Tesis: "Poetics of drama"

1

Head, Andrew J. N. "Acting Beckett : towards a poetics of performance". Thesis, University of Hull, 2015. http://hydra.hull.ac.uk/resources/hull:11214.

Texto completo

Resumen

Samuel Beckett’s writing stalks the progress of twentieth century art and culture. Seen as both symptomatic of the practices of high Modernism, as well as influential within the fragmented tropes of postmodernity, his drama is often referred to as exploring the limits of an incrementally reductive approach to performance in which fine margins – through time and space; sound and image – are used in the determination of an authentic rendering of his work. This study argues that it is the figure of the actor, in all its rich signifying complexity, which provides us with a lens through which we can evaluate Beckett’s work for theatre and other media. In considering the Beckettian actor, the study grounds a poetics of performance in a principally phenomenological discourse in which theatre history and popular culture throughout the twentieth century is seen as a key factor both in Beckett’s writing and theatre directing, as well as in the often contested development of the actor’s craft. Throughout, it is the theme of music and musicality that provides the actor with a starting point, or modus vivendi, in which the individual self or personality of the actor is valorized alongside other practices based on acquired technique and its application. This study does not propose instruction or a range of techniques for the actor to pursue in furthering their understanding of Beckett’s canon. Instead, this work establishes an understanding of the Beckettian actor in which strategies of implication, born out of sometimes paradoxical representations of silence, absence and abstraction, subordinate acting pedagogies based on programmed curricula. This examination of an implied actor illustrates the various ways in which notable, as well as relatively unknown, actors have sought to reconcile some of these issues. In doing so, the study also interrogates my own creative practice as a director and performer of Beckett’s drama over a fifteen-year period.

Los estilos APA, Harvard, Vancouver, ISO, etc.

2

Shalaby, Mahmoud Moustafa. "Politics and poetics in the drama of Salāḥ 'Abd al-Sabūr and Wole Soyinka". Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7788.

Texto completo

Resumen

The originality of this study stems primarily from its comparative nature, with its substantive focus on the Egyptian playwright Salāḥ 'Abd al-Sabūr who wrote in Arabic and the Nigerian dramatist, Wole Soyinka (1934), writing in English. It thus attempts to address a gap in comparative research which has so far been largely confined to comparative studies of either Western writers and African counterparts or Western writers and Arab counterparts, but rarely combined Arab and African writers. This thesis investigates selected dramatic works of the two playwrights seeking to reveal the various manifestations of poetics and politics in their drama. The aim is to find the theatrical connection between the two dramatists, a connection that could shed more light on the aesthetics of their drama and the sources of influence on them. My main concern has been, firstly, to explore Nietzsche’s influence on their drama; secondly, to analyse the dynamic relationship between their dramatic content and the local cultural and political environment of Egypt and Nigeria; and thirdly, to examine the use of history as a means of addressing contemporary issues. The first chapter is a discussion of Soyink ’s The Bacchae of Euripides. It investigates the impact of Nietzsche’s ideas, particularly those voiced in The Birth of Tragedy (1872), on Soyink ’s critic and dramatic perspectives. In the second chapter 'Abd al-Sabūr' Night Traveller is discussed. In this chapter I attempt to explore how the Egyptian playwright presente Nietzsche’s theological ideas in dramatic form. I also attempt to show how ʻAbd al-Sabūr adapted Nietzsche’s concepts to fit in with the aesthetics of modern drama in Egyptian culture. Chapter Three examines the use of religion in their drama. Religion features as an important source which afforded both ʻAbd al-Sabūr and Soyinka sufficient material for rituals, symbols, allusions, metaphors and language. In Chapter Four, the dramatists’ views and use of history is explored. The value of history and its intricate relationship to aesthetics in drama is discussed within the frame of modernism and in the light of Nietzsche’s controversial ideas of history. Chapter Five examines the interrelation between politics and poetics in the theatre of the two dramatists. It presents an attempt at a postcolonial reading of selected plays. Chapter Six explores the image, role and dilemma of the intellectual. The role assigned to this figure is important in understanding their view of theatre and its function in society. The thesis finally argues that both 'Abd al-Sabūr and Soyinka established a theatre that was based on syncretism of indigenous traditions and foreign influence. Their dramatic works tackle local issues in theatrical forms that are not necessarily indigenous. While ʻAbd al-Sabūr' drama was highly literary and its theatricality was not obviously compelling, Soyink ’s possessed theatrical elements that made their performance vividly interesting for audiences.

Los estilos APA, Harvard, Vancouver, ISO, etc.

3

Steggle, Matthew. "Aristopanes grandsons : the poetics of comedy and satire in the age of Jonson". Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320684.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

4

Garrett, Yanis. "Offer, Accept, Block, Yield: the poetics of open scene additive improvisation". Faculty of Education and Social Work, 2006. http://hdl.handle.net/2123/1901.

Texto completo

Resumen

Master of Philosophy
This single case study examines the way that Johnstone’s (1981) Impro ‘Poetics’ are being used in the contemporary practice of Open Scene Additive Improvisation (OSAI). Johnstone’s Poetics have become a ubiquitous part of contemporary drama improvisation parlance, yet they have never themselves been the subject of any academic examination. This study attempts to fill that void by looking at their use in Open Scene Impro, the purest form of theatre improvisation (since OSAI relies on no structures other than the audience suggestion around which to improvise a ‘Scene’.) To do this, the research analysed seven OSAI Scenes performed by 3 undergraduate student improvisers at the University of Sydney in July 2003, and looked at the ways in which the actions that Johnstone’s Poetics describe are actually being used. Looking closely at Scene segments, the study identifies a number of features: the ways that Offers are used to initiate, re-initiate, confirm or redirect meaning across five identified fields; the ways that Accepts temper these meanings; the productive use of Blocking in a Scene; and many other functions. It was also found that in-Scene negotiations about definition of situation became a subtextually enmeshed part of the Scene’s meaning (often in Phases of improvisers’ conflicting Endowments), while the predictive and framing control of narrative-indexing Offers ensured that character roles became defined early on in all Scenes. Overall, the study’s analysis dissects each of the Poetics to show that improvisers use them for a number of major purposes crucial for the reality, forward-movement and coherence of a Scene to obtain. The study concludes by elucidating how the nine main Poetics (Offer, Endow, Justify, Advance, Extend, Reincorporate, Accept, Block and Yield) serve these purposes. These purposes are then abstracted into the TOE Model, which in turn forms the basis of a proposed dynamic and holistic model for understanding OSAI at each moment of its (re-)creation. The ultimate aim, beyond the reach of the present study, is to be able to understand an Open Scene’s every moment, and each moment’s reference historically backwards, and, to some degree, predictively forwards in time. To this end, the fundamental dynamic of contextualised giving and receiving in OSAI is morphed into a Taoist energetic model, a “Tao of Impro”, along with the notion, derived from Mandelbrot, of ‘cybernetic semantic iteration’, by which information seems to get processed in Open Scenes. The educational implications of these models are then sketched, and future directions for research in OSAI pointed to.

Los estilos APA, Harvard, Vancouver, ISO, etc.

5

Wenge, Matt. "Fearlessness the seventh element of drama". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5082.

Texto completo

Resumen

Aristotle proclaimed in his Poetics that there were six elements to drama: spectacle, music, diction, thought, character, and plot. This paper will analyze the play Thom Pain (based on nothing) against these six elements. I will discuss the aspects of each element that are present in the show as well as the ideas and concepts my director, Tad Ingram, and I brought to the show. Through the rehearsal and performance process I discovered a seventh element; the element of fearlessness. In his Poetics, Aristotle does not fully address what the actor brings to the performance and this aspect is just as important as what the script and staging bring to the performance.
ID: 029810021; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 50).
M.F.A.
Masters
Theatre
Arts and Humanities

Los estilos APA, Harvard, Vancouver, ISO, etc.

6

Grandcamp, Gabrielle. "Enjeux de mise en scène dans les "Miracles de Nostre Dame par personnages"". Thesis, Normandie, 2017. http://www.theses.fr/2017NORMLH23/document.

Texto completo

Resumen

Les quarante "Miracles de Nostre Dame par personnages" constituent l'immense majorité du corpus dramatique de langue française du XIVe siècle. Malgré cette importance historique majeure, ces pièces n'ont jusqu'à aujourd'hui pas fait l'objet d'une étude littéraire spécifique. Victimes du manque de légitimité poétique que l'on prête au théâtre médiéval en général, mais aussi tributaires de leur apparente simplicité, ces drames présentent pourtant de nombreuses similarités qui témoignent de l'homogénéité stylistique du corpus. Envisageant tour à tour le corpus en tant que texte, spectacle et livre, le présent travail vise donc à rendre raison de sa concertation dramaturgique. L'étude se donne d'abord pour objet de repérer les lois implicites du recueil : tandis qu'une analyse en synchronie permet de dégager les lois structurelles et discursives du corpus, une étude en diachronie permet de comprendre ses lois de composition, élaborées au fil du temps et des expériences scéniques. C'est finalement dans le dialogue incessant entre la scène et les spectateurs que s'élabore la spécificité du Miracle dramatique, dont la dramaturgie propose une approche singulièrement subtile de son public. Cette relation étroite entre la scène et les spectateurs se poursuit lors du passage des pièces de l'espace scénique à l'espace du livre. Mises en drame, en scène et en texte, ces quarante histoires miraculeuses offrent finalement l'évidence de la profonde cohérence de leurs transpositions successives. Témoignages de la vocation éducative des confréries, elles s'avèrent être de riches et étonnants objets de théâtre, dont la portée esthétique ne s'est pas tout à fait éteinte
The forty "Miracles de Nostre Dame par personnages" stand for the immense majority of the dramatic French-language corpus of the fourteenth century. Despite this major historical importance, these plays have not been the subject of a specific literary study. Despised for the lack of poetic legitimacy attributed to medieval theater in general and for their apparent simplicity, these dramas present many similarities which show the evidence of the stylistic homogeneity of the corpus. Considering in turns the corpus as a text, a show and a book, this work aims to reveal the dramaturgical project behind the plays. First of all, this study intends to identify the implicit laws of the collection. A synchronic analysis allows to identify the structural and discursive laws of the corpus, while a diachronic study reveal its laws of composition, created by succesives scenic experiences. Finally, the specificity of the dramatic Miracle appears to be based on this constant dialogue between the stage and its audience. This close relationship continues as the pieces move from the stage space to the book space. Dramas, stagings and texts, these forty miraculous stories offer the evidence of the deep coherence of their successive transpositions. As these plays are proofs of the brotherhoods' educational vocation, they turn out to be amazing theater objects, whose aesthetic significance has not quite extinguished

Los estilos APA, Harvard, Vancouver, ISO, etc.

7

vom, Schemm A. (Axel). "Dichter am Ball:untersuchungen zur Poetik des Sports am Beispiel deutschsprachiger „Fußball-Literatur”". Doctoral thesis, University of Oulu, 2006. http://urn.fi/urn:isbn:9514283023.

Texto completo

Resumen

Abstract In view of numerous texts from completely different genres the study shows to what extent and degree of differentiation the topic soccer is covered in German-language literature and allows general conclusions on a poetics of sport. Here solely German-language literary sources are considered. The work is divided into a theoretical and a text-related part. In the former section the approaches to the topic – on one hand via German studies and on the other hand via interdisciplinary sport science – is made clear by means of basic considerations on the questions “what is literature?” and “what is sport”. In addition, a revisable basis for the subsequent studies is provided. The text-related part – in turn subdivided according to the three main genres lyric poetry, epic poetry and drama – shows how exactly soccer appears as literary subject. Formal differences induced by the form of presentation within a genre (sonnet vs. visual poetry) or across genres (detective story vs. modern drama) take effect as well as context-related variations of the subject (soccer as symbolic carrier of meaning vs. soccer as vehicle for transporting ethical values). A concluding chapter each on the realization of the sport models introduced in the theoretical part in literary practice follow the individual genre areas. The various aspects that can be attributed to a poetics of sport conclude the study in a summarizing part. Not least here the comprehensiveness of the findings can be seen
Abstract Die Untersuchung zeigt mit Blick auf zahlreiche Texte ganz unterschiedlicher Gattungen, in welchem Umfang und wie differenziert das Thema Fußball in der deutschen Literatur behandelt wird und lässt damit allgemeine Rückschlüsse auf eine Poetik des Sports zu. Betrachtet werden hier ausschließlich deutschsprachige, literarische Quellen. Die Arbeit gliedert sich in einen theoretischen und einen textbezogenen Teil. Im erstgenannten Abschnitt wird durch grundsätzliche Überlegungen zu den Fragen „Was ist Literatur? ” und „Was ist Sport? ” der einerseits germanistische, andererseits interdisziplinäre sportwissenschaftliche Zugang zum Thema verdeutlicht. Zudem ist hier eine überprüfbare Basis für die anschließenden Untersuchungen geschaffen. Der textbezogene Teil – wiederum untergliedert nach den drei Hauptgattungen Lyrik, Epik und Drama – zeigt, wie Fußball genau als literarisches Motiv erscheint. Formale Unterschiede bedingt durch die Darstellungsform innerhalb einer Gattung (Sonett vs. Visuelle Poesie) oder grenzüberschreitend (Kriminalroman vs. Modernes Drama) kommenden dabei ebenso zum Tragen wie inhaltliche Variationen des Motivs (Fußball als symbolischer Bedeutungsträger vs. Fußball als Vehikel zur Vermittlung ethischer Werte). Je ein resümierendes Kapitel über die Umsetzung der im theoretischen Teil eingeführten Sportmodelle in der literarischen Praxis schließt sich an die einzelnen Gattungsbereiche an. Die verschiedenen Aspekte, die sich einer Poetik des Sports zuschreiben lassen, schließen die Studie in einem zusammenfassenden Teil ab. Nicht zuletzt hier zeigt sich die Reichhaltigkeit der Untersuchungsergebnisse

Los estilos APA, Harvard, Vancouver, ISO, etc.

8

Miroslav, Radonjić. "Dramski opus Vide Ognjenović u kontekstu savremene srpske dramaturgije i književne tradicije". Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2015. http://www.cris.uns.ac.rs/record.jsf?recordId=94108&source=NDLTD&language=en.

Texto completo

Resumen

Намера студије јесте да се целокупни досадашњи драмски опус Виде Огњеновићсагледа у ширем контексту савремене српске драматургије и књижевне традиције. Овакавзадатак подразумева анализу примењеног литерарно-драматуршког поступка, тематско-мотивских одредница, жанровских и стилских особености, језичког израза,карактеризације ликова, односа према историјским, политичким, идеолошким, културним,социјалним и другим друштвеним феноменима. За реализацију тако дефинисаног циљаистраживања, било је неопходно формирати својеврсни координатни систем. Унутарсистема једна оса представља најзначајније ауторе и њихова репрезентативна дела, који сукључни за развој савремене српске драме од Другог светског рата до прве деценије овогвека, а друга оса означава књижевну традицију као недвосмислену исходишну тачку икреативну инспирацију. Рад је подељен у три органски повезане целине: „Савременасрпска драма”, „Драмски опус Виде Огњеновић” и „Књижевна традиција као креативнаинспирација
Namera studije jeste da se celokupni dosadašnji dramski opus Vide Ognjenovićsagleda u širem kontekstu savremene srpske dramaturgije i književne tradicije. Ovakavzadatak podrazumeva analizu primenjenog literarno-dramaturškog postupka, tematsko-motivskih odrednica, žanrovskih i stilskih osobenosti, jezičkog izraza,karakterizacije likova, odnosa prema istorijskim, političkim, ideološkim, kulturnim,socijalnim i drugim društvenim fenomenima. Za realizaciju tako definisanog ciljaistraživanja, bilo je neophodno formirati svojevrsni koordinatni sistem. Unutarsistema jedna osa predstavlja najznačajnije autore i njihova reprezentativna dela, koji suključni za razvoj savremene srpske drame od Drugog svetskog rata do prve decenije ovogveka, a druga osa označava književnu tradiciju kao nedvosmislenu ishodišnu tačku ikreativnu inspiraciju. Rad je podeljen u tri organski povezane celine: „Savremenasrpska drama”, „Dramski opus Vide Ognjenović” i „Književna tradicija kao kreativnainspiracija
This study is aimed at offering an overview of the entire dramatic oeuvre of VidaOgnjenović to date within the wider context of the contemporary Serbian dramaturgy and literarytradition. This objective entails an analysis of the literary-dramatic procedure used, as well as thethematic-motif determinants, distinctive features in regard to genre and style, linguisticexpression, characterisation, attitude towards historical, political, ideological, cultural, social andother societal phenomena. In order to accomplish the objective of research thus formulated, itwas necessary to form a singular coordinate system. One coordinate axis represents majorauthors and their representative works, which bear crucial significance for the development ofthe contemporary Serbian drama from World War II to the first decade of this century, while theother axis represents literary tradition as an unambiguous point of origin and creative inspiration.The study is divided into three organically related units: ‘Contemporary Serbian drama’,‘Dramatic oeuvre of Vida Ognjenović’ and ‘Literary tradition as creative inspiration’.

Los estilos APA, Harvard, Vancouver, ISO, etc.

9

Padovani, Delphine. "Le théâtre du monde chez les auteurs dramatiques contemporains francophones. Valère Novarina, Pierre Guyotat, Didier-Georges Gabily, Olivier Py, Joël Pommerat, Daniel Danis". Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30029/document.

Texto completo

Resumen

Cette thèse porte sur les caractéristiques du théâtre du monde telles qu’elles se manifestent dans différentes œuvres dramatiques contemporaines francophones. Il s’agit d’envisager sept pièces de ce répertoire comme autant d’images du monde, dans la mesure où elles convoquent les emblèmes de la vie terrestre : humaine, animale, végétale, et problématisent leurs interactions dans un espace-temps universel. Dans une partie introductive, on rassemble et commente les principales contributions universitaires à la réflexion sur la notion historique de théâtre du monde. Dans la partie principale, on observe les prolongements contemporains de la métaphore à travers l’étude des pièces du corpus. Une présentation générale des moteurs et motifs d’écriture des dramaturges introduit chaque analyse de texte, basée sur une grille de lecture calquée sur les catégories constitutives du drame : personnages, espace et temps, actions, didascalies. Le corps de la thèse est ainsi conçu comme l’exploration de sept déclinaisons du théâtre du monde, partant de la représentation la plus abstraite pour aboutir à la plus organique. Une synthèse boucle ce parcours en soulignant que les pièces dépendent de trois modèles de composition, déterminant autant de combinaisons des catégories dramatiques. Cette classification dévoile enfin l’ambition qui génère chaque projet d’écriture. En conclusion, il apparaît que le théâtre du monde dont on s’accorde généralement à penser qu’il est un topos daté évoquant la théâtralité de la vie humaine, est un cadre générique assez fort pour résister à la poétique du drame contemporain, assez vaste pour accueillir les inventions dramaturgiques les plus singulières
This thesis deals with the characteristics of the theatre of the world metaphor, as they appear in several contemporary french-speaking plays. Seven plays have been selected as images of the world, since they summon various emblematic elements of life on earth: humans, animals and flora, and emphasize their interaction in a universal surroundings. Firstly, the principal academic contributions concerning the historical notion of theatre of the world are gathered and commented. The main part of the research consists of the demonstration of the metaphor's contemporary extensions, through the study of the corpus. The analysis of each play is preceded by a presentation of its author's writing motivations and motives. Then, the play itself is examined carefully with the help of a reading grid which focuses successively on the dramatic categories : characters, space and time, actions, stage directions. Thus, the thesis's body is built as an exploration of seven variations of the theatre of the world, beginning with the most abstract one and leading to the most organic one. A synthesis ends this journey, pointing out that the plays match three composition patterns, which induces many combinations of the dramatic categories. This classification unveils the ambition at the origin of each writing project. In conclusion, it appears that the theatre of the world, generally considered as an old topos which refers to the theatrality of human life, is a framework strong enough to stand up to the poetics of comtemporary drama, and vast enough to house the most singular dramaturgic inventions

Los estilos APA, Harvard, Vancouver, ISO, etc.

10

Silveira, Isabela Fernanda Azevedo. "O lugar do espectador na dramaturgia de Armand Gatti: engajamento político, cooperação textual e performatividade". Escola de Teatro, 2011. http://repositorio.ufba.br/ri/handle/ri/27116.

Texto completo

Resumen

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-27T18:51:13Z No. of bitstreams: 1 Dissertação final.pdf: 1186771 bytes, checksum: 36bc34689cf78f33dfbc1cab1699191e (MD5)
Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-28T00:49:02Z (GMT) No. of bitstreams: 1 Dissertação final.pdf: 1186771 bytes, checksum: 36bc34689cf78f33dfbc1cab1699191e (MD5)
Made available in DSpace on 2018-08-28T00:49:02Z (GMT). No. of bitstreams: 1 Dissertação final.pdf: 1186771 bytes, checksum: 36bc34689cf78f33dfbc1cab1699191e (MD5)
O objeto da dissertação é a poética do jornalista, poeta, escritor, diretor teatral, dramaturgo e cineasta Armand Gatti, tendo como critério norteador do presente trabalho sua atuação como dramaturgo. No universo de suas peças escritas e publicadas, me concentro naquelas que compõem o Pequeno manual de guerrilha urbana (1968), uma compilação de quatro peças curtas de temática política, escritas pelo autor durante e logo após os eventos de maio de 1968 na Europa. A partir das quatro peças que compõem o Pequeno Manual, comparo a produção gattiniana com a de dois outros autores, o alemão Bertolt Brecht e o brasileiro Augusto Boal, apresento uma amostra da produção dramatúrgica gattiniana - por meio da tradução integral do texto A máquina escavadora ou para entrar no plano de cerceamento da Colônia de Invasão Che Guevara - e demonstro os esforços do autor para prever a participação do espectador teatral desde o momento de escrita de seus textos. Através de suas teorias, Anne Ubersfeld, Jean-Jacques Roubine, Luiz Fernando Ramos, J. Austin e Umberto Eco são os principais autores que oferecem suporte para meu trabalho, em especial na análise das marcas paratextuais inscritas na escrita gattiniana e na relação de sua escrita dramatúrgica com a participação dos espectadores das encenações que dela resultam.
L'objet de ce travail est la poétique du journaliste, poète, écrivain, metteur en scène, dramaturge et cinéaste Armand Gatti. Les critères de orientation adoptés a cette étude sont son travail notamment aux textes théâtrales de cet artiste monégasque basée en France depuis 1924. Dans l'univers de ses écrits et pièces publiées je me concentre sur ceux qui composent Le Petit Manuel de Guérilla Urbaine (1968), une compilation de quatre pièces courtes de thème politique, écrites par l'auteur pendant et peu après les événements de mai 1968 en Europe. En utilisant les parties qui composent le Petit Manuel pour extraire un échantillon de la production de l’auteur, je compare ses oeuvres avec des deux autres hommes: l'allemand Bertolt Brecht et le brésilien Augusto Boal. Par ici je présent une traduction intégrale du texte La Machine Excavatrice – Pour entrer dans le plan de défrichement de la colone d'invasion Che Guevara afin de démontrer les efforts de l'auteur pour assurer la participation du spectateur à partir de la création de leurs textes. Par leurs théories, Anne Ubersfeld, Jean-Jacques Roubine, Luiz Fernando Ramos, J. Austin et Umberto Eco sont les principaux auteurs qui soutiennent mon travail, en particulier dans l'analyse des marques paratextuels de Gatti entrés par écrit et par rapport à leur dramaturgie.

Los estilos APA, Harvard, Vancouver, ISO, etc.

11

Khovacs, Ivan Patricio Morillo. "Divine reckonings in profane spaces : towards a theological dramaturgy for theatre, with special reference to the theo-drama of Hans Urs von Balthasar". Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/329.

Texto completo

Resumen

If from God’s perspective ‘all the world’s a stage’, theology invites one to think and act according to the view afforded from this height. To speak theologically of a ‘world stage’ as many contemporary theologians have done has required rethinking the Church’s long-established antagonism towards the stage. Of late, theology has opened up academic exchange with the drama’s understanding of ‘the great theatre of the world’. Hans Urs von Balthasar’s theo-drama in particular has given Christians a means for entering into discussion with dramatic forms. Contemporary theological engagements with ‘drama’, however, have been limited to its most literary/metaphorical aspects; less attention has been paid to the potentialities in theology’s exchange with the performance aesthetics of live theatre. Pressed to its logical ends, however, von Balthasar’s idea of a ‘theological dramatics’ and its advances made in contemporary theology, suggest the need for sustained engagement with other modes of dramaturgy, including performance theory and the stage. This thesis attempts to instantiate this theological engagement through the aesthetics of theatrical performance.

Los estilos APA, Harvard, Vancouver, ISO, etc.

12

Butler, Elmien. "Poetic and therapeutic encounters with adolescents". Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-08212007-123522.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

13

Khamphommala, Vanasay. "Spectres de Shakespeare dans l’œuvre de Howard Barker". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040190.

Texto completo

Resumen

Howard Barker fait ses armes de dramaturge en composant en 1971 une pochade sur Henry V de Shakespeare et signe trente ans plus tard l’un de ses textes les plus aboutis avec Gertrude – The Cry, variation sur le thème d’Hamlet. À la faveur de ces réécritures et de quelques autres (notamment Seven Lears en 1989), décrire le dramaturge contemporain comme le « Shakespeare de notre époque », expression attribuée à Sarah Kane, s’est rapidement imposé comme un lieu commun, relayé tant par la presse que par la critique. Pourtant, en dépit de certaines caractéristiques communes, leurs œuvres apparaissent d’abord comme radicalement différentes, ne serait-ce qu’en raison du statut marginal que Barker occupe au sein du paysage théâtral anglais. Dès lors, si Shakespeare se manifeste dans son œuvre, ce sera sous une forme altérée, méconnaissable, transformée, autrement dit sous forme de spectres. Pourquoi l’œuvre de Barker a-t-elle suscité de façon si insistante la comparaison à celle de Shakespeare ? Et que révèle cette comparaison, non seulement de la pratique critique, mais surtout des enjeux poétiques du théâtre de Barker ? Cette étude s’efforce de répondre à ces questions en examinant d’abord les modalités d’élaboration de l’œuvre de Barker, et la manière dont celle-ci place le spectre, figure majeure du doute, au cœur de son esthétique. Elle se penche ensuite sur les critères qui ont pu justifier le rapprochement entre les deux dramaturges, notamment l’histoire et l’écriture, pour montrer que Shakespeare est toujours convoqué sur le mode paradoxal du leurre, modèle avancé pour être mieux rejeté. De la sorte, elle essaie de dégager non pas les traits que partagent les deux dramaturges, mais la manière dont Barker tente d’exorciser la présence étouffante du dramaturge élisabéthain en élaborant une poétique singulière
From his earliest efforts to his latest and most accomplished plays, Howard Barker has often confronted Shakespeare, be it with his irreverent parody of Henry V in Henry V in Two Parts (1971) or with his variations on Hamlet in Gertrude – The Cry (2002). These rewritings, along with some others (notably Seven Lears in 1989) have prompted many, both in the media and in academia, to call him, as Sarah Kane allegedly did, “the Shakespeare of our age”. In spite of a number of common features, their works do however appear as radically different, if only because of Barker’s marginal status within the landscape of contemporary English drama. If Shakespeare manifests himself in Barker’s work, it will therefore be in an altered and possibly unrecognizable form, in other words as a spectre. Why is it that Barker’s work has been so insistently compared to that of Shakespeare? What does this comparison reveal both about critical practice and about the aesthetics of Barker’s theatre? In order to answer these questions, this dissertation first examines the overall design of Barker’s work and the way in which it endeavours to place the figure of the ghost, as an embodiment of doubt, at its core. It then moves on to consider the criteria that have been invoked to draw a parallel between both playwrights, especially their focus on history and poetic writing as the basis of drama, to show how Shakespeare is always paradoxically summoned as a lure, an empty model that both suggests and contradicts modes of interpretation. In doing so, it strives to bring out not the traits shared by both playwrights but Barker’s effort to thwart the haunting and overwhelming presence of Shakespeare by giving birth to his own original voice

Los estilos APA, Harvard, Vancouver, ISO, etc.

14

Macáková, Karolína. "Poetika divadelních textů Wernera Schwaba". Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-364422.

Texto completo

Resumen

The master thesis deals with the work of the Austrian playwright Werner Schwab, who wrote most of his plays during the first half of the 1990s. Its aim is to provide an analysis of his theatre plays. The thesis pays a special attention to his in the Czech contextwell-known cycle Fäkaliendramen (Fecal plays). Schwab's writing represents a new way of writing, so called post-dramatic theatre plays. The thesis looks at Schwab's theatre language by dramaturgically analysing his most renowned theatre plays Die Präsidentinnen, Die Volksvernichtung oder Mein Leber ist sinnlos, Übergewicht, unwichtig: Unform, Mein Hundemund and also Pornogeographie in a critical way, it reflects the author’s innovative approach towards the category of dramatic conflict and dramatic language. The thesis also outlines an historical context which served as a platform for the birth of a specific artistic form of Austrian drama after the Second World War.

Los estilos APA, Harvard, Vancouver, ISO, etc.

15

Leyicka, Bissanga Gisèle. "Michel Butor : du roman à l'effet romanesque". Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30010/document.

Texto completo

Resumen

L’œuvre de Michel Butor se singularise par la traversée des genres dont elle dévoile les limites. Se référant à la classification générique héritée du XIXème siècle, la critique littéraire divise souvent cette œuvre en poèmes, romans et textes inclassables, tout en affirmant l’idée d’un abandon de la forme romanesque après 1960. Pourtant, c’est le choix de la forme englobante d’un texte hybride, qui va désormais déterminer le genre.La première partie de la thèse étudie la mutation des formes littéraires dans l’œuvre de Michel Butor. Il s’agit d’examiner la question du choix du genre romanesque par l’écrivain. L’hybridisation générique sera un mode d’expression artistique privilégié, dans la mesure où la recherche de nouveaux aspects de la poétique butorienne montre qu’elle est contaminée par la métaphore théâtrale. Nous verrons donc l’interaction entre roman et théâtre radiophonique à travers la lecture de Mobile. Étude pour une représentation des États-Unis, Réseau aérien. Texte radiophonique et 6 810 000 litres d’eau par seconde. Étude stéréophonique.La deuxième partie traite de la dramaturgie et met en lumière les aspects radiophoniques de l’œuvre postromanesque à travers les différents niveaux de lecture dégagés par Patrice Pavis (Discursif, Narratif, Actantiel, Idéologique et Inconscient), et le système de la mise en scène en rapport avec le studio d’enregistrement. La notion d’ « effet romanesque » sera ainsi le résultat d’une hantise de la forme romanesque produite par la lecture.La troisième partie étudie la prose poétique du théâtre radiophonique et les structures inconscientes et idéologiques, en s’appuyant sur l’importance du discours oral qui dévoile l’ambiguïté entre la forme (le théâtre radiophonique) et l’attitude de l’individu et du groupe, marquée par l’incapacité de transmettre une perception cohérente du monde à cause de leurs préjugés
Michel Butor’s work is different from the others by its crossing genres which it shows the limits of. Referring to the generic classification inherited from the nineteenth century, literary criticism often divides the work in poems, novels, and unclassifiable texts, while maintaining the idea that he had neglected the novelistic form after 1960. Still, the choice of the work that includes several forms of a hybrid text will now determine the genre.The first part deals with the mutation of the literary forms in the work of Michel Butor. We will examine the question of the choice of novelistic form by the author. Generic hybridization will be Butor’s favorite means of artistic expression, because the search of new aspects of Butor’s poetics reveals that it is corrupted by dramatic metaphor. So, we will see the interaction between the novel and radio drama through the reading of Mobile: study for a representation of the United States, Airline Network and Niagara.The second part is about the drama and shows radiophonic aspects of the postnovelistic work through different levels of reading set up by Patrice Pavis (Discursive, Narrative, Actantial, Ideological and Unconscious), and the production system in relation with the recording studio. The notion of “novelistic effect” will therefore be the result of an obsession of novelistic form produced by reading.The third part analyses poetic prose of radio drama and the unconscious and ideological structures of the work, based on the importance of oral discourse which reveals the ambiguity between the form (radio drama) and the individual attitude and the group, marked by the inability to pass on a coherent perception of the world because of their prejudices

Los estilos APA, Harvard, Vancouver, ISO, etc.

16

Ferreira, de Mendonça Guilherme Abel. "Acting theory as poetic of drama : a study of the emergence of the concept of 'motivated action' in playwriting theory". Thesis, Brunel University, 2012. http://bura.brunel.ac.uk/handle/2438/7331.

Texto completo

Resumen

Playwriting theory has, from its beginning, been concerned with the search for the essential nature of dramatic writing. Early playwriting treatises (poetics) defined the essential aspects of drama as being the plot (creation of sequences of fictional events), the moral character of its heroes, the idea of enactment, or the rhetorical and lyrical qualities of the text. These categories were kept through later treatises with different emphasis being put on each category. An understanding of drama as a sequence of fictional events (plot) has been central in acting theory. Modern theories and techniques centred on Stanislavsky’s ideas rely heavily on rehearsal methods that carefully establish the sequence of actions of the characters in a play as a result of psychological motivations. This method was described by Stanislavsky in An Actor’s Work on a Role, published in 1938, and is known as the Method of Physical Actions. This thesis reassesses the definition of playwriting as consisting essentially in the creation of a plot populated by suitable characters. Rather than discussing playwriting theory in isolation it attempts a bridge between acting theory and playwriting theory by using the Method of Physical Actions as an equivalent to plot. Acting theory is thus considered as a theoretical justification for the centrality of plot. The method used is hermeneutic — a systematic interpretation of poetics, unveiling in almost an archaeological manner the relevance of the essential definitions of drama, such as character, source, genre, and language to the concept of plot. The chronological path of development of dramatic theories is shown to be gradual: from the strict obedience to the narrative line imposed by the mythic sources, in classical treatises; through to an interest in the lyrical expression of the predicament of specific characters, in neoclassical theory; to an awareness of specific social types in the eighteenth century; and, finally, to the conception of the plot as a product of the mental life of individual characters in modern theory.

Los estilos APA, Harvard, Vancouver, ISO, etc.

17

Camden, Jacquelynn. "The Voice of Ritual: A Pedagogical Exploration Teaching Body and Breath Using the Principles of Ritual Poetic Drama within the African Continuum". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2754.

Texto completo

Resumen

THE VOICE OF RITUAL: AN EXPLORATION TEACHING BODY AND BREATH USING THE PEDAGOGICAL PRINCIPLES OF RITUAL POETIC DRAMA WITHIN THE AFRICAN CONTINUUM By Jacquelynn Rae Camden, MFA Candidate A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts Theatre Pedagogy: Voice and Speech & Ritual Poetic Drama Within the African Continuum at Virginia Commonwealth University. Virginia Commonwealth University, 2012 Major Director: Dr. Tawnya Pettiford-Wates, Theatre The focus of my undergraduate training and the concentration of my graduate work have been specifically in two areas: Ritual Poetic Drama Within the African Continuum under the tutelage of Dr. Tawnya Pettiford-Wates, and Voice and Speech with Janet B. Rodgers. I spent my undergraduate years learning and absorbing the material and philosophy of both Rodgers and Pettiford-Wates, and in my first year of graduate work, I was able to study their teaching principles and methodologies within the classroom as a teaching assistant. I was also fortunate enough to study the teaching principles of fellow graduate students within both concentrations: Ritual Poetic Drama Within the African Continuum and Voice & Speech. It is my intention with this thesis, to explain how and why I decided to integrate some of the teaching methodologies of RPDWTAC into the Second Year Voice & Speech course I taught in the fall of 2010, which focused on body and breath. It is my belief that these particular practices of Ritual Poetic Drama within the African Continuum as applied to the Junior Acting Studio are also beneficial in the pedagogy of Voice and Speech in the classroom, because such practices create an environment that encourages the building of an artistic community, personal responsibility, and the freeing of the artist’s body, mind, and spirit, resulting in the freeing of the voice as well.

Los estilos APA, Harvard, Vancouver, ISO, etc.

18

Silfver, Birgitta. "Karneval i klassrum - Kunskap på hjul : En studie av elevers möten med clown analyserade med narrativ metod och poetisk etnografi". Doctoral thesis, Åbo akademi, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-10488.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

19

Goetz, Thomas. "Poetik des Nachrufs : zur Kultur der Nekrologie und zur Nachrufszene auf dem Theater /". Wien [u.a.] : Böhlau, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3045130&prov=M&dok_var=1&dok_ext=htm.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

20

Bean, Heidi R. "Poetry 'n acts: the cultural politics of twentieth-century American poets' theater". Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/638.

Texto completo

Resumen

"Poetry 'n Acts: The Cultural Politics of Twentieth-Century American Poets' Theater," focuses on the disciplinary blind spot that obscures the productive overlap between poetry and dramatic theater and prevents us from seeing the cultural work that this combination can perform. Why did 2100 people turn out in 1968 to see a play in which most of the characters speak only in such apparently nonsensical phrases as "Red hus the beat trim doing going" and "Achtung swachtung"? And why would an Obie award-winning playwright move to New Jersey to write such a play in the first place? What led to the founding in 1978 of the San Francisco Poets Theatre by L=A=N=G=U=A=G=E writers, and why have those plays and performers been virtually ignored by critics despite the admitted centrality of performance to L=A=N=G=U=A=G=E writing's textual politics? Why would the renowned Yale Repertory Theatre produce in the 1990s the poetic, plotless plays of a theater newcomer twice in as many years--even when audiences walked out? What vision for the future of theater could possibly involve episodic drama with footnotes? In each example, part of the story is missing. This dissertation begins to fill in that gap. Attending to often overlooked aspects of theater language, this dissertation examines theatrical performances that use poetic devices to intervene in narratives of cultural oppression, often by questioning the very suitability of narrative as a primary means of social exchange. While Gertrude Stein must be seen as a forerunner to contemporary poets' theater, chapter one argues that the Living Theatre's late 1950s and early 1960s anti-authoritarian theater demonstrates key alliances between poetry and theater at mid-century. The remaining chapters closely examine particular instances of poets' theater by Amiri Baraka (known equally as poet and playwright), Carla Harryman (associated with West Coast poetry), and Suzan-Lori Parks (a critically acclaimed playwright). These productions put poetic theater on the backs of tractors in Harlem streets, in open gallery spaces, and in more conventional black box and proscenium architectures, and each case develops the importance of performance contexts and production histories in determining plays' cultural effects.

Los estilos APA, Harvard, Vancouver, ISO, etc.

21

Elias, Marina Fernanda. "Zona do improviso : uma proposta para o desenvolvimento tecnico poetico do ator-dançarino e para a criação cenica". [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284646.

Texto completo

Resumen

Orientadores: Eusebio Lobo da Silva, Sara Pereira Lopes
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-09T17:05:18Z (GMT). No. of bitstreams: 1 Elias_MarinaFernanda_M.pdf: 1393264 bytes, checksum: b45b1100c2f16ad4983f15813ffd2ed6 (MD5) Previous issue date: 2007
Resumo: Esta pesquisa apresenta um estudo sistemático sobre a improvisação enquanto ferramenta para o processo de criação coletiva nas artes cênicas, e a conseqüente sistematização de um jogo teatral ao qual chamamos Zona do Improviso. Utilizamos como norteadores da investigação dois sistemas com evidentes possibilidades de diálogo e entrelaçamento: o Sistema Effort-Shape, desenvolvido por Rudolf Von Laban, e o exercício do Campo de Visão, desenvolvido pelo Prof. Marcelo Ramos Lazzaratto. A partir do interjogo entre esses dois sistemas e, somando como suporte teórico e prático os estudos sobre jogo e improvisação de Viola Spolin, sistematizamos a Zona do Improviso que nos proporcionou juntamente com os dois citados sistemas, a montagem do espetáculo ¿Alma de Papel¿. Levantamos a hipótese de que a relação de cada intérprete com seu material criativo e espontâneo interfere no seu desenvolvimento técnico poético e na criação cênica em si. O desenvolvimento desta pesquisa se deu a partir da experimentação destes conceitos aplicados a dois tipos de propostas realizadas em laboratórios práticos: um processo pedagógico de sistematização destas idéias (Zona do Improviso) e uma experimentação de criação cênica (Alma de Papel). Participaram dos laboratórios vinte estudantes dos cursos de graduação em Artes Cênicas, Artes Corporais, Artes Plásticas e Música, da Unicam
Abstract: This research presents a systematical study about the use of improvisation as a tool for the collective creation in the performing arts, and the consequent systematization of an improvisation game called 'Improvisation Zone¿. As references of this research, we made use of two systems with clear possibility of dialogue and interlacement: the Effort-Shape System developed by Rudolf Von Laban, and the 'Vision Area¿ game, developed by Prof. Marcelo Ramos Lazzaratto. Starting from the 'intergame¿ between theses two systems and guided by the practical and theoretical studies of Viola Spolin, we systematized the 'Improvisation Zone¿, playing a key role in our creation of the play 'Alma de Papel¿. This research enquires the relationship of each interpreter with his own spontaneous and creative material, and how it interferes with his technique and poetic development and in the scenic construction. The development of this research was based on the experimentation of these concepts, applied on two propositions: the pedagogic process of systematization of these ideas ('Improvisation Zone¿) and the experimentation of the scenic construction
Mestrado
Mestre em Artes

Los estilos APA, Harvard, Vancouver, ISO, etc.

22

Garnero, Sandra. "Le discours didascalique et ses enjeux dans le théâtre de F. G. Lorca". Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30027/document.

Texto completo

Resumen

L’objet de notre étude est l’analyse du discours didascalique du poète et dramaturge espagnol, Federico García Lorca. Trois pièces constituent notre champ d’investigation : Bodas de sangre, Yerma et La casa de Bernarda Alba. Les didascalies, en tant que discours émanant de la voix auctoriale, ont fait l’objet de nombreuses recherches et publications depuis l’essor de la linguistique de l’énonciation et de l’analyse du discours dramatique. Ce travail propose une poétique singulière des didascalies et démontre qu’elles forment un code sémiotique particulier, stratégique et poétique au sein du discours théâtral lorquien : loin de ne constituer qu’un péritexte fonctionnel qui se limite à accompagner et à préciser les conditions de mise en scène du discours entre personnages, elles représentent le véritable centre névralgique du théâtre poétique de Lorca. Elles participent pleinement de la construction du sens profond de l’œuvre et livrent des clés interprétatives essentielles fonctionnant à différents niveaux de lecture et de réception théâtrale. La lecture de certaines didascalies représente un véritable plaisir pour le spectalecteur. Elles peuvent être considérées dans une perspective poétique et interprétées dans la matérialité même de leur signe linguistique comme des supports textuels et phoniques. Elles demeurent dans la plupart des cas l’apanage du lecteur car, renversement paradoxal, le metteur en scène est souvent dans l’impossibilité de les représenter totalement sur scène. Ces didascalies correspondent à la première phase de ce travail et sont nommées didascalire. D’autres didascalies concernent d’une façon plus concrète et pratique les détails de la future mise en scène et possèdent une fonction performative et conative. Elles ne sont plus textuelles : le message originel se transforme en d’autres systèmes de signes. Elles font l’objet de la seconde phase de cette étude et sont appelées didascascène. Les parties liminaires (titres – sous-titres et dramatis personae par exemples), les nuances chromatiques et les indications spatio-temporelles, sont revêtues d’une valeur prophétique et d’une portée métathéâtrale : elles portent en germe tous les éléments de l’œuvre et élaborent une réflexion sur le théâtre lui-même. Lorca, dans cette partition didascalique compose une poétique du silence révélant les sentiments profonds des différents personnages de la trilogie. Les didascalies sont le souffle et la respiration du texte qui prend corps et vie devant nos yeux : leur déchiffrement permet d’accéder aux arcanes de l’œuvre
The aim of this study is to analyse Garcia Lorca's poetic and dramatic use of stage directions with special reference to three plays : Bodas de Sangre , Yerma and La casa de Bernada Alba .There is no denying that since the birth of enunciative linguistics and drama speech analysis, a lot of in-depth research publications have been devoted to stage directions as reverberations of the author's voice . This study will offer a poetic reading of Lorca's stage directions and aim at demonstrating that the latter contribute to creating a specific semiotic code with both a strategic and poetic intent within Lorca's dramatic speech. Far from being a mere functional peritext only meant to organise and set up the staging of discourse between the characters, Lorca's stage directions embody the nerve centre of his poetic drama. They play an active part in building up the innermost meaning of his works, and offer essential keys for interpretation at various levels of reading and theatrical reception. Reading some of these stage directions is a source of enjoyment for the viewer-reader . If we consider them as mere linguistic signs, they can indeed be interpreted in a poetical perspective as text aids through their sound effects when spoken aloud. Yet ,they are restricted to the reader's exclusive benefit as , paradoxically enough, the stage director is very often unable to stage them in their entirety , even by summoning all the senses . These stage directions, analysed in the first phase of this study, can be labelled as 'reading directions '. The other kind of stage directions consists of the more concrete and physical details that can help organise the futur staging of the play. They have an action-inducing and conative function and , as such, are not textual - the author's original message being coded into another system of signs - These 'staging directions' are the focus of the second part of this study. The preliminary parts ( titles, subtitles and dramatis personae for instance), the varied hues, space and time indications are endowed with a metadrama and prophetical value. Indeed, they carry the seeds of all the main characteristics of Lorca's works and weave thoughts about the very essence of drama. By turning his stage directions into a real musical score, Lorca composes a poetry of silence revealing the innermost feelings of the various characters present in the trilogy. The stage directions breathe life into the text , which takes on flesh and blood under our eyes. Deciphering them enables the reader to lift the veil on the mysteries of Lorca's works

Los estilos APA, Harvard, Vancouver, ISO, etc.

23

Grantham, Ashley W. "“The Ground On Which I Stand” Healing Queer Trauma through Performance: Crafting a Solo Performance through the investigation of Ritual Poetic Drama within the African Continuum". VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5828.

Texto completo

Resumen

“The Ground On Which I Stand” Healing Queer Trauma through Performance: Crafting a Solo Performance through the investigation of Ritual Poetic Drama within the African Continuum. By: Ashley W. Grantham A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Performance Pedagogy at Virginia Commonwealth University Virginia Commonwealth University April 16th, 2019 Thesis Adjudicator: Dr. Tawnya Pettiford-Wates Committee: Dr. Keith Byron Kirk, Director of Graduate Studies and Karen Kopryanski, Head of Voice and Speech How does this method of Ritual Poetic Drama within the African Continuum, by extension, solo performance, uncover, heal queer trauma through witnessing and performance practice? How do these methods give us an intersectional approach to talking about race, identity, gender and bridge those divides? How does this devised work of solo performance allow the author as practitioner to claim the ground on which they stand and surrender to their own healing? This thesis attempts excavation of the foundational theories in regard to performance structure, and to discover how healing trauma through theoretical techniques achieves liberation through their enacted practice. This is an allowance of ourselves as artists and facilitators to claim our traumatic bodies as worthy sites of invention.

Los estilos APA, Harvard, Vancouver, ISO, etc.

24

Carlson, Joseph. "The Actor as Vessel: A Journey Towards Citizen Artistry". VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2476.

Texto completo

Resumen

This thesis is a personal journey examining the applications of Ritual Poetic Drama Within the African Continuum as developed by my mentor Dr. Tawnya Pettiford-Wates, to the profession of the dramatic artist whether they are actor, director, educator or producer, to the training of the dramatic artist as a means of empowering generative, self defined, self validating artists, and as a means of developing community specific dramas in the hopes of facilitating individual and personal revelation. Using the author’s personal experiences as evidence, it intends to affirm Ritual Poetic Drama Within the African Continuum as an emergent methodology for theatrical practitioners.

Los estilos APA, Harvard, Vancouver, ISO, etc.

25

Laurin, Cécilia. "Admirables criminels : éthique et poétique du spectaculaire dans le théâtre de Pierre Corneille". Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030066.

Texto completo

Resumen

La présente étude interroge les opérations de la tension criminelle dans le théâtre de Pierre Corneille dans un double mouvement : celui de la construction de l’ethos des grands personnages criminels et celui de l’effet de leur spectacularisation sur la scène – le second dépendant du premier – à partir de l’analyse de l’esthétique de l’admiration telle que la pratique le dramaturge. Elle montre comment s’opère et opère le travail d’ « admirabilisation » de ces personnages, qui permet un jeu particulièrement réfléchi sur la dialectique de l’être et du paraître et sur les pouvoirs de la spectacularité, notamment à travers les personnages féminins, qu’elle propose de considérer comme un reflet de la puissance du genre théâtral lui-même. Elle pose également plus généralement la question de l’agence, qui repose sur la tension entre activité et passivité, entre action et passion. Ultimement, l’admirable criminel, à l’image de tout sujet cornélien, apparaît librement déterminé par la plus grande de ses passions : la passion de soi, autre nom de sa gloire. La spectacularisation de l’admirable criminel repose alors sur une dramatisation du soi, qui se révèle et s’offre en spectacle au reste du monde pour faire coïncider son ethos projectif et son ethos effectif, dans un mouvement souvent marqué par une tension vers la mort, qui permet d’imprimer définitivement sa gloire sur la scène
The present study questions the use and operation of criminality in Pierre Corneille’s plays, in a double aspect : through the elaboration of the ethos of great criminal characters and through the effects of their spectacularization upon the stage – the latter depending on the former – based on an analysis of the aesthetics of admiration [wonder] that the playwright produces. It tends to show how operates and is operated the « wonderization » of such characters, which allows an exceptionally reflexive dialectical tension between essences and appearances and a reflection of the power of spectacularity, especially through feminine characters, which are here considered as mirroring images of the power of theatrical art itself. It interrogates more generally the question of agency, and its functioning interactions between activity and passivity, between action and passion. Eventually, the amazing criminals, not unlike any cornelian subject, appears to be freely defined by their greatest passion of all : self-passion, which can serve as an alternative name for their « gloire ». Their spectacularization thus revolves around a dramatization of the self, unveiling and offering it to the eyes of the rest of the world, in an attempt to make the projective ethos coincide with the effective ethos. Such dynamics are often characterized by fatal leanings, death being the ultimate expression of their gloire upon the stage

Los estilos APA, Harvard, Vancouver, ISO, etc.

26

Kochman, Deborah Ann. "How to Get from Here to There: Poetic Connections in Tracy Letts's "Man from Nebraska," "August: Osage County," and "Superior Donuts."". Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3187.

Texto completo

Resumen

In this thesis, Kochman examines the textual references to poetry in contemporary playwright Tracy Letts's "Man from Nebraska," "August: Osage County," and "Superior Donuts" and explores how specific references function as a "poetic exchange" between the protagonists and the respective agents of change or moral touchstones in each play and how these "poetic exchanges" suggest a diminishment or elevation of the intrinsic value of art -- specifically, poetry -- as a force for personal and cultural renewal. While Letts's writing is hardly "poetic" and his structure closer to "narrative," he focuses on "the repressed" - both emotionally and socially --and the redeeming qualities of poetry. Kochman argues that Letts's dramatic works do not merely challenge the gaps, ruptures, and contradictions in the "master narratives" of Western culture, but also suggest an alternative to the traditional American "narrative" focused on the individual by advocating a "poetic perspective" centered on the community. This perspective urges a shift from a rigid, linear, individual-goal oriented principle (as depicted in "August: Osage County" toward a principle of flexibility, unity, and synthesis (as advocated in "Man from Nebraska" and "Superior Donuts").

Los estilos APA, Harvard, Vancouver, ISO, etc.

27

Mayer, Ewa. "Théâtre de la proximité : Wandel der Ästhetik im französischen Theater an der Schwelle zum 18. Jahrhundert (Voltaire, Crébillon (père) und Houdar de La Motte)". Berlin [u.a.] Lit-Verl, 2009. http://d-nb.info/992398916/04.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

28

Mayer, Ewa. "Théâtre de la proximité Wandel der Ästhetik im französischen Theater an der Schwelle zum 18. Jahrhundert (Voltaire, Crébillon (père) und Houdar de La Motte)". Berlin Münster Lit, 2007. http://d-nb.info/992398916/04.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

29

Guerra, Raquel. "O espaço sonoro em processos de drama: a voz e os ruídos na construção de narrativas teatrais no contexto escolar". Universidade do Estado de Santa Catarina, 2010. http://tede.udesc.br/handle/handle/1341.

Texto completo

Resumen

Made available in DSpace on 2016-12-08T16:52:07Z (GMT). No. of bitstreams: 1 Raquel.pdf: 776852 bytes, checksum: a76408a0e5f392543e1fde4e15a3f21e (MD5) Previous issue date: 2010-11-08
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The research is concerned with the vocal and sonorous production directed to the teaching of drama at school through the methodological approach of drama, whose creative procedure is associated to the construction of theatrical narratives. The investigation of sounds is related to a set of activities such as games, plays and strategies capable of emphasizing the vocal emission and the composition of sounds. The understanding of voice in theater is given from the perspective of poetics and explores the principles of musicality as a bearer of the meanings attributed to words. The meaning comes from the result of the connotation of the word itself and the way that sonorous elements are organized in vocalization. Dialoguing with the voice, the sounds make up the sonorous space and are produced by different materials such as paper, plastic and metal, obtaining different sonorities depending on the way in which objects are manipulated (friction, percussion, etc). The sonorous potential of voice and noises is explored in the theatrical narrative, created in the process of drama, in form of scenes, composition of dramatic atmospheres, sound design, vocalizations and other activities that emphasize the vocal and sonorous production. The process drama is the practice of teaching developed by the research in the scholastic environment, it is related to the after-criticism educational theory that deconstructs the notion of knowledge as a set of universal contents and proposes the understanding of the local and specific character of knowledge related to the very own educational experience in which it was, primarily produced
A pesquisa trata da produção vocal e sonora direcionada para o ensino do teatro na escola através da abordagem metodológica do drama, cujo procedimento criativo está associado à construção de narrativas teatrais. A investigação sonora está relacionada a um conjunto de atividades que se caracterizam como jogos, brincadeiras e estratégias capazes de enfatizar a emissão vocal e a composição de sonoridades. A compreensão da voz no teatro é proferida pelo viés da poética e explora os princípios da musicalidade como portadores dos sentidos atribuídos às palavras. O significado é um resultante entre a conotação própria da palavra e o modo como os elementos sonoros estão organizados na vocalização. Em diálogo com a voz, os ruídos compõem o espaço sonoro e são provocados por diferentes materiais (papel, plástico, metal); eles adquirem diferentes sonoridades em função do modo pelo qual os objetos são manipulados (fricção, percussão, etc.). O potencial sonoro da voz e dos ruídos é explorado durante a narrativa teatral, criada no processo de drama em forma de cenas, composições de atmosferas dramáticas, sonoplastias, jogos vocálicos, entre outras atividades que dão ênfase à produção vocal e de sonoridades. O processo de drama é a prática de ensino desenvolvida pela pesquisa no ambiente escolar e está relacionada com a teoria educacional póscrítica que desconstrói a noção do conhecimento como um conjunto de conteúdos universais e propõe a compreensão do caráter local e específico do conhecimento, relativo à própria experiência pedagógica na qual ele foi, antes de tudo, produzido

Los estilos APA, Harvard, Vancouver, ISO, etc.

30

Snežana, Kesić. "Јован Христић, профил драмског писца и теоретичара у оквирима модерног класицизма". Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2017. https://www.cris.uns.ac.rs/record.jsf?recordId=105511&source=NDLTD&language=en.

Texto completo

Resumen

Намера студије јесте темељна и свеобухватна анализа драма Јована Христића(Чисте руке (1960), Орест (1961), Савонарола и његови пројатељи (1965), Седморица:како бисмо их данас читали (1968), Тераса (1971)) и теоријске драмске парадигме уњиховој корелацији у циљу осветљавања профила ствараоца и теоретичара усаображaвању шифрама модерног класицизма. Испитивање драмских рукописаподразумева литерарно драматуршки приступ у одређивању тематско-мотивскиходредница, жанровских и стилских особености, језичког израза, карактеризације ликова,кореспондендирање са митским обрасцима и драмским предлошцима који инкорпорирајумит за основицу. Истраживање кључних теоријских упоришта је усмерено напроблематизовање аутентичних рефлексија о карактеру драмске ситуације, драмскогдијалога, односа драме и представе, традиције и авангарде, улоге редитеља и читаоца/гледаоца, о трагедији и трагичком, митском у драмској књижевности, интертекстуалностиу доследној формули усаглашавања традиционалног и савременог. У оквиру фокуса натеоријски дискурс о драми и позоришту примењено је имплицитно распознавањеХристићеве особене антиметодске теоријске оријентације у његовој оптици српске исветске драмске књижевности. Посебан акценат у анализи два хоризонта његове духовнепраксе – стваралачке и теоријске стављен је на постојаност духовних и референцијалнихпунктова, што је у времену доминације стратегија фрагментарности и релативитетаучврстило линију конструктивизма у драмској рецепцији.
Namera studije jeste temeljna i sveobuhvatna analiza drama Jovana Hristića(Čiste ruke (1960), Orest (1961), Savonarola i njegovi projatelji (1965), Sedmorica:kako bismo ih danas čitali (1968), Terasa (1971)) i teorijske dramske paradigme unjihovoj korelaciji u cilju osvetljavanja profila stvaraoca i teoretičara usaobražavanju šiframa modernog klasicizma. Ispitivanje dramskih rukopisapodrazumeva literarno dramaturški pristup u određivanju tematsko-motivskihodrednica, žanrovskih i stilskih osobenosti, jezičkog izraza, karakterizacije likova,korespondendiranje sa mitskim obrascima i dramskim predlošcima koji inkorporirajumit za osnovicu. Istraživanje ključnih teorijskih uporišta je usmereno naproblematizovanje autentičnih refleksija o karakteru dramske situacije, dramskogdijaloga, odnosa drame i predstave, tradicije i avangarde, uloge reditelja i čitaoca/gledaoca, o tragediji i tragičkom, mitskom u dramskoj književnosti, intertekstualnostiu doslednoj formuli usaglašavanja tradicionalnog i savremenog. U okviru fokusa nateorijski diskurs o drami i pozorištu primenjeno je implicitno raspoznavanjeHristićeve osobene antimetodske teorijske orijentacije u njegovoj optici srpske isvetske dramske književnosti. Poseban akcenat u analizi dva horizonta njegove duhovneprakse – stvaralačke i teorijske stavljen je na postojanost duhovnih i referencijalnihpunktova, što je u vremenu dominacije strategija fragmentarnosti i relativitetaučvrstilo liniju konstruktivizma u dramskoj recepciji.

Los estilos APA, Harvard, Vancouver, ISO, etc.

31

Enrico-Johnson, Olisa-Mequella F. "Giving Voice to the Hero Within: The Combination of Two Methodologies for Training the Actor/Performer-- The Use of Ritual Poetic Drama Within the African Continuum and Archetypes for the Actor/Singer As Explored in the Performances of A Thousand Faces: Every Day Heroes A Deconstruction of The Hero With A Thousand Faces by Joseph Campbell". VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2113.

Texto completo

Resumen

Joseph Campbell tells us that if you look closely at all cultures you find the story of “The Hero's Journey”, the vehicle for my thesis project, a devised theatre piece titled A Thousand Faces: Everyday Heroes. Though the subject of A Thousand Faces is the exploration of “The Hero's Journey” the foundation of the work is the application of the pedagogical principles of Ritual Poetic Drama Within the African Continuum (RPDWAC) as outlined in the practices of my mentor Dr. Tawnya Pettiford-Wates, Assistant Professor of Performance at Virginia Commonwealth University Theatre (VCU). I apply RPDWAC pedagogical principles to Archetypes for the Actor/Singer (AFAS), a training methodology developed by Frankie Armstrong and another of my mentors, Professor of Voice and Speech and Head of Performance at VCU Theatre, Janet B. Rodgers. This paper outlines the process and performance of a class that combined these methodologies.

Los estilos APA, Harvard, Vancouver, ISO, etc.

32

Marri, Fabio. "Un approccio alle raccolte poetiche-drammatiche tra Sei e Settecento". Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden, 2020. https://slub.qucosa.de/id/qucosa%3A70944.

Texto completo

Resumen

I manoscritti qui considerati vanno dal Seicento al primo Ottocento, e documentano una fase della letteratura italiana che continuava a interessare lettori e collezionisti. Un caso esemplare è il manoscritto Ob.37, raccolta calligrafica, che contiene soprattutto sonetti, canzoni e poesie musicali senza indicarne il nome dell’autore. La prima menzione di questo supporto è nel catalogo Scheureck del 1755, ma non sappiamo altro sulla sua acquisi-zione. Il lavoro erudito consiste nell’identificare gli autori delle poesie, e rintracciare i testi anche in codici simili della stessa epoca. Interessante pure un gruppo di manoscritti che portano le segnature Mscr.Dresd.Ob.48.b, Ob.48.c, Ob.48.d, Ob.48.e, Ob.48.f, Ob.48.g, Ob.48.ga e Ob.48.h, prevalentemente libretti di opere liriche, con l’eccezione del Falcone, commedia la cui esecuzione va collocata a Vienna intorno al 1740. Di qualche interesse ne è la lingua, aperta sia a modi proverbiali, letterari o popolari, sia a sezioni in dialetto veneto e lombardo, che si possono paragonare a quelle della commedia dell’arte fino ai primi successi di Carlo Goldoni.

Los estilos APA, Harvard, Vancouver, ISO, etc.

33

Jacquemard-Truc, Adélaïde. ""Le spectacle du poème" : le théâtre fait poésie dans le drame symboliste de Auguste de Villiers de l’Isle-Adam, Maurice Maeterlinck, Paul Claudel et Oscar Wilde". Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST0016.

Texto completo

Resumen

Le théâtre des symbolistes est souvent considéré comme une tentative dramatique ayant échoué dans la vocation première du genre : la rencontre d’un texte et de la scène. Pourtant, les symbolistes ont mené une importante réflexion sur l’art de la scène, dans laquelle la poésie occupe une place centrale. La poésie doit permettre de refonder un art qui apparaît en crise. Ce parti-pris est perçu comme le socle théorique d’un théâtre à lire, entraînant le renoncement à la scène. C’est dans cette articulation que se loge notre démonstration : nous montrons que cette poésie au théâtre n’est pas incompatible avec les exigences de la scène. Les auteurs étudiés développent en effet une réflexion sur la possibilité d’un théâtre à lire. Mais cette théorie n’est pas une façon de renier la scène : le livre et la scène sont des objectifs poursuivis parallèlement dans leur dramaturgie. Dans cette nouvelle optique, il existe deux types de représentations du texte théâtral : celle de la scène, qui se réalise sur les planches, et celle de la lecture, parce que le lecteur se représente le texte qu’il lit. Apparaît alors une « scène intérieure », tout aussi valable, tout aussi théâtrale que le plateau. Cette thèse prend comme point d’appui des critères stylistiques, dramaturgiques et scéniques pour fonder le rapprochement entre poésie et théâtre. Il s’agit de mettre en perspective ces catégories en fonction de l’esthétique symboliste. En effet, cette dynamique prend naissance en réponse à une crise dramatique propre au dix-neuvième siècle, qui s’interroge sur les rapports entre scène et texte
Symbolist theatre is often considered as an unsuccessful attempt to drama that failed in the main purpose of the genre: the encounter of text and stage. The symbolists, though, carried an important reflexion on the art of stage, in which poetry is playing a central role. Poetry is thought to allow a new foundation of an art in crisis. This postulation was considered as the theoretical ground of an “armchair theatre”, resulting in a renunciation of stage. Our reflexion discusses this assumption: we demonstrate that poetry in drama is not incompatible with the stage’s obligations. The dramatists studied in this work develop indeed a reflexion on the possibility of an “armchair theatre”. But this theory is no denial of the stage: the reading and the staging are equally pursued by their dramaturgy. In this new conception of theatre, drama can be represented in two different ways: on the stage or in the reader’s mind, because the reader’s represents himself the text he reads. An “inner stage” emerges then, that the symbolists considered of equal dramatic worth as the boards. Our study leans on stylistic, dramaturgic and scenic criterions in order to establish the connection between poetry and theatre. Those categories shall be understood according to the symbolist aesthetics. This new dramaturgy arises as a response to a dramatic crisis characterising the XIX century: dramatists through out the century question the relation between stage and text

Los estilos APA, Harvard, Vancouver, ISO, etc.

34

Litwak, Jessica. "My Heart is in the East: Exploring Theater as a Vehicle for Change, Inspired by the Poetic Performances of Ancient Andalucía". Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1432152428.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

35

Gonzalez, Shelly S. "Anti-Romance: How William Shakespeare’s “King Lear” Informed John Keats’s “Lamia”". FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1169.

Texto completo

Resumen

The purpose of this thesis is to analyze John Keats’s “Lamia” and his style of Anti-Romance as informed by William Shakespeare’s own experimentation with Romance and Anti-Romance in “King Lear.” In order to fulfill the purpose of my thesis, I explore both the Romance and the Anti-Romance genres and develop a definition of the latter that is more particular to “King Lear” and “Lamia.” I also look at the source material for both “King Lear” and “Lamia” to see how Shakespeare and Keats were handling the originally Romantic material. Both Shakespeare and Keats altered the original material by subverting the traditional elements of Romance. In conclusion, the thesis suggests that Shakespeare’s Anti-Romance, “King Lear,” and his general reworking of the Romance genre within that play informed Keats’s own experimentation with and deviation from the traditional Romance genre, particularly in “Lamia.”

Los estilos APA, Harvard, Vancouver, ISO, etc.

36

Lemus, Martinez Violetta. "Versions en conflit, versions d’un conflit : l’Intervention française au Mexique (1862-1867) entre histoire et fiction". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA064/document.

Texto completo

Resumen

Cette thèse est l’étude d’une sélection d’œuvres littéraires mexicaines et françaises concernant les évènements historiques de l’Intervention française au Mexique (1862-1867) et du Second Empire Mexicain (1864-1867). Ces œuvres s’étalent entre le XIXe et le XXIe siècle et ont été sélectionnés pour leurs réflexions poétiques et politiques exemplaires et d’autre part parce qu’elles ont contribuées à la construction d’une iconographie culturelle et identitaire mexicaine. Les genres romanesque et théâtral ont été sélectionnés pour pouvoir établir une étude comparative diachronique. Le choix des œuvres et des auteurs a été établi en fonction du traitement de l’Intervention française et de leur importance. Les œuvres analysées correspondent au sous-genre du roman-feuilleton du XIXe siècle avec, pour la littérature française, Benito Vázquez (1869) de Lucien Biart et Doña Flor (1877) de Gustave Aimard et, pour la littérature mexicaine, Clemencia (1869) de Manuel Altamirano et El Cerro de las Campanas (1868) de Juan Mateos. Les pièces de théâtre Corona de Sombra (1943) de Rodolfo Usigli et Charlotte et Maximilien (1945) de Maurice Rostand sont traitées de manière comparative et la pièce El Tuerto es Rey (1970) de Carlos Fuentes est analysée de manière complémentaire. Quant aux manifestations littéraires historiques plus contemporaines, nous incluons Noticias del Imperio (1987) de Fernando del Paso et Yo, el francés de Jean Meyer (2002). Cet ensemble propose une analyse comparative, linguistique, sémiotique et littéraire des œuvres citées. Il invite à une réflexion approfondie sur l’interprétation que la littérature ou l’égo-histoire ont proposé de ce conflit, un conflit armé et politique dont la mémoire a traversé l’histoire et les productions littéraires mexicaines et françaises
In this doctoral dissertation, we are studying a selection of both Mexican and French literary works related to the historic events of the Second French Intervention in Mexico (1862-1867) and of the Second Mexican Empire (1864-1867). This body of works has been published between the XIXth and the XXIth century and has been selected, both because their poetic and political thoughts are emblematic of this period and because they have contributed to the construction of a Mexican cultural and identity iconography. We have decided to select the fiction and theatrical genres, to carry out a comparative and diachronic analysis. The decision of which literary works and authors to include has been made based on how both the French Intervention and the way it has been depicted in literature, have been dealt with in particular in each literary work and each author we considered to studied. The studied novels belong to the sub-genre of serialized fiction in the XIXth century with, on the French side, Benito Vázquez (1869) by Lucien Biart and Doña Flor (1877) by Gustave Aimard and, on the Mexican side, Clemencia (1869) by Manuel Altamirano and El Cerro de las Campanas (1868) by Juan Mateos. As far as theatre plays are concerned, we have carried out a comparative study of both Corona de Sombra (1943) by Rodolfo Usigli and Charlotte et Maximilien (1945) by Maurice Rostand. We have completed our analysis with a complementary study of El Tuerto es Rey (1970) by Carlos Fuentes. Regarding more contemporaneous historic and literary creations, we chose to include Noticias del Imperio (1987) by Fernando del Paso and Yo, el francés by Jean Meyer (2002). This corpus allows to carry out a comparative, linguistic, semiotic and literary analysis of afore-mentioned works. Such analysis calls for a thorough reflection on the interpretation of conflict, an armed and political conflict which influenced both History and Mexican and French literary productions

Los estilos APA, Harvard, Vancouver, ISO, etc.

37

Hýl, Petr. "Slovinské národní divadlo v Lublani". Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2009. http://www.nusl.cz/ntk/nusl-215582.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

38

Ganguly, Avishek. "The Poetics and Politcs of Translation in Contemporary Drama, 1960s-1990s". Thesis, 2012. https://doi.org/10.7916/D8GT5K85.

Texto completo

Resumen

This dissertation studies a group of twentieth-century plays from India, Ireland, Nigeria and Britain that have rarely been read together. Through close readings of dramatic texts by authors like Utpal Dutt, Brian Friel, David Edgar and Wole Soyinka and, I examine the significant place of translation figured as dramatic technique in contemporary drama and theatre. The dissertation, therefore, adopts a more formal rather than substantive logic of comparison. Translation, in drama and theatre studies, is usually invoked to either describe the transformation of a literary text from page to the stage, or by way of a more general understanding, as the literal transfer of plays from one language into another. I look at translation within rather than of a dramatic text. This approach allows me to address the insufficient attention that figurative uses of translation have received in drama and theatre studies, and make two critical interventions: first, to demonstrate how a dramatic technique figured in translation disrupts the assumptions of what appears to be a constitutive monolingualism in the writing and reception of drama and theatre. Since the ascendancy of performance studies in the nineteen sixties, critical work on drama and theatre has taken an anti-text, and by extension, anti-literary stance. By contrast, my reading is mindful of the performative aspect of these plays without necessarily privileging it at the expense of the literary in so far as such a distinction can be consistently sustained. The second critical intervention is to locate moments in the texts when acts of translation create new social collectivities and hence serve as a point of departure for a political reading. The emergence of social protest movements on the one hand, and the fall of communism at the end of the Cold War on the other frame the different imaginations of collectivity that I trace in these texts. The first and second waves of decolonization in Asia and Africa, and their subsequent postcolonial predicaments productively supplement this framework. My dissertation also relates to the category of translation as it organizes the prevalent concept of `world literature,' which in its focus on the novel has been insufficiently attentive to drama. I trouble as well as extend the logics of classification by recontextualizing the authors beyond their dominant national-literary configurations.

Los estilos APA, Harvard, Vancouver, ISO, etc.

39

Manole, Diana Maria. "Poetics of Denial: Expressions of National Identity and Imagined Exile in English-Canadian and Romanian Dramas". Thesis, 2012. http://hdl.handle.net/1807/35755.

Texto completo

Resumen

After the change of their country’s political and international statuses, post-colonial and respectively post-communist individuals and collectives develop feelings of alienation and estrangement that do not involve physical dislocation. Eventually, they start imagining their national community as a collective of individuals who share this state. Paraphrasing Benedict Anderson’s definition of the nation as an “imagined community,” this study identifies this process as “imagined exile,” an act that temporarily compensates for the absence of a metanarrative of the nation during the post-colonial and post-communist transitions. This dissertation analyzes and compares ten English Canadian and Romanian plays, written between 1976 and 2004, and argues that they function as expressions and agents of post-colonial and respectively post-communist imagined exile, helping their readers and audiences overcome the identity crisis and regain the feeling of belonging to a national community. Chapter 1 explores the development of major theoretical concepts, such as nation, national identity, national identity crisis, post-colonialism, and post-communism. Chapter 2 and Chapter 3 analyze dramatic rewritings of historical events, in “1837: The Farmers’ Revolt” by the theatre Passe Muraille with Rick Salutin as dramaturge, and “A Cold” by Marin Sorescu, and of past political leaders, in “Sir John, Eh!” by Jim Garrard and “A Day from the Life of Nicolae Ceausescu” by Denis Dinulescu. Chapter 4 examines the expression of the individual and collective identity crises in “Sled” by Judith Thompson and “The Future Is Rubbish” by Vlad Zografi. Chapter 5 explores the treatment of physical and cultural borders and borderlands in Kelly Rebar’s “Bordertown Café”, Guillermo Verdecchia’s “Fronteras Americanas”, Petre Barbu’s “God Bless America”, and Saviana Stanescu’s “Waxing West”. The concluding chapter briefly discusses the concept of imagined exile in relation to other investigations of post-colonial and post-communist dramas and reviews some of the latest perspectives of national identity, reassessing this study from a diachronic perspective.

Los estilos APA, Harvard, Vancouver, ISO, etc.

40

Mendonça, Guilherme. "Acting theory as poetics of drama: a study of the emergence of the concept of "motivated action" in playwritting theory". Doctoral thesis, 2012. http://hdl.handle.net/10400.8/750.

Texto completo

Los estilos APA, Harvard, Vancouver, ISO, etc.

41

McNeil, Mabel Elizabeth Lilian. "Pedagogic implications of being as reflected in dramatic and poetic works". Thesis, 1994. http://hdl.handle.net/10500/18644.

Texto completo

Resumen

The purpose of this study is to investigate the pedagogic implications of Being in dramatic and poetic works. Chapter 1 shows the writer's concern that Being, separated from being, is forgotten in a scientific-technological education, Dramatic and poetic studies are in danger of being unfolded in the bracketings of science and technology. Man's suffering at the technology includes loneliness, boredom, frustration and An urgent need arises to develop the pupil's technological capacity and skill, and to actualise his potential, as long as Being is deconcealed. A technology-based education system, mainly for blacks, based on Japan, is being considered. Influenced by science and technology, verbal and nonverbal aspects are separated in drama and poetry. These aspects are integrated in drama and poetry encountered in action, as poetic thinking unites Being and being. Computer education, like writing, focuses on and teievision emphasises nonverbal factors. If pupils participate in drame, their actions are authentic. Mere spectators act inauthentically. A scientifically-influenced literary critic separates the play's parts and ignores nonverbal qualities.
Educational Studies
D. Ed. (Philosophy of Education)

Los estilos APA, Harvard, Vancouver, ISO, etc.

42

Baloušová, Lucie. "Dvojí poetika autorského divadla: Semafor a Studio Ypsilon". Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-354069.

Texto completo

Resumen

The diploma thesis focuses on small scene theaters which developed in the 1950s and represent a unique generational movement within the Czech cultural framework. This final project aims to describe the distinctive poetics of two of the Czech small theaters - the theatre Semafor and Studio Ypsilon. The description itself is based on the analysis of the original dramatic texts produced by their main representatives, Jiří Suchý and Jan Schmid. The thesis opens with the domain of the small scene theaters as such, its definition and characteristics. In order to provide a comprehensive perspective on the matter, the authorial theater and its specifics is further discussed. The main part of this thesis then concentrates on the origins of the two theaters, their profiles during the period of 1960s to 1990s and, eventually, their present form. Finally, despite the different conditions of existence of the two theaters, and the cultural, historical and political context, a comparison of the two poetics is proposed. KEYWORDS small scene theatre, author's theatre, theatre Semafor, Studio Ypsilon, Jiří Suchý, Jan Schmid, drama, dramatic text, poetics

Los estilos APA, Harvard, Vancouver, ISO, etc.

43

Celárková, Michaela. "Poetika vybraných her Ronalda Schimmelpfenniga uvedených na českých scénách v kontextu současného německojazyčného divadla". Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-324798.

Texto completo

Resumen

This thesis presents the work of a contemporary German playwright Roland Schimmelpfennig in a wider context. In the main chapter, the author focuses on the analysis of five Schimmelpfennig's plays that have been performed also on Czech theatre stages. The analysis emphasizes the elements of a dramatic structure that Schimmelpfennig uses in an innovative way: epization of texts, unrealistic treatment of dramatic time, elements of magic realism etc. The author also pays attention to a general characteristic of a contemporary German-speaking theatre with respect to the topics that it deals with. A significant part of the work is devoted to classifying Roland Schimmelpfennig's work in the historical and theoretical context of a contemporary German-speaking theatre. A book called Die Rückkehr der Helden by a German author Nikolaus Frei, which questions some opinion on the recent development of theatre presented in a book Postdramatisches Theater by Hans Thiese Lehmann, has become a crucial source for this thesis. Nikolaus Frei copes with the question of animateness/inanimateness of theatre and by using extracts from particular dramatic texts by contemporary authors proves a possible continuity of mimesis, realistic acting and conflicts on the stage until the 21st century. In conclusion, it is possible...

Los estilos APA, Harvard, Vancouver, ISO, etc.

44

Hladká, Tereza. "Poetika díla Mariny Carr". Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-344681.

Texto completo

Resumen

The subject of this diploma thesis is the Irish dramatist Marina Carr and her crucial set of plays within the body of her work, the Midlands trilogy (The Mai, Portia Coughlan, By the Bog of Cats…) This thesis aims to provide an analysis of the poetics of Marina Carr, mainly by analysis of the use of myth in her work and the usage of the landscape. Key words: Irish drama, Marina Carr, Midlands trilogy, The Mai, Portia Coughlan, By the Bog of Cats…, space, mother as a personified nation, suicide, identity, Medea, mother, myth

Los estilos APA, Harvard, Vancouver, ISO, etc.

45

McHugh, Meadhbh. "Black Lyric: Trauma and Poetic Voice in Contemporary Irish Drama". Thesis, 2021. https://doi.org/10.7916/d8-x20m-ys55.

Texto completo

Resumen

I argue that lyricism, prevalent on the Irish stage from the inception of the national dramatic theatre tradition, is invoked, subverted, and exhausted by contemporary Irish playwrights. Lyric art had an evident nation-building function on the Irish stage, but the capacities of lyric language also included the expression and containment of painful material that otherwise could not easily be represented or voiced, but which, by the second half of the twentieth century, could not be comfortably repressed. In the period 1960-2010 (from Tom Murphy to Mark O’Rowe), playwrights of national significance—Murphy, Marina Carr, Martin McDonagh, Enda Walsh, and O’Rowe—increasingly associate the Hiberno-English lyric register with social fracture, emotional and psychic disturbance, and loss, until the lyric mode itself is exposed as inherently traumatized. I call this later mode, at the close of the twentieth century, “black lyric.” Black lyric operates as a travesty of lyric expression. Black lyrical writing is lyrical text containing, but also produced by, pain, and at its fullest power, it operates as a grotesque parody of poetic expressiveness. It confronts the audience with trauma and psychic suffering attached to national expression rather than offering sonorous comfort. This project uses a combination of close reading, historical research, and theoretical analysis to argue that the playwrights who deploy heightened Hibernicized English at the end of the twentieth century are commenting upon and challenging the canon of Irish drama, which depended on a lyric register not only to console but to conceal. Commentators of twentieth-century Irish drama routinely remark on the dramatic tradition’s visceral poetry, yet it is rarely the subject of any sustained analysis outside of considerations of “language” or “style” generally. This dissertation seeks to partly address that omission.

Los estilos APA, Harvard, Vancouver, ISO, etc.

46

"Imagistic action: an interdisciplinary study of poetic tension in Yeats' theatre". 2000. http://library.cuhk.edu.hk/record=b5895814.

Texto completo

Resumen

by Wong Hing Yi.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2000.
Includes bibliographical references (leaves 131-137).
Abstracts in English and Chinese.
Introduction --- p.1
Chapter Chapter One --- "“The Last Romantic or the First Modern?"": in the light of the predecessors and contemporaries" --- p.7
Chapter Chapter Two --- "“More than Cool Reason"": a study of the poetic metaphor in Yeats's poems" --- p.29
Chapter Chapter Three --- """An illusion that should not be quite an illusion"": a study of the visual image in Yeats´ةs plays" --- p.51
Chapter Chapter Four --- Image as Action: Yeats as the forerunner of the modern theatre --- p.80
Conclusion --- p.112
Illustrations --- p.119
References --- p.131

Los estilos APA, Harvard, Vancouver, ISO, etc.

47

Kaňková, Markéta. "Lars von Trier na českých jevištích: divadelní adaptace a jejich filmové předobrazy". Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-322084.

Texto completo

Resumen

This thesis concentrates on the phenomenon of theatre adaptation of films in context of czech contemporary theatre. It's goal is - on examples of theatre transcriptions of Lars von Trier's films - to capture and describe difficult process of adaptation, which is wageing during the transformation of films and film texts into their theatre versions. During the process of analyses, we will try to trace not only the concrete transfigurations, but to name possible approaches and techniques revelating during the act of adaptation.

Los estilos APA, Harvard, Vancouver, ISO, etc.

48

Hsu, Ching-ting y 許靜婷. "Carnivalization in Sweeney Agonistes and The Family Reunion: A Bakhtinian Reading of T. S. Eliot''s Poetic Drama". Thesis, 2000. http://ndltd.ncl.edu.tw/handle/64637483112003177204.

Texto completo

Resumen

碩士
國立政治大學
英國語文學系
88
Abstract T. S. Eliot is usually considered by critics as a representative of the high modernist writer whose mission is to protect the purity of high art from the contamination of the popular culture. Such an opinion is to underpin the dichotomy between high modernist art and low popular culture. By taking Eliot on the side of high modernism, critics tend to simplify the profundity of Eliot’s works. In our postmodern age, that the phenomenon of the increasing blurred boundaries between high art and popular culture is quite obvious. David Chinitz applies such a postmodern vantage point to read Eliot’s works and shows us that Eliot is a lover of popular culture. Following Chinitz’s study, I intend to examine the elements of popular culture in Eliot’s two poetic drama — Sweeney Agonistes and The Family Reunion. M. M. Bakhtin is an important theorist and literary critic in the twentieth century. His achievement on the theories of dialogism and carnivalization is significant. Applying his theory of carnivalization to read Sweeney Agonistes and The Family Reunion, I hope to argue that Eliot, be it consciously or unconsciously, follows the genre tradition of carnivalization. Moreover, he enriches and perfects the language of this genre tradition and thus makes this genre tradition reborn and renewed. In this thesis, I argue that Sweeney Agonistes and The Family Reunion are constructed under the principles of polyphony and carnivalization. Besides, based on the material bodily principle of grotesque realism, an analysis of the grotesque elements in these two works, such as marketplace languages, or popular-festive forms and images, or banquet images or images of bodily low stratum, is given in this thesis. To a conclusion, through this Bakhtinian reading, the elements of popular culture and the carnivalistic spirits in Sweeney Agonistes and The Family Reunion are revealed.

Los estilos APA, Harvard, Vancouver, ISO, etc.

49

André, Bélisle Alexie. "La réactualisation du testament littéraire et du tombeau poétique dans Testament et Drama Queens de Vickie Gendreau". Thèse, 2015. http://hdl.handle.net/1866/16109.

Texto completo

Resumen

Le présent mémoire porte sur la réécriture par Vickie Gendreau, auteure québécoise contemporaine, de deux genres funèbres, le testament littéraire et le tombeau poétique. Dans ses deux récits, Testament et Drama Queens, Gendreau met en scène des narratrices qui s'apprêtent à mourir des suites d'une tumeur au cerveau, ce qui soulève plusieurs questions : de quelle manière tisse-t-elle des rapports intertextuels avec les genres évoqués plus haut ? Comment l'appropriation des genres funèbres permet-elle de vaincre l'angoisse associée à la mort proclamée par les médecins ? Comment penser l'écriture du corps et la fictionalisation de soi à l'aune de deux genres datant de l'époque médiévale ou de la Renaissance ? Dans le premier chapitre, nous nous attardons à la construction par Gendreau du testament littéraire dans sa forme médiévale dans Testament et à la reprise dans Drama Queens d'enjeux testamentaires ; l'héritage, la filiation et la transmission. La réécriture permet l'incorporation dans le récit de l'autodérision et de la mise en scène du devenir-cadavre. Dans le second chapitre, nous explorons le tombeau poétique, tant celui de la Renaissance que celui des poètes modernes. Ce faisant, nous abordons les discours de commémoration du défunt et surtout l'appropriation de la commémoration par les deux narratrices, et ultimement par Vickie Gendreau.
This thesis explores the appropriation by Vickie Gendreau, a contemporary Quebec writer, of two death-laced genres: the literary testament and the poetic crypt. In her two novels, Testament and Drama Queen, Gendreau presents female narrators who are about to succumb to a brain tumor, thereby raising a certain number of questions: what kind of intertexual networks exist between her writing and the aforementioned genres? How does the appropriation of these genres helps conquer the fear of her impending death? How is it possible to rethink the writing of one’s body and self-fictionalization, contemporary motives par excellence, and how they manifest themselves in two genres dating back to the medieval and Renaissance eras? In the first chapter, we examine Gendreau’s construction of the literary testament in its medieval form in her novel Testament, as well as the resurgence in Drama Queen of testamentary issues such as heritage, filiation and transmission. This rewriting allows the incorporation of self-mockery and depiction of a soon-to-be dead body in the narrative. The second chapter studies the poetic crypt as it appears both in Renaissance texts and in modern works. It also focuses on commemoration discourses in remembrance of the deceased, as well as the appropriation of this commemoration by the two narrators and, ultimately, by Vickie Gendreau herself.

Los estilos APA, Harvard, Vancouver, ISO, etc.

50

Ndove, Mkhancane Daniel. "Semiotics as a medium to convey the philosophy and psychology of evil in the Xitsonga translation of Macbeth". Thesis, 2005. http://hdl.handle.net/10500/2508.

Texto completo

Resumen

This thesis publicly displays the veracity of witchcraft and superstitious fables, which, many people believe to be irrational in nature. In this analysis, semiotics has been paraded in various versions from chapter to chapter-in order to illustrate the miscellaneous interpretations. The backbone of the investigation focuses on the philosophy and psychology of evil, a theoretical belief that is laid down by practical paradigms at the edge of each chapter. The point of departure of this investigation emanates from the Shakespearean literary work, Macbeth, which is popularly known for its inclusion of the witches in its illustration of the Scottish kingship. Therefore this thesis has adopted the practices of the witches and from there came out with what is commonly practiced by the Vatsonga people. Scotland, England, Germany and France of the 15th and 16th centuries were the countries best known as the most uncouthed centres for witchcraft and superstitions. Therefore leading stories from these European countries have made this project feasible. The study has leaked many of the unfounded stories about witchcraft and superstitions that were thought of as extraordinarily great but made real in this work. It has gone as far as windswept the kingship rites, coronation, the powers of the divine bones upon the anointed king, ritual ceremonies, causes of prosperity and failure, tales about stars, ghosts, reptiles, zombies and those hideous deeds that are not socially acceptable such as digging up of children's graves, convulsions, calling for rain, punishment meted out for a witch, prevention of adultery, changing oneself to a crocodile, rat, snake and many more stories.
African Languages
D. Litt. et Phil. (African Languages)

Los estilos APA, Harvard, Vancouver, ISO, etc.

Tesis sobre el tema "Poetics of drama"

Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros