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1
Taub, Myer. "Playing with/in history." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7984.
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Bibliography: leaves 52-58.<br>The area of research for this written explication is defining a relationship between fragment and the assemblage of fragment in order to conceive new strategies for developing historical dramatic narrative. There were two significant methods with which the research occurred. One was a critical investigation into the work and writings of visual artists, historians, critics, writers and playwrights who all recognize the area of fragmentation in their specific field. The other was through writing and directing a play with UCT drama students called Lekker Faith (2003). This particular play opened at The Arena Theatre, Orange St, Cape Town on the 1 November 2003. The play joins two earlier plays The Hottentot Venus and the wonder of things unknown (Little Theatre, Cape Town, 2002) and Fourplay (Rehearsal Room, Monument Theatre, Grahamstown, 2003) to form part of an anthology of plays, called The Paris/Cape Town/Joburg Plays.
2
Chon, ChuYoung Joy. "Transforming Indigenous Performance in Contemporary South Korean Theatre: the Case of Sohn JinCh'aek's Madangnori." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1388624592.
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Vrtis, Brian Robert. "Teaching Theatre History: Re-Directing an Existing Course." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1409.
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Snyders, Theresa Lynne. "History of the University of Iowa Opera Theater 1938-1998." Diss., University of Iowa, 1998. https://ir.uiowa.edu/etd/5362.
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Obermueller, Joseph A. "Applied Theatre: History, Practice, and Place in American Higher Education." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3151.
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The goal of this paper is to examine the practice of Applied Theatre in order to better define the genre and make a case for its legitimization and inclusion in higher theatre education. By looking at the theatre practitioners of the 20th century who paved the way for its existence as well as modern practitioners, a definition will be distilled down to five core characteristics of the practice with several case studies illustrating those characteristics. Once a clear distinction has been made between Applied Theatre and other similar genres, the case will be made for why the field should be considered mainstream. Additionally, it will be revealed how underserved the genre is in higher education and why its inclusion is important in college theatre programs.
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Shepherd, Janet. "Music, text and performance in English popular theatre 1790-1840." Thesis, University of London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284561.
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Phillips, Chelsea L. "“Carrying All Before Her:” Pregnancy and Performance on the British Stage in the Long Eighteenth Century, 1689-1807." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1418649014.
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LaReau, Brandon. "Dramatic Themes: Active Learning and Thematic Teaching in the Theatre History Classroom." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5755.
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This thesis explores major texts dealing with pedagogical theory and active learning in the context of a theatre history class. By comparing a class which is taught in the traditional, chronological format relying heavily on lectures to a class taught in a newer, thematic format utilizing active learning the thesis defines what student-centered learning means. Active learning, its benefits, and its implementation are explained and explored, along with the advantages and benefits of teaching thematically instead of chronologically. All of this is applied to a theatre history class in the resulting syllabus in chapter three. The syllabus creates a curriculum which uses themes to teach theatre history, while incorporating active learning activities and assignments throughout, to the benefit of the student. Ultimately, student-centered learning and its importance are explained and demonstrated using research, observation, and creation.
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Chelakis, Gino S. "Of Holes and Historitivity Excavating the Ruins of History and Mining with Memory: A Performance Paradigm." LSU, 2004. http://etd.lsu.edu/docs/available/etd-12212003-201744/.
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The methods by which we collectively create, experience and remember history are complicated and fraught with holes and inconsistencies. All to often, the institutions that govern historical events are invested in eliminating those holes or reconciling those inconsistencies, or both. Our universities, as they purport to house knowledge and extend our experience of that knowledge, are highly implicated in this particular process of dealing with the historical hole. In response to that constructed reality, many scholars and theorists, both from within the walls of the academy and from their fields outside the academy, find themselves obligated, from a political and ethical position, to attack or subvert or weaken or punch their own holes in the prevailing academic body. A cycle of hole filling and hole drilling is created. As if we have been cursed by our own Atreusian knowledge, we, as academics, as historians and as theorists seem fated to perform in a cycle that perpetuates itself in an ever-continuing, self-reflexive way. Of Holes and Historitivity addresses this situation by advocating that historical experiences are perhaps best memorialized in performance. In reshaping the way we memorialize or remember our historical artifacts and events, Of Holes and Historitivity hopes to eventually reshape our understanding of knowledge and the pedagogy that purports to bring us to that knowledge. If this can happen, if the nature of the academy can change, then perhaps our understanding of our own natures and identities will follow. Perhaps we will come to recognize the holes and inconsistencies in our perceived realities as the most glorious parts of those realities. In the immediacy of a remembering theatre, Of Holes and Historitivity wants to change what and how we know.
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Millet, Sandra Kay. "Theatre History in the Secondary Drama Classroom and Beyond." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3507.
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Current Utah State Core Standards for Theatre require that theatre history be taught at levels II (Standard 3 Objective C), III (Standard 4 Objective D), and IV (Standard 4 Objectives A and D) of high school drama classes. However, a 2011 survey of Utah high school theatre teachers indicates that only 54% include theatre history as an "important" or "very important" part of their curriculum, while another 36% say they "touch on it." This thesis is designed to be a resource for secondary drama teachers in integrating theatre history pedagogy into their drama classes, in an engaging and performance-based manner that builds on activities that are usually already present in the curriculum. It also suggests methods for crossing the curricular divide and using theatre history projects to enrich students' experiences in other core and elective classes. As continued funding for the arts in our secondary schools is threatened in the current economic climate, it unfortunately becomes increasingly important for theatre programs to demonstrate the ability to collaborate with and enhance other disciplines, as we focus on producing graduates with high-level cognitive skills.
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Kershaw, Barrie Richard. "Theatre and community : alternative and community theatre in Britain, 1960-1985; an investigation into cultural history and performance efficacy." Thesis, University of Exeter, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280752.
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George, R. H. "Accommodation and coercion in comedy and tragedy : an analysis of the social and political implications of the development of classical Greek drama." Thesis, University of Essex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336945.
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Unwin, Charles. "Dramatization and philosophy of history in Orange Book explication of a site-responsive work and its research." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/10876.
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Includes bibliographical references.<br>The explication presents Orange Book as a piece of site-responsive public space performance, showing how similar patterns of thought and feeling emerging in both research and artwork led to elaborating the notion of an art methodology for the work. The explication further considers a process of research into drama and history in relation to contemporary performance: where narrative dramatic forms,whether organic or fragmented, show history as a fait accompli, an aesthetic orientation around open structures and non-narrative performance modes allows for a constructive, ethically directed, philosophical engagement with historical process. The explication thus demonstrates implications of biography, philosophy, history and dramatization in my search for a distinctive performance idiom.
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Chang, Ting-Chun. "Creating History Towards Utopia: The 2016 Taiwanese LDS Celebration." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6551.
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This thesis argues that emotions and memories in a community are essential to shaping a common future. Furthermore, when performed on stage, these memories and emotions create a utopian experience that moves performers and audience members towards a brighter future. The foundation for this thesis is built upon the ideas of utopian performative theories combined with the Asian Ganzhi belief that every sixty years a new cycle of hope begins. This thesis also includes a practical work. I was invited to write and direct a cultural production for the 60th year anniversary celebration of The Church of Jesus Christ of Latter-day Saints in Taiwan. The practical experience of creating this production and the utopian theories and Ganzhi beliefs interacted throughout the process of creating the production and writing this thesis. These utopian and Ganzhi ideas influenced the production and the production tested the theories. Historical memories of one generation performed by and to the next generation is a way for a community to shape a brighter future together. The performance of the 60th year anniversary celebration was based on the re-creation, restoration and emotional connection of the members of the performing group to the personal historical memories of the previous generation. When the Taiwanese LDS members prepared, rehearsed and performed their cultural celebration in October of 2016, the production shaped a common, brighter future.
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Lay, Ruth Ann. "The Memory and the Legacy: The Whittlin' Whistlin' Brigade -- The Young Company 1974-2001." BYU ScholarsArchive, 2002. https://scholarsarchive.byu.edu/etd/2838.
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The Memory and The Legacy: The Whittlin' Whistlin' Brigade - The Young Company 1974-2001, is a history of the children's theatre of Brigham Young University. The Whittlin' Whistlin' Brigade - The Young Company acts as a training ground for graduate students working in theatre for young audiences. Then directing a production for The Whittlin' Whistlin' Brigade - The Young Company, students are instructed to perform all functions required of a professional company. As the The Whittlin' Whistlin' Brigade - The Young Company (WWB-TYC) spends much of its performance time on tour, those responsibilities are relegated to the students. Developed and headed by Dr. Harold R. Oaks of Brigham Young University, WWB-TYC produced children's theatre for local, regional, national and international audiences. The history includes production photos, budgets and business plans. A survey of former company members was conducted assessing the long-term affect on participants in relationship to their personal and professional life. This thesis is also in electronic form using animation, musical and narrative audio, an interactive menu and a photo-gallery. Text is available in HTML and PDF format with 'print' capability. A tutorial is included to aid in possible navigational concerns. Working within an electronic medium has facilitated the accessibility of a considerable collection of material highly diverse in nature. Twenty-seven years of production notes, performance programs, production photos, music, scripts, budgets, permissions, required licensing, travel arrangements and itineraries, performance schedules, educational/clientele data and historical developmental notes of the children's theater program itself presented not only volumes of material but also brought specific inclusion needs. In addition, the results of a program survey of the program will be presented in graph and chart format. Determined needs include: 1. A history of children's theater both nationally and at Brigham Young University. 2. Supporting documentation of program development and implementation. 3. Survey results of WWB-TYC participants.
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Johnson, David Vivian. "The history, theatrical performance work and achievements of Talawa Theatre Company 1986-2001." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/3070/.
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The central aims of this thesis is to provide a work that may be used to start a serious archive that documents the contemporary theatrical work of Britain's individuals and companies that have an Afro-Caribbean cultural background. Such an archive will allow later writers on aspects of modern British theatre the opportunity to move ahead where past generations have had to spend time reinventing themselves as documented resources have been lacking. The thesis documents and discusses the history and achievements of Talawa Theatre Company. Prior to this discussion the main theories, original research and methodologies used to complete this study are presented in Chapter One. The historical aspect of the work is divided into two sections. The first section is Chapter Two and provides a historical context for Talawa's performance work. This is done by presenting a chronology of Talawa's performance roots that are shown to begin in Africa, develop in Jamaica, and end in England. The second section is Chapter Three and looks at Talawa's history between 1986 and 2001. Analysis includes discussion of definitions of black British theatre, Talawa's mission statement and the company's residency in the West End. Talawa's achievements are discussed in the body of the thesis. The notion of achievement is understood within the contemporary British theatrical context highlighting the originality of Talawa's work, and by extension the company's commitment to its mission statement. To this end aspects of Talawa's performance work are discussed thematically in the following three chapters: Chapter Four: Caribbean Plays; Chapter Five: American Plays; Chapter Six: English Plays. Although Talawa has also performed African plays these performances are not part of the present study. The decision to omit this genre was due to the lack of archival evidence in this area.
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Blackwell, Mary Alice. "An Undergraduate Theatre History Course Design Utilizing Problem-Based Learning." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1188.
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This thesis was written to provide an alternative teaching model for an undergraduate theatre history class. The course design, utilizing the Problem-Based Learning educational model, aims to create a student-centered, experiential theatre history class. The first section explores the history and evolution of the theatre discipline in academia. These chapters examine the expansion and transformation of the theatre curriculum within the discipline and higher education. The second part examines the history and the methodologies of Problem-Based Learning. Based on the philosophy of educator John Dewey, PBL is considered to be a non-traditional method of teaching and learning that encourages the development of self-directed learning and the acquisition of knowledge through experiential education. The final section describes the actual course design. Included in this section are the educational objectives of the class, examples of problems, assessment methods, and an examination of potential challenges in the design.
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Clippard, Kristin. "A director's mash-up of She Stoops to Conquer or the Mistakes of a Night by Oliver Goldsmith." Thesis, The University of Iowa, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1540338.
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Lee, Melissa. "Staging the Actress: Dramatic Character and the Performance of Female Identity." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397823196.
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Walling, Carl Harry III. "Exhibiting Scenographic Identities at the 2007 & 2011 Prague Quadrennials." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1419006710.
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Williams, Carl Glenwood. "No Sleep 'til Minsky's: A One-Man Tribute to Burlesque and Vaudeville." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2099.
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No Sleep '˜Til Minsky's is a one-man show paying tribute to early 20th century variety entertainment. The writing process began with research into the forms of vaudeville and burlesque, including films of period acts, study of autobiographies and biographies of burlesque performers, and study of historical scripts performed in the time period and stored at the Library of Congress.
The format of the show consists of a one-hour core script in which Lou Drake speaks of his life and career in burlesque. In addition to the core script, the structure is designed to allow more actors to participate in staging sketches described by Drake, as well as allowing external acts to splice their material into a performance.
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Leffner, Josephine. "BLACK CATS, BERLIN, BROADWAY AND BEYOND: CABARET HISTORY IN THE MAKING." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2664.
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Cabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a two-woman cabaret show we will write, produce, and perform together. The show, Black Cats, Berlin, Broadway and Beyond, will be a one-act historical look at the genre of cabaret. It will include material garnered from historical research of the cabaret genre, specifically focusing on some of the famous women, songs, stories, lives, and important contributions. The cabaret show will cover information and art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic and will culminate with cabaret's insurgence into American culture up to, and including, the state of American cabaret today. American cabaret will be emphasized, but a portion of the show will explore American cabaret's European roots. My thesis will explore the triumphs and tribulations of putting together the show. As the culmination of my UCF studies, this project will test my abilities as a librettist, performer, creative artist, director, and collaborator. This thesis will include the actual show performances as well as a written monograph document recording the project's journey from its inception to conclusion.<br>M.F.A.<br>Department of Theatre<br>Arts and Humanities<br>Theatre
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Mayer, Rebecca F. "Speaking of, Talkin 'bout, Riffing on Tap." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4173.
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This paper examines the dialects of the language that is tap dance. Unlike more codified forms of dance such as ballet, which utilize a universally-accepted technique system, the evolution of tap dance has been largely rooted in oral tradition. During Broadway’s early years, entrepreneurs in the dance training business published manuals and dictionaries on tap, as did several self-styled experts in the 1990s; because many of these books are self-published, referring to them requires educated discrimination. Drawing on my own experience as a dance student, performer, choreographer, and educator, I have observed the preferred verbal language, dance styles, and technical applications of professional and amateur dancers in the Midwest, Mid-Atlantic, New England, and the Pacific Northwest. This research combined with a comparative analysis of tap dance as portrayed in commercial theatre as well as concert dance lays the groundwork for future study in tap dance pedagogy.
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Hahn, Miriam. "Playing Hippies and Indians: Acts of Cultural Colonization in the Theatre of the American Counterculture." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1400171772.
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Slagle, Judith Bailey. "The Rise and Fall of the New Edinburgh Theatre Royal, 1767-1859: Archival Documents and Performance History." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/718.
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Excerpt: In 1859, the Edinburgh house of Wood and Company published a Sketch of the History of the Edinburgh Th eatre-Royal in honor of its fi nal performance and closing, its author lamenting that “Th is House, which has been a scene of amusement to the citizens of Edinburgh for as long as most of them have lived, has at length come to the termination of its own existence” (3).
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Osborn, Adam Gardner. "Bill Hicks: A Study in National Character." W&M ScholarWorks, 2002. https://scholarworks.wm.edu/etd/1539626348.
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Seidl, Rodrigo. "O negócio do ócio: o teatro profissional londrino (1576-1603)." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/13187.
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Made available in DSpace on 2016-04-27T19:32:42Z (GMT). No. of bitstreams: 1
Rodrigo Seidl.pdf: 1488767 bytes, checksum: 0bd757518f92f78fba55bac5524e18fe (MD5)
Previous issue date: 2009-11-10<br>The objective of this dissertation was to investigate the ways in which Elizabethan professional theatre practice was, at the same time, a product and a producer of historical changes. Following the construction of London s first purpose-built playhouse in 1576, theatre slowly became a lucrative business run by full-time professionals. Soon after this historical development, the professional companies suffered constant attacks. These claimed that plays propagated sin and idleness among those who watched or took part in them. Through the analysis of the anti-theatrical writings and laws produced between 1576 and 1603, we observed the nature of the changes in theatrical practice in London and questioned the motives behind the attacks against the stage. We found that the process of professionalization of the London companies incorporated many of the social changes at work at the time. However, the new theatres created new social spaces in which transgressive social practices found their place beyond the City s control. Therefore, the professional theatre played an active role in making these new social values visible<br>O objetivo desta dissertação foi investigar as formas pelas quais a prática teatral profissional elisabetana foi, ao mesmo tempo, produto e produtor de mudanças históricas. Após a construção do primeiro teatro permanente de Londres em 1576, o teatro aos poucos se tornou um negócio lucrativo administrado por profissionais. Logo após este desenvolvimento histórico, as companhias profissionais sofreram ataques constantes. Estes afirmavam que peças teatrais propagavam o pecado e o ócio entre as pessoas que assistiam ou participavam nelas. Por meio da análise dos tratados e leis antiteatrais produzidas entre 1576 e 1603, nós observamos a natureza das mudanças na prática teatral em Londres e questionamos os motivos por trás dos ataques contra o teatro. Nós percebemos que o processo de profissionalização das companhias londrinas incorporou várias mudanças sociais que estavam em curso na época. Entretanto, os novos teatros criaram novos espaços sociais nos quais práticas sociais transgressoras acharam seu lugar fora do controle da Cidade. Portanto, o teatro profissional desempenhou um papel ativo ao dar visibilidade a estes novos valores sociais
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Babaee, Tamirdash Mohamadreza. "Staging Belonging: Performance, Migration, and the Middle Eastern Diaspora in the United States." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1593024898855739.
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Young, Christine Margaret. ""ATTENTION MUST BE PAID," CRIED THE BALLADEER: THE CONCEPT MUSICAL DEFINED." Lexington, Ky. : [University of Kentucky Libraries], 2008. http://hdl.handle.net/10225/882.
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Thesis (M.A.)--University of Kentucky, 2008.<br>Title from document title page (viewed on October 30, 2008). Document formatted into pages; contains: xv, 59 p. Includes abstract and vita. Includes bibliographical references (p. 54-59).
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Stodard, Nicole Elizabeth. "Aphra Behn on the Contemporary Stage: Behn's Feminist Legacy and Woman-Directed Revivals of The Rover." Scholar Commons, 2017. https://scholarcommons.usf.edu/etd/7446.
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This study theorizes the origins and history of the professional female playwright and director from the Restoration period to the present day through the stage history of Behn's most popular play, The Rover. Part one is comprised of two chapters: the first in this section argues the importance of appreciating Behn's proto-directorial function in the Restoration theatre and her significance to the history of feminism and women in professional theatre; the second chapter in this section examines the implications of casting practices and venue changes to eighteenth-century revivals of Behn's canon with a particular eye towards what a contemporary director can glean from 18th century revivals. Part II draws on archival research and personal interviews with directors, actors, and dramaturges to examine the historical significance of two particular twentieth-century, woman-directed revivals of The Rover: the 1989 revival at the Goodman directed by Kyle Donnelly and the 1994 revival at the Guthrie directed by Joanne Akalaitis. This study argues the synergistic impact at the time of woman-directed revivals of the most popular play by the first professional female playwright to the emergence of the professional woman director in America in the 1980s and 1990s. Part III consists of three chapters that examine woman-directed revivals of The Rover against the backdrop of theatre practice and sexual politics in the 2000s: one chapter analyzes cross-gender revivals of The Rover by Queen's Company in Brooklyn, NY (2001) and Woman's Will in San Francisco (2003); the next chapter examines a 2011 site-specific, panoramic production of The Rover at the World Financial Center directed by Karin Coonrod for New York Classical Theatre; the final chapter in this section analyzes a 2013 gender parodic production that I directed for Thinking Cap Theatre in Fort Lauderdale. This study argues for the importance of contemporary archiving and revival activism to historicizing the concept of the glass curtain and the gender parity movement in professional theatre and to improving the rate of employment of female directors and playwrights.
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Squire, Emma M. "Reexamining American Vaudeville: Male Impersonation, Baby Jane Hudson, and The Large Butch Crooner." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1469017910.
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Savard, Shannon N. Savard. "Growing Tribes: Reality Theatre and Columbus' Gay and Lesbian Community." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524152632871631.
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Watt, Linda Ann. "One-Third of a Nation, the Second Amendment, a Living Newspaper Play." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5704.
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One-Third of a Nation, the Second Amendment, a Living Newspaper Play
Thesis By Linda Ann Watt for a MFA Degree in Theatre Pedagogy
Documentary theatre, including living newspapers and verbatim theatre, use socio-political commentary at critical moments in history to disseminate facts and offer ideological critique dramatizing the crisis through the lens of emotion, which can incite societal change. This thesis explores this didactic medium with a written play about the second Amendment and gun violence.
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Phipps, Amanda Dawn. "Learning through performance : theatre, education and the First World War at the beginning of the centenary moment." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/27763.
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This thesis explores representations of the First World War in English theatre, Theatre in Education (TIE), and Living History between 2014 and 2015. By employing an interdisciplinary approach it evaluates these performance genres in relation to responses sought from Key Stage 3 History pupils. The beginning of the centenary created a cultural outpouring and provided opportunities for secondary schools to include field trips and creative learning about the war. Examination of this commemorative period is contextualised by examining pupils’ interaction with cultural works since 1914, showing that the centenary moment stemmed from a tradition of creatively remembering and teaching the conflict. This perspective highlights long-standing complexities in the relationship between creative practitioners, teachers and education authorities. It also confronts the divide that has grown between some creative practitioners and revisionist historians of the First World War. Revisionist historians’ reassessment of the conduct and necessity of the war has led some to harshly judge cultural works, such as performances, for misleading audiences. Yet little research has been conducted into twenty-first century productions about the war and their reception by school audiences. An investigation of these performances problematizes scholarly notions about how and who has the authority to communicate the First World War to the next generation. Whilst the providers, gatekeepers, and critics of learning through performance are of central consideration, this thesis also values the pupil’s voice. Ten Key Stage 3 cohorts are used as case studies, providing a snapshot of the creative activities and field trips employed by schools in 2014 and 2015. Interviews and questionnaires provide pupils’ feedback on what they thought and how they felt about studying history through performance. Observations of History lessons and performances also remove the debate from the hypothetical to the realities of history teaching. They reveal that pupils’ cultural backgrounds, schooling, and exposure to cultural works shaped their responses to performances about the First World War. Pupils also assigned the performances varying degrees of historical authority, some viewed them as merely entertainment, others as educational sources and several as a mixture of the two. Performances brought immediacy and life to the historical topic and provoked an empathetic response from many pupils. Yet some struggled with the symbolism of theatre and others feared the participation that came with TIE and Living History. Consequently, this thesis explores pupil’s critical, personal and emotional engagement with performances, raising questions about what criteria should be used to evaluate the success of such non-formal learning on the war.
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Yip, Leo Shing Chi. "Reinventing China: cultural adaptation in medieval Japanese Nô Theatre." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1087569643.
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Mateer, Shelley Megan. "Living History as Peformance: An Analysis of the Manner in which Historical Narrative is Developed through Performance." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1136660752.
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Matthews, Laura S. "DIRECTING THROUGH ANCIENT MOVEMENT: An Experiment Exploring Ancient Greek Choral Structures on the Modern Stage." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5731.
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This thesis outlines my research and creative process of how to direct modern theatre under the structure of the Ancient Greek chorus, specifically through movement. I include a brief history of how the chorus functioned in Ancient Greek theatre; how movement shaped the chorus’ role as well as the story for the audience. Using the parameters of the chorus, I directed two theatrical productions, Jason Robert Brown’s Parade, and Sarah Ruhl’s adaptation of Virginia Woolf’s Orlando. Through exploration and analysis I conclude that using Ancient Greek choral movement in modern theatre helps to create a more specific story through gesture and space, bridges the gap between the audience and action onstage, and should be the foundation of how directing is taught in academic settings.
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White, David Maurice. "Pedagogical Fusion." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/993.
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During the five semesters that I have been at VCU I have learned a great deal from the courses that I have been enrolled in but I have learned the most through my experiences as a Teaching Assistant. These experiences have been so valuable because of the wide range of subject areas in which I have been involved and the diverse instructors that I have assisted. Although I hesitate to use the word "problem" I feel that there is a tendency in teacher training for a student to latch onto one professor and model their teaching practices after that one mentor. While this is not always a bad thing I feel that it can lead some students down a dead-end path of self-exploration and individualization of their personal teaching style. I feel that I have been given a rare and invaluable opportunity in that I have been permitted to assist so many different teachers in such a wide array of subjects. In this thesis, I propose to examine the widely varied experiences that I have had here at VCU as a Teacher and Teaching Assistant. I will look at the teaching styles that I have witnessed, the methodologies and approaches of each course, and most importantly I will put forth my personal teaching philosophy that I have developed from my experiences here at VCU.
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Montecillo, Victoria. "The Naïve Ingénue, The Plucky Everyman's Hero, and the Ingénue Gone Awry: The Satirical Deconstruction of Theatrical Character Tropes in Urinetown: The Musical." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/868.
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This thesis looks to explore Urinetown: The Musical through a critical and theoretical framework, analyzing the show's presentation and deconstruction of theatrical character tropes through musical satire. Using the theories of theatre theorists such as Bertolt Brecht, Peter Brook, and Augusto Boal, this thesis discusses the use of theatre as a device for political and social commentary. Additionally, this thesis focuses more specifically on the show's character of Penelope Pennywise as a new kind of character in the theatre: an "ingénue gone awry," within the context of approaching a performance of the character in a performance of the musical.
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Sentilles, Renee M. "Performing Menken: Adah Isaacs Menken's American odyssey." W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539623901.
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This dissertation explores notions of self-invention and performance in mid-nineteenth century America by examining the life and writings of actress and poet, Adah Isaacs Menken, from roughly 1835 to 1868. During America's Civil War years, Menken became an international star in the controversial title role of Mazeppa, an equestrian play. at the climax, soldiers forcibly stripped Mazeppa (Menken) to reveal her body in a costume suggestive of nudity. The soldiers tied her to a horse and sent her careening up a steep mountain into the theatre rafters. This provocative "breeches part" allowed Menken to pursue unusual freedoms for a woman of her time as she faced a public that both celebrated and demonized her physical display.;Menken maintained a complex relationship with the public that hinged upon constantly shifting identities; she wore men's clothing while emphasizing her reputation as a femme fatale, formed intellectual friendships though she perpetuated low-brow drama, and claimed African, Jewish, Irish, Spanish and British ancestry. Dime novels and Bohemian literature suggested alternative routes for a woman to fulfill her aspirations, and Menken used their tropes to explore gender and sexual identity both on and off the stage. An aspiring poet, she also used her fame to befriend some of the most famous writers of her age, including Mark Twain, Charles Dickens, Charles Swinburne, Alexandre Dumas, and Walt Whitman. When she died in 1868, she left a volume of poetry, Infelicia, that has gone in and out of print for over a century.;Menken's writing and correspondence allows us to examine not only Menken but the world in which she tried to meet her aspirations. This biographical dissertation functions as a study of mid-nineteenth century America as Menken traveled from New Orleans to Cincinnati, New York, and California. Her final years in Europe also enable us to explore how Americans judged their importance in the larger culture of the western world. This dissertation adds to the history of African-Americans, Jews, and women, explores Victorian notions of gender and sexuality, and contributes to our understanding of nineteenth-century American popular culture.
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Pukszta, Claire A. "Myrrha Now: Reimagining Classic Myth and Mary Zimmerman's Metamorphoses in the #metoo Era." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1374.
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This paper represents the final culmination of a theater senior project. The project consisted of an analytical research paper, performance in a mainstage department production, and supporting process documentation. I portrayed Myrrha, Hunger, Zeus, and others in a production of the play Metamorphoses.
Through research on Mary Zimmerman’s 1998 play Metamorphoses, adapted from the works of Roman poet Ovid, this thesis grapples with the historical meaning of the myth of Myrrha. A polarizing figure, Myrrha was cursed to fall in lust with her father. By exploring of portrayals sexual assault onstage, I tackle themes of audience relationships to trauma and taboo subjects. I seek to understand the importance of her story in a modern context, specifically considering the #metoo movement and increasingly public discussions around sexual violence, rape culture, and systematic oppression. I stress our responsibility to understand how codifying stories on stage impacts audiences.
This project also contains my conceptualization for the characters I portrayed in Metamorphoses, my rehearsal journal, and post-show reflections. In these sections, I detail the acting theory behind my characters as well as the steps we took to adapt Metamorphoses for our community.
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Clemson, Frances Vida Amy. "The theology of Dorothy L. Sayers' dramatic works : dramatic performance and the 'continual showing forth of God's act in history'." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/11123.
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This thesis explores the potential fruitfulness of drama for Christian theology through a close analysis of particular dramatic works by Dorothy L. Sayers (1893-1957). This project contends that to determine the extent to which drama can be more than a mere metaphor in theological writing, it is vitally important for theologians to attend to specific instances of dramatic performance. The approach of this project is, therefore, one of taking time over particular plays, examined with sensitivity to the circumstances of the original productions of these works. Through such close study of Sayers’ plays, a case is made for drama’s capacity to show forth God’s action in history. At the heart of the theology which emerges from the plays is an incarnational and participatory dynamic: a movement which brings embodied, time-bound specificities into an intimate relationship with the excessive, uncontainable, superabundance of divine being. This thesis aims to contribute to the growing body of work which is discovering deep resonances between drama and theology. It also makes a significant contribution to the study of Sayers’ writings. Whilst Sayers’ detective fiction and other prose, in particular her book The Mind of the Maker, has received attention from scholars interested in theology, the theological significance of her plays has been overlooked. The thesis examines in detail four of Sayers’ dramatic works. Chapters Two and Three each treat works written for broadcast on BBC radio: first, Sayers’ 1938 nativity play, He That Should Come; second, her series of twelve plays depicting the life of Christ, The Man Born to Be King, broadcast between 1941 and 1942. Chapters Four and Five discuss plays written for performance in ecclesial settings: The Just Vengeance, commissioned as part of a festival at Lichfield Cathedral in 1946, and The Zeal of Thy House, the Canterbury Cathedral Festival play for 1937.
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Choate, Catie. "The Action to the Word, The Word to the Action: Teaching Shakespeare as Performance Litearture." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4234.
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This paper details a class taught in the Virginia Commonwealth Theatre Department in Fall of 2015 on the works of William Shakespeare. Within both the class and this paper, I attempted to form the beginnings of a pedagogy of Shakespearean literature that incorporated elements of literary criticism, historical context and performance theory. Dramatic literature, including Shakespeare, is a moving target, as the text is reimagine and reinterpreted on stage again and again. My goal with this paper is to examine both how dramatic literature can be taught and the special challenges present in teaching it using Shakespeare as a case study, and to explore what is particularly meaningful about Shakespeare in the classroom.
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Malone, Samuel C. III. "An Actor's Method to Building the Character of Hamlet in The Tragedy of Hamlet, Prince of Denmark." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2096.
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This thesis will set out to examine the process needed in order to deliver the character of Hamlet as a fully dimensional, complex human being who transcends time periods and class distinctions to connect with any audience of any background. This text will include biographical information about the author, William Shakespeare, as well as historical information about the circumstances and atmosphere surrounding the birth of this play. It will also include information about other performances, which will serve as references for comparison in terms of character development. Included in the scored actor’s script are the Sanford Meisner Techniques of moment-to-moment analysis and actioning as it relates to Konstantin Stanislavski’s system, as well as any additional actor’s notes that may have contributed to character development.
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Bloomfield, Jeremy Charles. ""I am Duchess of Malfi still" : the framing of Webster's "The Duchess of Malfi"." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3257.
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This thesis investigates the ways in which Webster’s Duchess of Malfi has been framed and interpreted, selecting various case studies from the four hundred years of the play’s history. It analyses the way in which a number of discourses have been brought to bear upon the play to delimit and shape its meanings, in the absence of a powerful determining author-figure such as Shakespeare. The investigation is organised around three “strands”, or elements which reappear in the commentary on the play. These are “pastness”, the sense that the play is framed as belonging to an earlier era and resistant to being completely interpreted by the later theatrical context being used to reproduce it; “not-Shakespeare”, the way in which Malfi has been set up in opposition to a “Shakespearean” model of dramatic value, or folded into that model; and “the dominance of the Duchess”, the tendency for the central character to act as a focus for the play’s perceived meanings. It identifies and analyses the co-opting of these elements in the service of wildly varying cultural politics throughout the play’s history. Sited within the assumptions and practices of Early Modern performance studies, this thesis constitutes an intervention in the field, demonstrating the possibility of a radically decentred approach. Such an approach is freed from either a reliance on Shakespeare as a prototypical model from which other works are imagined as diverging, or from the progressive narrative of theatre history in which twentieth century scholars “discovered” the true inherent meaning of early modern drama which had been “obscured” by the intervening centuries of theatre practice. It reveals blindspots and weaknesses in the existing Shakespeare-centred conception of the field, and opens up new possibilities for understanding Early Modern drama in historical and contemporary performance.
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Jordan, Richard. "The space between : representing 'youth' on the contemporary Australian stage." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16173/.
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Young characters throughout the history of Australian theatre have traditionally been represented as tragic, transient, and dangerous; discourses which have defined and limited their construction. 'Youth' itself is a concept which has been invented and perpetuated within Western Art and Media for much of the twentieth century and beyond, creating an exclusive 'space' for young people: a space between childhood and a standard human being. This thesis seeks to explore the implications of this space, as well as contextualise a new creative work - the stage play like, dead - within the canon of Australian theatre texts which portray young characters. like, dead will be shown to be a work which reappropriates clichéd youthful discourses through the use of irony, humour, and a sense of postmodern 'performativity' among its characters. In so doing it will demonstrate an alternative approach to representing young people on the Australian stage, by enhancing the constructedness of traditional images of 'youth' and pursuing the creation of young characters which are not solely defined by the term.
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Haxton, Robert Peter. "Refusal and rupture as a postdramatic revolt : an analysis of selected South African contemporary devised performances with particular focus on works by First Physical Theatre Company and the Rhodes University Drama Department." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015671.
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This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questioning in the spectator. This research is approached through a qualitative process which entails a reading and application of selected critical texts to the analysis with an application of Lehmann’s terminology. This reading/application is engaged in a dialogue with the interpretative and experiential aspects of selected South African devised performances with particular focus on four cross-disciplinary works selected for analysis. Chapter One functions as an introduction to the concept of postdramatic theatre and the application of the terms refusal and rupture as deconstructive keywords in the process of a devised performance. Chapter Two is an analysis of several South African contemporary performances with particular focus on Body of Evidence (2009) by Siwela Sonke Dance Company, Wreckage (2011) a collaboration by Ubom! Eastern Cape Drama Company and First Physical Theatre Company, Discharge (2012) by First Physical Theatre Company, and Drifting (2013) by The Rhodes University Drama Department. This mini-thesis concludes with the idea that with an understanding of refusal and rupture in a postdramatic revolt, contemporary devised performance achieves an awakening in its spectators by deconstructing the expectation of understanding and the need for resolve; the assumption and need for traditional dramatic structures and rules are challenged. Instead, it awakes an experience of discovery and questioning.
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Durst, Amanda. "An Archival Expedition: My Journey to Organize and Further Document the History of the Voice and Speech Trainers Association." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/165.
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I joined the Voice and Speech Trainers Association (VASTA) in the spring of 2004 and immediately assumed the position of VASTA Archive Cataloguist. I began to sort and file the history of the organization, as it existed. I worked on the archive project for almost a year before I stumbled onto a second project. In discovering something missing from the VASTA Archive, I began devising a plan to collect stories to flesh out the existing materials. They will be called the "VASTA Stories". In my two years of service to VASTA - as archive cataloguist, and now as archivist - I have worked to develop a system of organization for the existing materials, a catalogue system to document the archive's contents, as well as a system for the collection of new materials. My involvement in VASTA, and the inspiration for these projects, comes from Kate Ufema and Janet Rodgers - both past-presidents of VASTA.
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Marcus, Reker Katherine B. ""Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The Musical." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/876.
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This thesis proposes a critical study of the theoretical framework of Urinetown, asking the question of whether or not the show is truly a “Brechtian musical,” utilizing the tenets and beliefs of Bertolt Brecht. Set in a quirky, Gotham-like town where you have “to pay to pee” due to a severe drought, Urinetown follows a cast of absurdist characters as they navigate a society plagued by the perils of big business, ecological devastation, and the inequalities of capitalism. While the show appears to make a relevant social commentary, supporting a righteous rebellion to overthrow the evil Urine Good Company, in the end, by proving that revolution does not always succeed, writers, Kotis and Hollman invalidate these commentaries, proving that despite its Brechtian appearance, the show in its textual form is much more simply a comedic parody. However, Pomona College’s production, in which I played Hope Cladwell, takes on a much more severe tone, creating legitimate commentary by replacing many of the comedic, two-dimensional characters with living breathing, realities. In a text traditionally lacking authenticity, I approached Hope Cladwell with the intention of finding strength and satire in an otherwise vapid character.
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Seager, Cecchini Ashley. "“Maybe I’ll see you on the stage”: Spontaneous Audience Action in the Performance of the Plays of Victoria Nalani Kneubuhl." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1281283461.
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