Thèses sur le sujet « DRAK Theatre »

This diploma thesis is dealing with two theatres: a Czech Puppet theatre called Theatre DRAK and an Australian theatre called Spare Parts Puppet Theatre. The thesis describes the influence of Czech Puppet Theatre at the Australian Puppet Theatre. The first chapter talks about the development of the DRAK Theatre, including the characteristics of chosen plays for the past few years. The next chapter gathers some information about Australian Puppet Theatre general from the 60s of 20th century. The third chapter outlines development of the Spare Parts Puppet Theatre as well as the plays for the past two years. The final section records relationships and cooperation between the two theatres and main highlights of similarities and contrasts conclude it.

My first semester pursuing my MFA in Voice and Speech Pedagogy I vocal-coached an openly gay student playing a straight character who would mask his sexual identity in such a manner that his performance became stiff and uninteresting. Rather than using his personal identity as an asset in the pursuit of a successful performance, his chosen vocal tactics removed any sense of theatricality from his performance. I confronted the student and suggested such extreme vocal suppression diminished the quality of his overall performance. He replied, "So you want me to get the gay out."His use of the phrase, "get the gay out" to describe a fuller adaptation of his sexual identity to suit the character fascinated me and led to me to create a performance seminar course that used open acknowledgment of Camp performance styles as a valuable way to prepare students, gay or straight, for careers on the stage and screen. This thesis is a record of the course taught in the spring of 2007; CAMP: RIDICULOUS THEATRE AS SERIOUS DRAMA.

Submitted by Verena Bastos (verena@uefs.br) on 2015-07-27T22:11:48Z No. of bitstreams: 1 Renato Tavares Santana. DESENHO TEATRO E EDUCACAO.pdf: 4147917 bytes, checksum: 129812850cc37a09e0c5a3b857886564 (MD5)<br>Made available in DSpace on 2015-07-27T22:11:48Z (GMT). No. of bitstreams: 1 Renato Tavares Santana. DESENHO TEATRO E EDUCACAO.pdf: 4147917 bytes, checksum: 129812850cc37a09e0c5a3b857886564 (MD5) Previous issue date: 2014-08-13<br>The proposal of this work involves the interaction-integration between Design and Theatre and its implication to Education, recognizing and exploiting the potential of these knowledge transformers. Art, Education, Art and Theatre are more than words, are powerful concepts that are completely interwoven in a world that is not fragmented but dynamic and interactive. The prospect of Edwards (2000), Ferreira and Santos (2000), Gomes (1996), Moreira (2009) and Tiburi and Chui (2010), identified the drawing as poetry and mystery, but also as language, creating, thinking, intention and design (which materializes in the mind of every individual or in outer reality) and therefore is present in all areas of knowledge and human experience. The ideas of Pavis (2008) reveal a theater living experience, that enables a collective design, an ongoing dialogue between tasks, knowledge and various individuals. The research has developed an analysis of drawings produced by students of high school volunteers, on the proposal theatrical scene, in the search for understanding how this viewer perceives and interprets the dramatic action. The empirical part of the research selected qualitative approach as methodology searching contributions of various pathways for field investigation and the interpretation of drawings, consistent with the dialogic, dynamic and interdisciplinary Art function. The theme of the research is a look on the look of the viewer. In the exercise of drawing a theatrical scene i discovered in the viewer, a designer. The viewer is a co-creator, a producer of meanings, not a mere discoverer. There is no passivity at reception. Perception-representation, reception-creation are integrated actions. Through the interpretation of the drawings was possible to see the viewer on her sensitive, symbolic dimension, far from merely explaining and rationalizing discourses of the verbal language. Theatre and design do not end in themselves, are ways to interpret, explore and experience the world. Mobilize the subjects to awaken its ability to designate, draw and design yourself, ordering, viewing and reviewing themselves, to explore, alone or in groups, their designs and drawings of the world and of themselves. Awareness of the importance and power of these knowledge can consolidate educational processes, investigations, actions and activities that add significant knowledge and can bring great leaps in human development in all its dimensions. The alliance between the theoretical framework and the interpretation of the material collected some significant conclusions about the interpretation of the viewer-designer were obtained, comprising a multiplicity of meanings expressed, the emphasis on specific aspects, the more distanced stance or identified with theatrical scenes, symbolic links with the elements and images present in the context of the scene and how the drawings reveal their creators and their sociocultural context.<br>O Desenho e o Teatro fornecem oportunidades educativas transformadoras, no entanto, ainda muito pouco reconhecidas e exploradas. A presente pesquisa tem por objetivo investigar uma intera??o-integra??o entre os dois campos e sua rela??o com o processo educativo. Arte, Educa??o, Desenho e Teatro s?o mais que palavras, s?o conceitos potentes que est?o completamente imbricados num mundo que n?o ? fragmentado, mas din?mico e interativo. A perspectiva de Edwards (2000), Ferreira e Santos (2000), Gomes (1996), Moreira (2009) e Tiburi e Chu? (2010), apontam o desenho como poesia e mist?rio, mas tamb?m como linguagem, cria??o, pensamento, inten??o e projeto (que se materializa na mente de cada indiv?duo ou na realidade exterior) e, por isso, est? presente em todas ?reas do conhecimento e da experi?ncia humana. J? as ideias de Pavis (2008), revelam um teatro experi?ncia-viva, que possibilita um desenho coletivo, um di?logo permanente entre fun??es, saberes e indiv?duos diversos. A pesquisa desenvolveu uma an?lise de desenhos produzidos por educandos-volunt?rios do ensino m?dio, sobre uma cena teatral proposta, na busca por compreender como esse espectador percebe e interpreta a a??o dram?tica. A proposta metodol?gica alia a abordagem qualitativa e a inspira??o hermen?utica ? bricolagem de caminhos diversos para a investiga??o de campo e interpreta??o dos desenhos, coerentes com a fun??o dial?gica, din?mica e interdisciplinar da Arte. O mote da pesquisa ? o olhar sobre o olhar de quem olha. No exerc?cio de desenhar uma cena teatral descobri no espectador, um desenhador. N?o h? passividade na recep??o. O espectador ? um co-criador, um produtor de significados, n?o um mero descobridor. Percep??o-representa??o, recep??o-cria??o s?o a??es integradas. Atrav?s da interpreta??o dos desenhos foi poss?vel enxergar o olhar do observador em sua dimens?o sens?vel, simb?lica, longe dos discursos meramente explicativos e racionalizantes da linguagem verbal. Desenho e Teatro n?o se encerram em si mesmos, s?o formas de interpretar, explorar e conhecer o mundo. Mobilizam os sujeitos para que eles despertem sua capacidade de designar, projetar e projetar-se, de ordenar, ver e rever-se, de explorar, sozinhos ou em grupo, seus desenhos e os desenhos do mundo e de si pr?prios. Dessa forma, esses campos podem consolidar processos educativos, investiga??es, a??es e atividades significativas que podem trazer grandes saltos qualitativos para o desenvolvimento humano em todas as suas dimens?es e complexidade. Com a interpreta??o dos desenhos da pesquisa obtive algumas conclus?es significativas sobre as interpreta??es do espectador-desenhador, compreendendo a multiplicidade dos significados expressos, a ?nfase dada a aspectos espec?ficos, a postura mais distanciada ou identificada com as cenas teatrais, as articula??es simb?licas com os elementos e imagens presentes no contexto da cena e o quanto os desenhos revelam sobre os indiv?duos e seu contexto sociocultural.

Thesis (M.A.)--Georgia State University, 2009.<br>Title from title page (Digital Archive@GSU, viewed June 8, 2010) Shirlene Holmes, Kameelah Martin Samuel, committee co-chairs; Chris Kocela, committee member. Includes bibliographical references(p. 85-87).

Thesis (MA)--Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: The thesis that is to be presented discusses the performance of drag and gender in Cape Town – namely Bubbles Bar. I argue that the performance of gender on stage through the performance of drag challenges the norms and ideas of gender in South Africa. Through the act of non-normative staged gendered performance, the participants of this study also challenge stereotypes and stigma around this in relation to the social norms and regulations that are asserted on the individual presentation and performance of gender and sexuality. I argue that the performance of gender in relation to the stage asserts the situational character of gender performance through the staged performance of drag. I assert that the staged performance of gender is made authentic by the audience who views and understands the performance as a performance of drag, and a performance of gender. The performance of drag is considered an act of transgression. Transgression in South African society is policed through acts of oppression, social and sometimes physical violence. This act of transgression is performed through drag which is viewed as an act of nonnormative gender performance. The perception of transgression places those who perform gender in a non-normative fashion upon the margins. However, that the performers are acting above gender places the performance on a higher plain. The theatrical methods, and inclusion of the audience in the performance that are used as a form of entertainment allows the participants in this research project to humanize the gendered performance of non-normativity by education through the art of their performance.<br>AFRIKAANSE OPSOMMING: Die tesis wat aangebied word bespreek die vertoning van “drag” en geslag in Kaapstad - naamlik in Bubbles Bar. Ek voer aan dat die opvoering van geslag deur “drag” op die verhoog normes en idees van geslag in Suid-Afrika uitdaag. Deur hierdie nie-normatiewe geslagsopvoering daag die deelnemers van hierdie studie ook stereotipes en stigma rondom geslag uit, met spesifieke betrekking tot die sosiale normes en regulasies wat op die individuele aanbieding en vertoning van geslag en seksualiteit geplaas word. Ek argumenteer dat die uitbeelding van geslag in verhouding tot die verhoog die situasionele karakter van geslag deur die opgevoerde vertoning van “drag” handhaaf. Ek voer aan dat die verhoogvertoning van geslag eg gemaak word deur die gehoor wat die vertoning aanskou en verstaan as 'n vertoning van “drag”, en ook 'n vertoning van geslag. Die opvoering van “drag” word beskou as 'n daad van oortreding. Oortreding in die Suid- Afrikaanse samelewing word gepolisieër deur dade van onderdrukking, sosiale en soms fisiese geweld. Hierdie daad van oortreding wat opgevoer word deur middel van “drag” word beskou word as 'n daad van nie-normatiewe geslagsgedrag. Die persepsie van oortreding plaas diegene wat geslag opvoer op 'n nie-normatiewe wyse, op die kantlyn. Deurdat die deelnemers/kunstenaars optree buite die normatiewe idee van geslag, plaas dit die vertoning op 'n hoër vlak. Die teatriese metodes, en die insluiting van die gehoor in die opvoering wat gebruik word as 'n vorm van vermaak, laat die deelnemers aan hierdie navorsingsprojek toe om die geslagtelike vertoning van nie-normatiwiteit te vermenslik met opvoeding deur middel van die kuns van hul vertoning.

xi, 158 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>This study, set in the context of the feminist sex wars, explores the performances of Holly Hughes, Carmelita Tropicana, and Split Britches throughout the 1980s and early 1990s. The purpose of this study is to better understand the implications of a specific style of lesbian comedic performance, found at the WOW Café and defined here as lesbian camp, throughout a contentious era in feminist politics. The motivating questions for this study are: How can a performance inspire an activated spectatorship? How have lesbian comedic performance practices provoked feminist theory and practice? Chapter II defines lesbian camp and attempts to trace a dialogue among lesbian performance critics and academics ruminating over lesbian camp and its existence. It also explores lesbian camp's relationship to drag and butch-femme as well as how lesbian camp functions within specific performances of Holly Hughes, Split Britches, and Carmelita Tropicana. Chapter III argues that it is the very element of lesbian camp that brings forth the potential for an activated spectatorship. It is a chaotic, unstable environment that exposes and disassembles deep-seated fears, ideals, and practices seemingly inherent, although pragmatically constructed, to our communities and cultures throughout the 1980s and early 1990s. It presents a climate of resistance through the disruption of identificatory practices. This, in turn, provokes an activated spectatorship. Chapter IV examines the effects these artists had on the larger stage of the feminist sex wars and culture wars. Holly Hughes, for example, became a national figure, defunded from the National Endowment for the Arts due to her subject of the queer body, then deemed obscene and pornographic. Split Britches were popularized by feminists in the academy not only for their creative techniques but also for their (de)construction of butch-femme coupling. Carmelita Tropicana brought drag to a whole new level with incorporation of male and female drag into her hybrid performances.<br>Committee in charge: John Schmor, Chairperson, Theater Arts; Sara Freeman, Member, Theater Arts; Theresa May, Member, Theater Arts; Ellen Scott, Outside Member, Sociology

Made available in DSpace on 2014-12-17T14:00:17Z (GMT). No. of bitstreams: 1 FelipeHMO_DISSERT.pdf: 3354962 bytes, checksum: a758acb9f2bb7a31cde2e3bc40a8bacb (MD5) Previous issue date: 2013-03-04<br>Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior<br>The dissertation intends to develop an investigation on the artistic existence in human beings with different bodies in society at different historical moments. In this regard and based on this scenario, the study develops a description of the stigmas production and how they are established, spread and interfere with the sociability among human beings regarded as normal and those with different bodies. Regarding the scenic arts, the text describes about the participation of artists with different bodies in the scene, specifically the freak show and postdramatic theater. The text also investigates aspects of the biography and the work of mexican artist Frida Kahlo, which underpin methodological proceedings and produce contribution to the creative process of performance Kahlo em mim Eu e(m) Kahlo , which is to investigate the practice of the scene in this dissertation<br>A disserta??o tem como objetivo realizar uma averigua??o sobre o fazer art?stico na exist?ncia dos seres humanos com corpos diferenciados na sociedade, em diferentes momentos hist?ricos. Neste sentido e com base neste panorama, o estudo elabora uma descri??o sobre a produ??o de estigmas e a forma como eles se instauram, se propagam e interferem na sociabilidade entre os seres humanos considerados normais e os com corpos diferenciados. No que tange as artes c?nicas, o texto faz uma descri??o acerca da participa??o dos artistas com corpos diferenciados na cena, especificamente do freak show e no teatro p?s-dram?tico. O texto tamb?m investiga aspectos da biografia e da obra da artista pl?stica mexicana Frida Kahlo, os quais fundamentam os procedimentos metodol?gicos e produzem aportes para o processo criativo da performance Kahlo em mim Eu e(m) Kahlo , que consiste na investiga??o da pr?tica da cena na disserta??o

Notre thèse interroge les formes et les enjeux des représentations de la douleur au XVIIIe siècle dans les arts graphiques, les dessins et les gravures revêtant à la fois un caractère d’expérimentation et d’indice dans la diffusion des thèmes. L’étude tient compte des conventions, des débats et des codifications dont elles faisaient alors l’objet dans le domaine esthétique, médical, social et politique. À l’heure où l’on estime que la douleur doit s’effacer, il nous paraît important d’évaluer ses occurrences et ses mises en scène passées. À cet égard, les arts figurés de la seconde moitié du XVIIIe siècle offrent, en France, un champ d’étude remarquable. Les débats esthétiques autour du groupe sculpté du Laocoon et du voile dit « de Timanthe », mais aussi, sur le plan médical, les interrogations à propos de la persistance de la douleur chez les suppliciés par décollation, témoignent de cet intérêt<br>This study aims to examine the forms and the issues of pain in graphic arts during the 18th century, as drawings and engravings take on an experimental aspect and constitute precious evidence of patterns diffusion. It considers the conventions, the debates and the codifications determining its figurative representations, in relation to aesthetic, médical, social and political matters. In a time when pain tends to be obscured by people who are supposed to be in charge of it, it seemed important to appraise its occurrences and its past depictions. Seen from this perspective, the French figurative arts through the second half of the 18th century offer a remarkable field of study. The aesthetic debates about the sculpted group of Laocoon and the veil of Timanthes, or, on a medical level, concenring pain persistence in persons convicted and decapitated, reveal that this passion was of great interest for the theorists at that time

This diploma thesis remarks on the beginning of the equality of rights and the complete social recognition of the puppetry in Czech theatres in the years 1973 - 1982. The thesis deals with the history of the East Bohemian theatre DRAK in Hradec Kralove from its foundation, it describes the arrival of the director Josef Krofta, Prague's performances of DRAK in 1977, the first tours abroad, it observes DRAK in the context of totality, it outlines Krofta's directorial principles and the perspective of the DRAK's Theatre poetics within a decade. Significant attention is dedicated to the reconstruction of the top chosen period plays from the DRAK Theatre, directed by Josef Krofta, because these plays reflect the best the emancipation of the Czech puppet theatre.

This master’s thesis documents the dramaturgical exploration of the spring 2018 University of Massachusetts Amherst Department of Theater’s production of gender non-conforming performance artist Taylor Mac’s The Lily’s Revenge. The thesis is separated into two parts. The first half focuses on my dramaturgical analysis of Mac’s play and its exploration of queer temporality and queer embodiment, asserting the importance of queer aesthetics in American drama and its vital role in shaping the future of LGBTQIA+ politics in the United States. The second half includes reflections on rehearsal processes and performances, giving readers and fellow artists examples of the potential of queer dramaturgical practices that are products of LGBTQIA+ theater and politics in the United States. These reflections show the application of research to rehearsal processes into theatrical performances as directed, designed, and performed by graduate and undergraduate students at UMass Amherst Department of Theater, located in Amherst, Massachusetts, thus giving a trajectory of how the queer and feminist theories written into the play are manifested into a full production through collaborative design, movement, staging, and performance. Drawn from my discoveries while working on The Lily’s Revenge as production dramaturg, I have shaped my own style of collaborative “queer dramaturgy” with the director and designers, hopefully, opening new entry points of future explorations for queer dramaturgs to synthesize theory and practice onto the stage with collaborators from all disciplines and identities.

The following thesis will explore and evaluate the lighting design behind Taylor Mac’s The Lily’s Revenge produced by the UMass Amherst Department of Theater as part of their 2017-2018 season. It will cover the entire lighting design process from reading the script to producing the world on stage. It will reflect early conversations, the collaboration process, design goals and executions, and the successes and failures reflecting on our art.

Post-World War II New Orleans was home to several famous and successful venues for female impersonators. In the white club My-O-My, situated in a lightly policed border-space on the fringe of New Orleans, men performed women to a largely heterosexual audience of locals and tourists in a fast-paced nightclub review. Black clubs included the Dew Drop Inn and the Caledonia. On all stages, the female impersonators, utilizing sex, humor, talent and falsies, acted to undermine the basis of patriarchy During this Cold War period, patriarchy was the law of the land. Women, confined to the home and relieved of any economic or personal agency, were encouraged to find fulfillment in passive femininity. Black Americans were offered only second-class citizenship, with no voice in their own governance, and little or no economic opportunity. Homosexuals were despised and persecuted, particularly under the auspices of the House Un-American Activities Committee and the attacks of Senator Joseph McCarthy In this political climate, the success and popularity of entertainment clubs featuring female impersonators might seem an anomaly. However, the phenomenal appeal of the female impersonators was directly attributable to the transgressive nature of their performance. The performance of women by men challenged the assumption of essential gender; the appeal of the free wheeling sexuality of the impersonators in their guise as women offered actual women an alternative to passive dependence, while undermining the basic idea of patriarchy: men are masculine and women are feminine The performers skewed ideas of essential gender; without active and passive natures irrevocably assigned according to biological sex, there is neither a basis nor a justification for patriarchy. By establishing the social construction of gender, it was possible also to suggest a social construction of race. As 'Other' to patriarchy, and therefore dominated by patriarchy, women, blacks and homosexuals all had an interest in finding a new social order. Performance provided freedom to transgress the restrictive prohibitions of the Cold War era, and disprove the tenets of the established system of hierarchy. The performance became a dress rehearsal for a less restrictive social order<br>acase@tulane.edu

The diploma thesis The Role of Travesty Show in Media Culture is concerned with a question if we can find some similarities between the way how media presents travesty show and the way how people think and talk about this kind of entertainment. As a research method I chose qualitative content analysis and questionnaire. Theoretical part focuses on explanation of technical terms, history of homosexuality, queer culture, queer theory, travesty show and history. In practical part I will create concrete codes from qualitative content analysis and from these codes I will make categories. Part of practical part is also a questionnaire. In the end of this thesis I will compare the codes from qualitative content analysis with the answers from the questionnaire. And based on this comparison I will find out if there exist any similarities between the way how media presents travesty show and the way how people think and talk about this kind of entertainment.