieszyło się przekonanie o nieodpartej sile namiętności, seksu i erotyzmu. Sam akt erotyczny jest przedstawiany w zupełnie innej tonacji. Nie ma tu mowy o idealistycznym „związku dusz”, lecz mówi się o spotkaniu ciał na tle intensywnych zmysłowych doznań. W obrazie erotyki z drugiej połowy XIX wieku przełomu wieków XIX i XX uwagę przykuwa przede wszystkim wątek miłości niszczącej, fatalnej, będącej przedmiotem badań. Takie ujęcie kobiecości miało wpływ na twórców romantycznych oraz młodopolskich. Bowiem recepcja dramaturgicznej kreacji biblijnej Marii Magdaleny dowodzi, iż zyskała ona „twarz” kobiety fatalnej. Zob. Słownik literatury polskiej XIX wieku, red. J. Bachórz, A. Kowalczykowa, Wrocław – Warszawa – Kraków 1994; A. Janicka, Tradycja i zmiana. Literackie modele dziewiętnastowieczności: pozytywizm i „obrzeża”, Białystok 2015; J. Bachórz, O potrzebie scalenia polskiego wieku XIX; T. Sobieraj, Kulturowy model dziewiętnastowieczności; J. Ławski, Mickiewicz, wspólnota, historia; E. Paczoska, Latarnia czarnoksięska, czyli dziewiętnastowieczność i nowoczesność, „Wiek XIX” R. I. 2008.
The subject and the research theme of this thesis concerns the motif of Mary Magdalene in late romantic and Young Poland drama. As the title of the thesis shows the category of the turn of the 19th and 20th century does not only contain Young Poland drama. Krystyn Ostrowski’s (born 1811) drama about Mary Magdalene can be classified as late romantic and is an equal part of the thesis (It was publishd in 1876 in Dzieła Polskie Krystyna Ostrowskiego. Dramata i komedie. Ulotne jamby – nowe fraszki – dodatek). Ostrowski’s drama joins romantic elements with those from the second half of the 20th century – he reinterprets Mary Magdalene themes with heterodoxy. Young Poland part of my research is focused on the works of Antoni Szandlerowski, Karol Hubert Rostworowski and Kazimierz Przerwa-Tetmajer. The work of Józef Jankowski, from 1928, is on the other side of chronological timeline but it is clearly rooted in Young Poland and Romanticism. The expression ‘at the turn of the century’ is quite a broad category but all of the analyzed dramas differ from bourgeois positivism. All these dramas also present the main character as torn between spiritual values and temptation and lust. The authors experiment not only with drama form but also with the possibilities given by the creations of the main protagonists. The most important definition of ‘nineteenth centuryness’, also considered the most risky one, is the definition present in the works of Józef Bachórz, Alina Kowalczykowa, Tomasz Sobieraj, Anna Janicka and Ewa Paczoska . It is a joint literary space, varied in shape but common for historical experiences from 1795 to 1918. The dramas of Ostrowski, Szandlerowski and even the later work of Jankowski all share many similarities as the works of nineteenth centuryness presented as a wholeness. The conclusions closing the thesis about the creation of biblical Mary Magdalene in Polish drama at the turn of the nineteenth and twentieth century present some proposals for interpretation. One of the research questions was who is Mary Magdalene before she crosses the line and who does she become when she actually does that. In the analyzed dramas her life before crossing the line was filled with eroticism and carnality. But when she crosses the line her life becomes full of spirituality and pure love. These issues were connected with the body image, the way it was presented, the breaking of stereotypes- everything was to shock the recepient and make him cross esthetic and moral boarders. On one hand there were perverse description of sexuality and spirituality and on the other the conception of discovering and showing human nature with its instinct behaviour. The irresistable power of passion sex and eroticism was particularly interesting. The erotic act itself is presented in a different perspective. It is not an idealistic soul relationship but the intense sensual meeting of bodies. Description of eroticism from the second half of the nineteenth century and the turn of nineteenth and twentieth century shows love as a destructive fatal power. Such conceptualization of womanhood influenced romantic and young Poland playwrights. Biblical Mary Magdalene as drama protagonist is perceived as famme fatale. See. Słownik literatury polskiej XIX wieku, red. J. Bachórz, A. Kowalczykowa, Wrocław – Warszawa – Kraków 1994; A. Janicka, Tradycja i zmiana. Literackie modele dziewiętnastowieczności: pozytywizm i „obrzeża”, Białystok 2015; J. Bachórz, O potrzebie scalenia polskiego wieku XIX; T. Sobieraj, Kulturowy model dziewiętna-stowieczności; J. Ławski, Mickiewicz, wspólnota, historia; E. Paczoska, Latarnia czarnoksięska, czyli dziewiętnastowieczność i nowoczesność, „Wiek XIX” R. I. 2008.
Uniwersytet w Białymstoku. Wydział Filologiczny

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"O texto-total : amplificação e alteridade no drama-poesia de Maria Gabriela Llansol". Tese, Biblioteca Digital de Tese e Dissertação da UFF, 2006. http://www.bdtd.ndc.uff.br/tde_busca/arquivo.php?codArquivo=1504.

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Hansen, Mei-Lin Te-Puea. "Aroha’s granddaughters: representations of Maaori women in Maaori drama and theatre 1980-2000". 2005. http://hdl.handle.net/2292/1420.

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This thesis explores representations of Maaori women characters in plays written by Maaori between 1980 and 2000, arguing that, as the level of self-determination in Maaori theatre has increased, these representations have become less stereotyped and more reflective of a range of Maaori women’s realities. The thesis suggests that waahine dramatists in particular represent contemporary Maaori cultural identity as flexible, diverse and changing. The Introduction gives reasons for the thesis' focus on Maaori women and outlines three major influences which have determined the approach to close-readings and analyses of waahine characters in the body of the thesis: an early Paakehaa representation of Maaori women, an increase of Maaori dramatists and the emergence of Maaori women's feminism. The thesis comprises a further six chapters. Chapter One contextualises the play analyses which appear in Chapters Four Five and Six by describing a Maaori theatre and drama whakapapa that stakes a significant and influential place for waahine theatre practitioners. Chapters Two and Three explore tino rangatiratanga/sel-determination and marae-concept theatre (respectively), arguing that between 1980 and 2000 these aspects of content and form have created theatrical conditions which facilitate Maaori women's representation. Chapters Four, Five and Six show that, as Maaori women such as Renee' Rena Owen, Riwia Brown, Roma Potiki and Briar Grace-Smith have become more active in the Maaori theatre whakapapa, contemporary representations of Maaori women have become more complex and diverse. A set of bibliographic appendices provides detailed lists of first productions of plays mentioned in the thesis. Throughout, the thesis maps the increased visibility and presence of Maaori women on the New Zealand stage, showing how in the years 1980-2000 the theatre has become a potent site for expression and exploration of Maaori cultural identity.

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Merhautová, Eva. "Absurdita násilí v moderním hispanoamerickém dramatu". Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-369913.

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(English) The aim of this work is to compare the features of the theatre of the absurd of three hispanoamerican works, Falsa Alarma by Virgilio Piñera, Los Siameses by Griselda Gambaro and La noche de los asesinos by José Triana. First, the theoretical introduction focuses on the origins of the so called theatre of the absurd and its main sources, its main characteristics and finally its extension throughout the Latin America. Furthemore, the principal part of this work deals with the concrete analysis of the three theatre works mentioned above, and slightly discusses lifes and works of its authors. Individual chapters aim as at the typical absurd elements, as at those that are in some way original within the theatre of the absurd paradigm. The main help for each analysis are three principal features of this movement: denial of the plot, violation of the communicative function of the language and even systematical rupture of characters. The final part focuses as on the mutual comparison of the three hispanoamerican works, as their likening to the european theatre of the absurd works.

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44

Wang, Yi-ting y 王羿婷. "Northern Irish Women and Sectarianism in Christina Reid''s and Marie Jones''s Dramas". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/30496575023992080199.

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碩士
國立臺灣大學
外國語文學研究所
102
This thesis focuses on the works of Northern Irish women playwrights – Christina Reid and Marie Jones. Two of their plays are selected respectively. Tea in a China Cup (1983) and The Belle of the Belfast City (1987) are Reid’s interrogation of women’s autonomy in terms of sexuality, marriage, career, religion and political stance. Marie Jones’s 1985 work Now You’re Talkin’ exhibits the multiplicity of Northern Irish women’s lives and how they either vociferously or modestly demonstrate their differences. Somewhere Over the Balcony (1987) is Jones’s farcical yet somehow cynical representation of Northern Irish Troubles from female perspectives. The first purpose of studying these plays is to examine how these women attempt to counteract male aspirations in a politically and religiously divided society. The selected plays for this thesis are set within the Troubles context of Northern Ireland in which the male-presided sectarianism renders Northern Irish women the silent subaltern. In Reid’s and Jones’s plays, a multitude of women are illustrated with regards to their various personalities, religions, political stances, and life experiences. The examination of their plays offers the audience alternative ways to understand Northern Irish women’s experiences other than those of being mothers, daughters, sisters, and wives in a highly patriarchal and militant society. The second purpose of this study is to demonstrate how Northern Irish society transforms through political upheavals by studying Reid’s and Jones’s plays in detail. Works by women playwrights reveal that, besides the political and religious divisions that have received almost the entire spotlight of the media since the 1960s (the time when the Troubles began), other social problems such as poverty, unemployment, inadequate housing, domestic abuse, sexuality, and incarceration are largely ignored. Therefore, this study aims to provide a critical analysis of Reid’s and Jones’s works, in which the diverse experiences of Northern Irish women are presented, in the hope of coming to “feminine solution(s)” to the social problems, religious sectarianism as well as other issues concerning women’s (and men’s) lives in Northern Ireland. This thesis examines how gender, particularly female, is presented in the plays by two Northern Irish female playwrights. One of the aims is, through the reading of Reid’s and Jones’s dramas, to study how women conspire yet often attempt to resist the patriarchal and sectarian culture of Northern Ireland. The second aim is to reveal, within the male-dominated, sectarian cultural context, how these two female playwrights theatrically construct the autonomy of women through their stories so as to subvert the convention in which most women are forced to locate themselves in the periphery of Northern Irish politics.

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45

(9792536), Kathryn Dolan. "Drama and enacted storytelling as a tool for supporting young children's development of social imagination". Thesis, 2019. https://figshare.com/articles/thesis/Drama_and_enacted_storytelling_as_a_tool_for_supporting_young_children_s_development_of_social_imagination/13450160.

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The aim of this study was to investigate whether the introduction of dramatic storytelling could encourage children to engage in learning experiences that fostered ‘social imagination’. There is a substantial body of research that supports the benefits of drama and its capacity to deliver a range of outcomes identified in early childhood curriculum documents. Significant barriers for achieving such include, teacher’s general lack of confidence and experience around teaching drama, or beliefs about children’s play. The goal of this thesis was to better understand the phenomenon of teachers as co-constructors in the learning design and to reflect upon possible roles within children’s imaginative play experiences. Greene (1995) proposes that education should be the business of creating moral and compassionate humans, with the teacher’s role as the moral educator in co-constructing these experiences with the children. This presentation of children’s specific examples of empathy through the stories may provide new material for discussing the power of drama to achieve Greene’s educational goals. A qualatative case study approach was chosen for this research, presenting a dramatic storytelling experience which was trialled in a kindergarten classroom with the teacher involved as an insider/researcher, reflective practitioner. This study presents an example of practice that showcases a dramatic framework, drawing upon Dunn’s process drama and improvised text as well as Dorothy Heathcote’s ‘Mantle of the Expert’ to structure effective dramatic learning. Using a combination of both these works, five features were identified as useful to the learning design. These were then trialled and tested for their abilty to achieve learning outcomes for children linking to the Queensland Kindergarten Learning Guidelines (2010) in the particular areas of Wellbeing and Active Learning. These two key focus areas were chosen as they are most closely aligned to the focus of the study around ‘social imagination’ and empathy building. What was discovered through this research project was that the dramatic storytelling provided a frame for children’s agency and self-expression and was a powerful way to involve, engage and motivate children, also providing them with various degrees of autonomy in the process. It was also beneficial for some children who experienced social and learning issues, giving them multiple opportunities to engage in the dramtic episodes, practice empathy and cultivate ‘social imagination’.

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Kučabová, Jana. "Peter Turrini jakožto šokující a soucitný dramatik na příkladě vybraných dramat (Méně výkonní, Smrt a ďábel, Josef a Marie)". Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-279948.

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TITLE: Peter Turrini as a schocking and sympathetic playwright on an example of selected plays (Die Minderleister, Tod und Teufel, Josef und Maria) SUMMARY: This diploma thesis deals with the analysis of key plays of the Austrian author Peter Turrini. The first part focuses on the biographical portrait of the author, the description of relations and influencies on his work and a list of his plays and screenplays. Literary and sociopolitical context of his work is mentioned in this part and Turrini's relationship to his motherland Austria is specified. The second part concentrates on the analysis of the three key plays in terms of author's development of views. In this analysis the configurations of characters and their metamorphoses in time are scrutinized. This analysis is done by means of an inductive method, which describes the plot chronologically, comments on it and defines the changes of the configurations. The result of the scrutiny is the evaluation of the development. KEY WORDS: Configurations, development of a character, drama, irony, contrast, paradox, provocation, sympathy, atonement 1

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47

Cormier, Landry Jean-Benoit. "Décliner la frontière : transit et contagion de la violence dans la fiction sacrificielle de Bernard-Marie Koltès". Thèse, 2011. http://hdl.handle.net/1866/6305.

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Ce mémoire de maîtrise traite de quatre pièces de l’auteur français Bernard-Marie Koltès. Résolument axé sur l’étude du texte écrit, il vise dans un premier temps l’analyse d’un ensemble de désajustements et d’une culture de l’équivoque dans le traitement du lieu, du temps et de l’identité. Le premier but de ces analyses est l’approfondissement de certaines avenues déjà investies par la critique (marginalité des lieux et des personnages, présence constante de la violence et de la mort, etc.), dans la recherche d’une signification globale à un ensemble de pratiques textuelles liées à la notion de limite ou de frontière. Opérant un changement de perspective, la seconde partie de l’étude s’attarde à la violence ainsi qu’aux modalités et implications de sa mise en texte dans une étude croisée de l’acte créateur et de la pratique de lecture. À partir de la théorie du sacrifice élaborée par René Girard dans La violence et le sacré, et faisant dialoguer certains textes importants d’auteurs divers (Aristote, Nietzsche, Artaud, Foucault, Derrida et Adorno), l’analyse vise à inscrire la littérarité du texte koltésien dans une entreprise plus vaste ayant à voir avec la violence, sa régulation et sa diffusion. Au carrefour des études théâtrales, de la littérature et de la philosophie, cette réflexion cherche à concevoir le théâtre de Koltès (particulièrement Roberto Zucco) comme un sacrifice rituel, afin de mieux en comprendre le rapport au réel et certaines de ses particularités du point de vue du mécanisme cathartique.
This M.A. thesis analyzes four plays by the French author Bernard-Marie Koltès. Resolutely focused on the study of written text, it begins by analyzing several disarrangements and a culture of ambiguity in the treatment of place, time and identity. The first goal of this interrogation is the deepening of some avenues already detected by the critique (marginality of places and characters, the constant presence of violence and death, etc.) in the search for a global meaning to a set of textual practices related to the notion of limit or boundary. Operating a change of perspective, the second part of the thesis focuses on violence and on the terms and consequences of its textualisation, in a simultaneous study of the creative act and of the practice of reading. Based on the theory of the sacrifice as developed by René Girard in La violence et le sacré, and nourished by the crossing of some important texts by various thinkers (Aristotle, Nietzsche, Artaud, Foucault, Derrida, Adorno, etc.), the analysis seeks the inscription of Koltesian text’s literariness in a broader enterprise having to do with violence, its regulation and its dissemination. At the intersection of theater studies, literature and philosophy, this study is an attempt to understand Koltès’ drama (especially Roberto Zucco) as a ritual sacrifice in order to obtain a better comprehension of its relationship to reality and some of its characteristics as for the cathartic mechanism.

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48

Cormier, Landry Jean-Benoit. "Souveraineté(s) du littéraire? L'agir textuel et la question de l'exception : l'exemple de Bernard-Marie Koltès". Thèse, 2019. http://hdl.handle.net/1866/22642.

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49

Cheng, Chia-Yi y 鄭佳依. "Analyse des Dramas “Maria Stuart” von Friedrich Schiller: Wie hat sich die Titelfigur nach der aesthetischen Theorie des Dichters zu einer “schoenen Seele” entwickelt?" Thesis, 2003. http://ndltd.ncl.edu.tw/handle/89582243591137434100.

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碩士
中國文化大學
德國語文學研究所
92
Abstract Friedrich Schiller is known as one of the greatest writers in the German literature history. By studying his drama, we can clearly learn his belief in the value of human existence, i.e. the “human dignity”. Schiller passionately devoted himself to the production of aesthetic drama. It is his aim that to educate the public to pursue the ideal of being a free individual with both qualities of rationality and sensibility; thereby realize a society of harmony and humanity. Maria Stuart, a classical drama written by Schiller, is based on the historical background in the sixteenth century. Mary Stuart, Queen of Scots was imprisoned and executed by Queen Elizabeth of England. In the drama, the progress of human nature in the main character, Maria is shaped according to aesthetics. The play is the most ideal example of presenting the combination of Schiller’s aesthetic philosophic theory and practical applications. In this dissertation, the internal transition process of the main character Maria, Queen Mary of Scots is discussed in depth. Maria suffered many hardships. In order to defend her own dignity, she gradually awakened to the sense. Eventually, she was free from all constrains of the world, overcome her inner fear, found peace in herself when confronting the death, and received the eternal freedom. In the content, the author applies Schiller’s aesthetic philosophic theory to analyze Maria’s three transitional phases of developing the human consciousness: from the “natural sensual phase” to the phase of “gradual awakening to sense”, and finally promoting to the “rational moral phase”, which is namely the concept of “schoene Seele”, a noble soul of Schiller’s aesthetic theory. The conclusion part demonstrates the specific discussion of Schiller’s ultimate ideal of the perfect humanity. It is believed that through the in-depth research on this classical drama, we could not only investigate the intrinsic quality of the human nature, but also cultivate the ability of objective thinking; furthermore, understand the point that rationality and sensibility of mankind should be united for achieving the symmetry of internal strength and external beauty. That is the fundamental ideal in Schiller’s philosophy: the harmony of rationality and sensibility as well as the balance of the individual soul.

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50

Heikel, Julie Anne. "Constructing chivalry: the symbolism of King Mark in Wagner's "Tristan und Isolde"". Thesis, 2010. http://hdl.handle.net/1828/3148.

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Despite Tristan’s place as a cornerstone of the operatic repertory, there has been surprisingly little scholarship on King Mark, whom scholars often overlook in favour of the title characters. This study examines Wagner’s adaptation of his source, the Tristan of Gottfried von Strassburg, to construct a character that represents the courtly chivalric society of the opera in opposition to the new order represented in Tristan’s passionate pursuit of love and, ultimately, of death. Building on literary scholarship of the Tristan tradition, this study explores issues of duality and decline in Mark’s character and the elements of his chivalric friendship with Tristan within the homosocial constructs of the courts. Through his use of traditional operatic lament form, associative orchestration, and text expression, Wagner constructs a king who is more nuanced that any of his predecessors: one cleansed by tragedy and capable of forgiveness.

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