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1
Pfeiffer, Kerstin. « Passionate encounters : emotion in early English Biblical drama ». Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3575.
Texte intégralRésumé :
This thesis seeks to investigate the ways in which late medieval English drama produces and theorises emotions, in order to engage with the complex nexus of ideas about the links between sensation, emotion, and cognition in contemporary philosophical and theologial thought. It contributes to broader considerations of the cultural work that religious drama performed in fifteenth- and early sixteenth-century England in the context of the ongoing debates concerning its theological and social relevance. Drawing on recent research in the cognitive sciences and the history of emotion, this thesis conceives of dramatic performances as passionate encounters between actors and audiences – encounters which do not only re-create biblical history as a sensual reality, but in which emotion becomes attached to signs and bodies through theatrical means. It suggests that the attention paid to the processes through which audiences become emotionally invested in a play challenges assumptions about biblical drama of the English towns as a negligible contribution to philosophical and theological thinking in the vernacular. The analysis is conducted against the background of medieval and modern conceptions of emotions as ethically and morally relevant phenomena at the intersection between body and reason, which is outlined in chapter one. Each of the four main chapters presents a detailed examination of a series of pageants or plays drawn mainly from the Chester and York cycles and the Towneley and N-Town collections. These are supplemented, on occasion, with analysis of individual plays from fragmentary cycles and collections. The examinations undertaken are placed against the devotional and intellectual backdrop of late medieval England, in order to demonstrate how dramatic performances of biblical subject matter engage with some of the central issues in the wider debate about the human body, soul, and intellect. The second chapter focuses on the creation of living images on the stage, and specifically on didactically relevant stage images, in the Towneley Processus Prophetarum, the Chester Moses and the Law, and the N-Town Moses. The third chapter shifts the focus to the performance of the Passion in the N-Town second Passion play and the York Crucifixio Christi, concentrating on the potential effects of the perception of physical violence on audience response. The subject of chapter four is the emotional behaviours and expressions accorded to the Virgin Mary in the Towneley and N-Town Crucifixion scenes, and those of her precursors, the mothers of the innocents, in the Digby and Coventry plays of the Massacre of the Inncocents. In chapter five, the analysis finally turns to dramatisations of the Resurrection, examining its realisation on stage in the Chester Skinners’ play, as well as staged responses to the event by the apostles and the Marys in the N-Town The Announcement to the Three Marys; Peter and John at the Sepulchre and the Towneley Thomas of India. These four central chapters pave the way for a summary, in the conclusion, of the central problematic underpinning this thesis: how the evocation of emotion in an audience is linked to embodiment in theatrical performance, and tied to a certain awareness, on the part of playwrights, of the popular biblical drama’s potential as a locus of philosophical-theological debate.
2
Turner, Irene. « Farce on the borderline with special reference to plays by Oscar Wilde, Joe Orton and Tom Stoppard ». [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12367898.
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3
Forest-Hill, Lynn Elizabeth. « Transgressive language in medieval English drama : signs of challenge and change ». Thesis, University of Southampton, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242389.
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4
Mukherji, Subha. « Issues of evidence, interpretation and judgement in Renaissance English drama, c. 1580-1640 ». Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275396.
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5
Beauchamp, Pauline. « The Corpus Christi plays as dramatizations of ritual : an examination of the decline of the medieval theatre ». Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63121.
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6
Grochala, Sarah Louise. « Seriousness, structure and the dramaturgy of social life : the politics of dramatic structure in contemporary British playwriting 1997-2011 ». Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8620.
Texte intégralRésumé :
Contemporary British plays are commonly thought of as political if they address an issue that is already seen as political (Kritzer, 2008). This thesis explores the idea that the political stance of a play is articulated at the level of its structure, as well as in its content. Contemporary playwriting practices in British theatre are dominated by ‘serious drama’. Serious drama yokes together politics, dialectical structure and a realist dramaturgy and the resultant form is held up as an ideal against which the political efficacy of a play can be judged. Through an application of the concept of the ideology of form (Jameson, 1981), this thesis re-reads the structures of serious drama in terms of how they reflect the social and economic structures of post- Fordism in their representation of spatio-temporal structures, causation in the dramatic narrative and their imagining of the social subject. Through this reading, this thesis problematises serious drama’s claim to a progressive socialist politics. In contrast, the experimental dramaturgies of a range of contemporary British plays (1997-2011) are read as mediating, negotiating and critiquing the social and economic structures of post-Fordism through their dramatic structure, and so articulating a potentially radical politics. Caryl Churchill’s Heart’s Desire (1997), David Eldridge’s Incomplete and Random Acts of Kindness (2005) and David Greig’s San Diego (2003) are read as negotiating the effects of spatio-temporal compression (Harvey, 1990). Mike Bartlett’s Contractions (2008), debbie tucker green’s Generations (2007) and Rupert Goold and Ben Power’s adaptation of Pirandello’s Six Characters in Search of an Author are analysed in terms of their causal structures (Althusser, 1970). Finally Anthony Neilson’s Realism (2006), Simon Stephens’s Pornography (2007) and Mark Ravenhill’s Shoot/Get Treasure/Repeat (2008) are investigated for the ways in which they re-imagine the social subject through subjective, narrative, unassigned and collective modes of characterisation.
7
Turner, Irene. « Farce on the borderline with special reference to plays by OscarWilde, Joe Orton and Tom Stoppard ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949204.
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8
Richardson, C. « The medieval English and French Shepherds plays : A comparative study of the dramatic tradition ». Thesis, University of York, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.381317.
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9
Wiedemann, Hunt Margaret. « 'The dogma is the drama' : participation and sacramentality in the plays of Dorothy L. Sayers ». Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/39530/.
Texte intégralRésumé :
Dorothy L. Sayers’s first festival play, The Zeal of Thy House (1937), was written at a time when it was widely believed among Christian drama practitioners that drama itself has a sacramental significance. This conviction took on a new urgency for Sayers as theologians and church people sought ways of establishing Christianity as a basis on which to rebuild society after the Second World War. Sayers’s The Mind of the Maker (1941), a study in theological aesthetics intended as a contribution to public debate about post-war reconstruction, outlined a trinitarian and sacramental model for human work considered as a creative activity. Sayers wrote three more festival plays between 1939 and 1951, and this study examines the four plays in the light of her sacramental emphasis. It locates Sayers’s dramatic practice in the context of those Roman and Anglo-Catholic practitioners of the arts who embraced the neo-Thomism of the French philosopher Jacques Maritain, and examines the influence of William Temple and his belief in the sacramentality of the whole material creation. The study argues that while the festival plays have the background of timeless sacramentality noted by a number of commentators, Sayers takes sacramentalism further in all four plays with the onstage enactment of a timebound sacramental event in which the protagonist, estranged from God by an imbalance in the dynamic trinitarian flow within his creative self, experiences anagnorisis, repentance and the hope of restoration to the community of believers. This sacramental enactment becomes a model for the audience’s participative reception of the play itself, and the study uses insights from contemporary theorists of medieval drama to elucidate the nature of the dramatic experience in which theatre and sacrament become reciprocally paradigmatic. The belief that art and theology can critique each other was central to Sayers’s approach to dramatising the gospels in her wartime BBC radio life of Christ, The Man Born to be King, and a chapter on this play examines its participatory hermeneutics as an extension of the sacramentality of the stage plays. A final section locates Sayers’s concept of the ‘passionate intellect’ in relation to the mid-century theological tension between faith and reason. Few commentators have given Sayers’s four plays equal weight, and many have omitted her last play. This study aims to unite literary and theological methodologies in arguing that Sayers’s festival plays demonstrate an increasingly participative sacramentality that culminates in the onstage baptism of the final play, written for the Festival of Britain, The Emperor Constantine.
10
Kingston, Talya Anne. « The dramaturgy of dialect an examination of the sociolinguistic problems faced when producing contemporary British plays in the United States / ». Connect to this title online, 2008. http://scholarworks.umass.edu/theses/105/.
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11
Hill, Alexandra. « BLOUDY TYGRISSES" : MURDEROUS WOMEN IN EARLY MODERN ENGLISH DRAMA AND POPULAR LITERATURE ». Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2281.
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This thesis examines artistic and literary images of murderous women in popular print published in sixteenth and seventeenth-century England. The construction of murderous women in criminal narratives, published between 1558 and 1625 in pamphlet, ballad, and play form, is examined in the context of contemporary historical records and cultural discourse. Chapter One features a literature review of the topic in recent scholarship. Chapter Two, comprised of two subsections, discusses representations of early modern women in contemporary literature and criminal archives. The subsections in Chapter Two examine early modern treatises, sermons, and essays concerning the nature of women, the roles and responsibilities of wives and mothers, and debates about marriage, as well as a review of women tried for murder in the Middlesex assize courts between 1558 and 1625. Chapter Three, comprised of four subsections, engages in critical readings of approximately 52 pamphlets, ballads, and plays published in the same period. Individual subsections discuss how traitorous wives, murderous mothers, women who murder in their communities, and punishment and redemption are represented in the narratives. Woodcut illustrations printed in these texts are also examined, and their iconographic contributions to the construction of bad women is discussed. Women who murder in these texts are represented as consummately evil creatures capable of inflicting terrible harm to their families and communities, and are consistently discovered, captured, and executed by their communities for their heinous crimes. Murderous women in early modern popular literature also provided a means for contemporary men and women to explore, confront, and share in the depths of sin, while anticipating their own spiritual salvation. Pamphlets, plays, and broadsides related bawdy, graphic, and violent stories that allow modern readers a glimpse of the popular culture and mental world of Renaissance England.M.A.
Department of Liberal and Interdisciplinary Studies
Graduate Studies;
Interdisciplinary Studies MA
12
Hunt-Logan, Cameron. « The influence of the "Book of Job" on the Middle English morality plays ». [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001794.
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13
Jayawickrama, Sarojini. « Carnival, carnivalisation and the subversion of order, with reference to Shakespeare's Henry IV and Henry VI ». Thesis, [Hong Kong : University of Hong Kong], 1991. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13115601.
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14
Handall, Monique Elizabeth. « Translating Spanish language plays into English : A focus on the translation and production of Xavier Robles' Rojo amanecer ». CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2958.
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The purpose of this culminating project is to start translating quality Mexican and Latin American dramatic literature in order to provide to educators and theatrical directors a fundamental collection of plays. The author worked with her San Gorgonio High School students to conduct a dramaturgical study of the setting and political background of Rojo Amanecer by Xavier Robles, a play which outlines the events leading to the 1968 student massacre at Mexico City's Plaza de Tlatelolco. The author then directed the play in her role as San Gorgonio High School's new theater teacher.
15
Garafalo, Sanner. « 'Most wonderful!' : a contextual study of twinship in early modern drama and Shakespeare's plays ». Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/3937/.
Texte intégralRésumé :
This thesis examines twins as objects of wonder in early modern drama. In Wonders and the Order of Nature: 1150-1750, Lorraine Daston and Katharine Park divide the experience of wonder into three separate emotional reactions: horror, repugnance, and pleasure. The thesis builds on this model, arguing that, as objects of wonder, twins were capable of inspiring this range of emotional responses which could, consequently, be capitalized on in a dramatic work. The first three chapters consider non-Shakespearean drama and its depiction of twins as wonderful, tracing how twins emerge as either objects of horror, repugnance, or pleasure in these plays and how these depictions resonate with other circulating discussions of twinship. Chapter 1 examines the horrific depiction of twins in The Duchess of Malfi and The Cruel Brother and its relation to the monstrous and prodigious birth of the early modern broadside. Chapter 2 investigates the repugnant twins of The twins and The Love-sick Court in light of the early modern medical understanding of twins as errors in nature. And Chapter 3 begins to reveal how more pleasurable associations can override these horrific and repugnant connotations, as shown in Changes, Ignoramus, and Senile Odium. However, all of this builds toward a final analysis of Shakespeare’s The Comedy of Errors and Twelfth Night, demonstrating how Shakespeare fully transitions twinship into the realm of the pleasurable, combatting the negative cultural assumptions about twinship with an alternate and largely revolutionary depiction of twinship as a positive characteristic.
16
McQueen, Alexandria C. « Innocent Until Proven Guilty : Shakespeare's Use of Source Material in Three Plays ». Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/309.
Texte intégralRésumé :
In my thesis, I discuss and analyze William Shakespeare’s utilization and adaptation of source texts within three of his dramas: Henry IV, Part I, a history; Twelfth Night, a comedy; and Julius Caesar, a tragedy. By comparing Shakespeare’s adaption of sources to the contemporary United Kingdom intellectual property policies, it becomes possible for me to determine whether Shakespeare’s extensive and popular dramas would violate modern copyright law.
The first chapter, “Printing and Writing in the Early Modern Period,” discusses the development of proprietary interests among the Elizabethan people. I break down the individual components of the printing process in the early modern period and further consider how its creation affected writers and impacted the world at large. Additionally mentioned within this chapter are the United Kingdom’s initial attempts at regulating printed materials among publishers. The availability, pricing, and evolution of printed material is all discussed, as well as the imitative and collaborative writing process among Elizabethan dramatists and poets.
The second chapter, “An Introduction and Brief History of Intellectual Property and Copyright,” addresses the United Kingdom’s current legislation on borrowing and infringing upon creative works. After an introduction to key terms within the intellectual property field, I provide a brief history on the evolution of copyright within the United Kingdom. After a discussion on property protection and rights for literary, dramatic, and artistic works, I cite the Copyright, Designs and Patents Act 1988 as the key document from which I draw my conclusions on Shakespeare’s infringement of source texts within his plays.
Chapters three, four, and five, focus on the individual analyses of source texts used by Shakespeare within each of his selected plays. While Shakespeare did borrow from a multitude of source texts, I strive to analyze his utilization of content within only his most primary source texts. Each chapter begins with a brief synopsis of the play, characters, and major themes. After each introduction, I devote multiple pages of text to comparing and contrasting Shakespeare’s imitation and utilization of primary source texts within his own works. At the end of each chapter, I calculate the age of each source text as it relates to the public domain and intellectual property law.
Following chapter five, I use the combination of my analyses and personal understanding of copyright to render three separate verdicts on Shakespeare’s infringement of source materials within each of his plays. Alongside each verdict, I provide lawful reasoning for the individual outcome of each case. In the final pages, I draw a conclusion concerning Shakespeare’s infringement of source texts within his plays. It looks like one play clearly breaks the United Kingdom’s copyright laws, one play may or may not depending on further studies, and a third drama clearly does not constitute infringement. Furthermore, I offer a brief commentary on the reigning United Kingdom intellectual property laws based upon my analyses and verdicts.
17
Chow, Po-fun Wendy. « Carnivalization and subversion of order in comic plays, with reference to Shakespeare's Twelfth night and Herry IV ». [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12363030.
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18
Ritchie, Brian B. « The rhetoric of ethos in the plays of Christopher Marlowe and George Peele : the language of English Renaissance drama ». Thesis, University of Aberdeen, 1998. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU105147.
Texte intégralRésumé :
This thesis consists of a rhetorical analysis of eight Elizabethan plays. I consider four by George Peele: The Battle of Alcazar, Edward I, David and Bethsabe and The Arraignment of Paris, and four by Christopher Marlowe: Dido Queen of Carthage, Tamburlaine Part One, Doctor Faustus, and Edward II. I confine myself to the analysis of the rhetoric of ethos, and show how the characters of Elizabethan drama are created by such rhetoric, and how they are rhetorical as opposed to psychological creations. This adumbrates a central theme of this thesis, which seeks to remove all preconceptions which might lead to the anachronistic imposition of a modern realism on these dramas. I seek to recreate as far as possible in the reader the sense of a contemporary audience sensibility whilst at the same time remaining aware of any marked incipient realism, such as we find, I believe, in Marlowe's Edward II. At the same time I seek to uncover the theatrical (and by extension, social) tensions of the age with regard to the complex interaction of a more strictly moral ethos with the rhetoric (both visual and verbal) of what I have termed 'delight' or delectatio. I interrogate the ways in which these dramatists either sought to combine these rhetorics or, alternatively, sought to exploit the clash between them for specific dramatic ends. In short, this thesis shows how the knowledge and practice of rhetoric was not merely a superficial facet of a dramatist's technique, but was an integral part of his literary and theatrical world.
19
Ojima, Chihiro. « The Theatricality of Everyday Life in the Plays of the Children of Paul’s ». Kyoto University, 2020. http://hdl.handle.net/2433/253351.
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Kyoto University (京都大学)0048
新制・課程博士
博士(人間・環境学)
甲第22515号
人博第918号
新制||人||220(附属図書館)
2019||人博||918(吉田南総合図書館)
京都大学大学院人間・環境学研究科共生人間学専攻
(主査)准教授 桒山 智成, 教授 廣野 由美子, 准教授 池田 寛子
学位規則第4条第1項該当
20
Eward-Mangione, Angela. « Decolonizing Shakespeare : Race, Gender, and Colonialism in Three Adaptations of Three Plays by William Shakespeare ». Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5628.
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What role did identification play in the motives, processes, and products of select post-colonial authors who "wrote back" to William Shakespeare and colonialism? How did post-colonial counter-discursive metatheatre function to make select post-colonial adaptations creative and critical texts? In answer to these questions, this dissertation proposes that counter-discursive metatheatre resituates post-colonial plays as criticism of Shakespeare's plays. As particular post-colonial authors identify with marginalized Shakespearean characters and aim to amplify their conflicts from the perspective of a dominated culture, they interpret themes of race, gender, and colonialism in Othello (1604), Antony and Cleopatra (1608), and The Tempest (1611) as explicit problems. This dissertation combines post-colonial theory and other literary theory, particularly by Kenneth Burke, to propose a rhetoric of motives for post-colonial authors who "write back" to Shakespeare through the use of counter-discursive metatheatre. This dissertation, therefore, describes and analyzes how and why the plays of Murray Carlin, Aimé Césaire, and Derek Walcott function both creatively and critically, adapting Shakespeare's plays, and foregrounding post-colonial criticism of his plays.
Chapter One analyzes Murray Carlin's motivations for adapting Othello and using the framing narrative of Not Now, Sweet Desdemona (1967) to explicitly critique the conflicts of race, gender, and colonialism in Othello. Chapter Two treats why and how Aimé Césaire adapts The Tempest in 1969, illustrating his explicit critique of Prospero and Caliban as the colonizer and the colonized, exposing Prospero's insistence on controlling the sexuality of his subjects, and, therefore, arguing that race, gender, and colonialism operate concomitantly in the play. Chapter Three analyzes A Branch of the Blue Nile (1983) as both a critique and an adaptation of Antony and Cleopatra, demonstrating how Walcott's framing narrative critiques the notion of a universal "Cleopatra," even one of an "infinite variety," and also evaluates Antony as a character who is marginalized by his Roman culture. The conclusion of this dissertation avers that in "writing back" to Shakespeare, these authors foreground and reframe post-colonial criticism, successfully dismantling the colonial structures that have kept their interpretations, and the subjects of their interpretations, marginalized.
21
Boguszak, Jakub. « Actors' parts in the plays of Ben Jonson ». Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:7732f887-5a9d-4fc6-afce-9bc4242265f9.
Texte intégralRésumé :
The thesis continues the work undertaken in recent years by (in alphabetical order) James J. Marino, Scott McMillin, Paul Menzer, Simon Palfrey, Tiffany Stern, Evelyn Tribble, and others to put to use what is now known about the purpose, distribution, and usage of early modern actors' parts. The thesis applies the new methodology of reading 'in parts', or reconstituting early modern plays 'in parts', to the body of plays written by Ben Jonson. The aim of the project is to offer a reconsideration of Jonson as a man of theatre, interested not only in the presentation of his works in print, but also in their production at the Globe and at Blackfriars. By reconstructing and examining the parts through which the actors performing in Jonson's plays accessed their characters, the thesis proposes answers to the questions: how can we read and analyse Jonson's plays differently when looking at them in terms of actors' parts; did Jonson write with parts in mind; what did Jonsonian parts have to offer actors by way of challenge and guidance; what can we learn from parts about Jonson's assumptions and demands with regard to the actors; and how did actors themselves respond to those demands. These questions are significant because they engage critically with the tradition of seeing Jonson as a playwright dismissive of actors and distrustful of the theatre; they seek to establish a perspective that allows us to assess Jonson's abilities to instruct and challenge his actors through staging documents. More generally, the research contributes to the studies of the early modern rehearsal and staging practices and invites consideration of Shakespeare's part-writing techniques in contrast with those of his major rival. With no surviving early modern parts from Jonson's plays (indeed with only a handful of surviving parts from the period), the first task is to determine the level of accuracy with which the parts can be reconstructed from Jonson's printed plays. Stephen Orgel was by no means the first critic who used the example of Sejanus to assert that Jonson habitually doctored his plays before they were published, but his view has become a critical commonplace. This thesis re-examines the case of Jonson's revisions and concludes that, far from being representative, the 1605 Sejanus quarto is an anomaly which Jonson himself needed to account for in his address to the reader. It is true that Jonson cultivated a distinct style of presentation of printed material, but the evidence that he extensively tampered with the texts themselves after they were performed is scarce (again, the revisions found in the Folio versions of Every Man in His Humour and Cynthia's Revels are addressed and found to be exceptional, rather than typical), while the evidence of his pride in the original compositions and performances is much stronger. Since such enhancements as dedicatory poems, arguments (i.e. plot summaries), character sketches, or marginalia have no bearing on the shapes of actor's parts, they do not in any way compromise the reliability of the printed texts as sources from which Jonson's parts can, argues the thesis, be reconstructed with reasonable accuracy. Jonson, himself an actor and apparently a friend and admirer of a number of great actors of his age (Edward Alleyn, Nathan Field, Richard Robinson, Salomon Pavy, Richard Burbage), knew from personal experience how much depended on actors mastering, or, in their terminology, being 'perfect' in, their parts. By granting the actor access only to select portions of the complete play-text (i.e. his own lines and cues), the part effectively regulated the performance in cases when the actor had only limited knowledge of the rest of the play. Such cases seem to have been very common: documentary evidence suggests that actors had to learn their parts on their own over the course of a few weeks, and only then attended group rehearsals, most of which were concerned with 'business', not text which had already been learned. While some might have attended a reading of the play (if one was arranged for the benefit of the sharers, for instance), or gained more information about the play from their fellow actors, the parts remained their chief means of internalising their text and acquiring a sense of the play they were in. Jonson, who was not a resident playwright with any company performing in London and thus probably did not always have easy and regular access to the actors, could sometimes have taken advantage of the actors' dependence on their parts and crafted the parts as a means of exercising control over the performances of his plays. Building on this premise, the thesis examines various features of actors' parts that would have made a difference to an actor's performance. It draws on recent advancements in the studies of textual cohesion (linguistic features such as reference, substitution, ellipsis, etc.) to point out how the high and low frequency of cohesive ties (pairs of cohesively related words or phrases) in various sections of the part would have given an actor a good idea of how prominent his part was at any given moment. It examines Jonson's use of cues and patterns of cueing: like Shakespeare, Jonson was fond of using repeated cues to open up a space for improvisation, and he seems to have been aware of the need to provide the apprentices in the company with parts cued by a limited number of actors so as to allow for easier private rehearsals with their masters. The thesis also examines the common feature of Jonson's 'split jokes' - jokes that are divided across multiple parts - and asks whether any kind of comic effect can be achieved by excluding the punch line of a joke from the part that contains its setup, and the setup from the part that delivers the punch line, offering a fresh look at the nature of early modern comedy. In structural terms, the thesis considers how a narrative constituted solely by the lines present on an actor's part can diverge from the narrative of the play as a whole and how an understanding of a play as a text composed of actors' parts, as well as of acts and scenes, can help to refine arguments about Jonson's assumptions about the strengths of the companies for which he wrote. What emerges is an image of Jonson who, far from concerned only with readership, consciously developed a brand of comedy that was uniquely suited to, perhaps even relying on, the solipsistic manner in which the actors received and learned their parts.
22
Wharton, Rebecca Garner. « Representations of women in the plays of Marina Carr, Enda Walsh, Mark O'Rowe and Deirdre Kinahan : a comparative study ». Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/39274/.
Texte intégralRésumé :
Irish theatre and its histories typically appear dominated by men and their actions. Drawing on the work of Marina Carr, Edna Walsh, Mark O'Rowe and Deirdre Kinahan, this thesis aims to complicate this masculinist narrative by comparing and contrasting a diverse range of female characters that have appeared in the work of these four important contemporary Irish playwright, since the 1990s. The playwrights and the plays chosen by no means comprise a comprehensive survey of contemporary Irish playwriting, but instead are intended to provide a more focused and illustrative study of male and femeale-authored representartions of women during the period. The study includes male and feamle playwrights and mainstage writers such as Carr, alongside Kinahan who, from a scholarly perspective, is lesser known. My account of Kinahan's work thus represents a new and original contribution to Irish theatre scholarship. In what follows I employ a critical methodology best described as hybrid, combining elements of culturals amterialist analysis, espcially the concept of hegemony as outlined by Antonio Gramsci, with a more performance-oriented mode of textual analysis. My theoretical underpinning draws on a range of existing arguments about the position of women in Irish culture, but also on the work of theatre scholars and cultural historians who have identified the stage as a significant site for cultural transformation. I argue that playwrights are leading the way in encourgaing soical, political and cultural progress for Irish women. I will begin by reviewing existing literature in the field and considering the influence and impact of an earlier generation of Irish playwrights and of the long sustained influence of the state and church on hegemonic depictions of female characters in Irish playwriting. However, my intention is to show that more recent stagings of Irish 'femininity' have been remarkably wide-ranging and anything but hegemonic.
23
Baker, J. « Thomas D'Urfey : the life and work of a restoration playwright ». Thesis, University of Birmingham, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368786.
Texte intégralRésumé :
This thesis is a study of the life and works of Thomas D'Urfey (1653- 1721), a prolific writer of -plays, poetry and operas during the Restoration period. It places him in the context of the theatre of his time and the difficult conditions in which he worked, showing how obscurity of birth and lack of education affected him in his burning desire for success and financial reward. His relationships with great men illustrate the role of the patron in Augustan society, and his long career in the theatre illuminates the principal developments in English drama between 1676 and 1710. The Introduction provides a brief critical survey of the current state of Restoration comedy criticism and of D'Urfey's place in that criticism. Chapters One and Three are primarily biographical; Chapters Two, Four and Five study his plays; Chapter Six takes a broader view of his non-dramatic writing, and Chapter Seven examines his last three comedies and discusses them as precursors of the novel. The final section of Chapter Seven makes some comparisons between Thomas D'Urfey and other dramatists of the period, especially John Dryden, and argues that there is a special interest in the struggle for recognition of an author generally regarded as a failure. The Conclusion summarises the arguments in the thesis for this re-assessment of D'Urfey's interest and importance. Throughout the thesis D'Urfey's work is shown to have many rewards for the modern reader.
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Weiss, Katherine. « The Plays of Samuel Beckett ». Digital Commons @ East Tennessee State University, 2013. http://amzn.com/140814557X.
Texte intégralRésumé :
Beckett remains one of the most important writers of the twentieth century whose radical experimentations in form and content won him the Nobel Prize for Literature in 1969. This Critical Companion encompasses his plays for the stage, radio and television, and will be indispensable to students of his work.
Challenging and at times perplexing, Beckett's work is represented on almost every literature, theatre and Irish studies curriculum in universities in North America, Europe and Australia. Katherine Weiss' admirably clear study of his work provides the perfect companion, illuminating each play and Beckett's vision, and investigating his experiments with the body, voice and technology. It includes in-depth studies of the major works Waiting for Godot, Endgame and Krapp's Last Tape, and as with other volumes in Methuen Drama's Critical Companions series it features too a series of essays by other scholars and practitioners offering different critical perspectives on Beckett in performance that will inform students' own critical thinking. Together with a series of resources including a chronology and a list of further reading, this is ideal for all students and readers of Beckett's work.https://dc.etsu.edu/etsu_books/1072/thumbnail.jpg
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Vilawan, Svetsreni. « King Vajiravudh and the Thai spoken drama : his early plays in English and his original Thai lakho'n phut with special emphasis on his innovative uses of drama ». Thesis, SOAS, University of London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.675680.
Texte intégral
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Inrig, Elizabeth. « Women of the Bible tell the story of salvation from behind the scenes ». Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
Texte intégral
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Chow, Po-fun Wendy, et 周寶芬. « Carnivalization and subversion of order in comic plays, with referenceto Shakespeare's Twelfth night and Herry IV ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31948996.
Texte intégral
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Stone, Robin. « How does it mean ? : a discourse analysis of four plays by Harold Pinter, Simon Gray, David Mamet, and Sam Shepard / ». free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9964002.
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Einmahl, Christiane [Verfasser], Ursula [Gutachter] Schaefer, Holger [Gutachter] Kuße et Andrew James [Gutachter] Johnston. « Orality in Medieval Drama : Speech-Like Features in the Middle English Comic Mystery Plays / Christiane Einmahl ; Gutachter : Ursula Schaefer, Holger Kuße, Andrew James Johnston ». Dresden : Technische Universität Dresden, 2020. http://d-nb.info/122720177X/34.
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Sager, Jenny Emma. « "The strategy with cunning shows" : the aesthetics of spectacle in the plays of Robert Greene ». Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:af29d412-c285-46e4-953c-43eac3e86f13.
Texte intégralRésumé :
This is the first full-scale study of Robert Greene’s drama, offering a new interpretation of the dramatic oeuvre of one Shakespeare’s most neglected literary predecessors. Recent criticism has emphasised Greene’s pioneering role as an author of Elizabethan romance. Yet, in contrast to the numerous prose works which were printed during his life time, his drama, which was printed posthumously, has received little attention. Greene’s plays are visually magnificent: madmen wander on stage waving the severed limbs of their victims (Orlando Furioso, c. 1591), the dead are resurrected (James IV, c. 1590), tyrants gruesomely mutilate their subjects (Selimus, c. 1591-4), extravagant stage properties such as the mysterious brazen head prophesy to the audience (Friar Bacon and Friar Bungay, c. 1589), and sinners are swallowed into hell accompanied by fireworks (A Looking Glass for London and England, c. 1588). This thesis will examine the way in which these stage images evoke astonishment, which in turn encourages the audience to contemplate their symbolic significance. The triumph of Greene’s drama is not one of effects over affect; it lies in the interaction between effect and affect. My principal objective in this thesis is to develop a methodological strategy which will allow critics of non-Shakespearean plays, which frequently lack a substantial performance tradition, to study drama through the lens of performance. Engaging purposively with anachronism as an enabling mode of linking old and new, this thesis will draw analogies between the early modern stage and modern cinema in order to emphasise the relevance of early modern drama to today’s ocularcentric world, a relevance that more historical theoretical approaches would seek to deny. My opening chapter will try to establish Greene’s dramatic canon and assess the critical reception of Greene’s plays. Drawing on material from Greene’s entire oeuvre, Chapter Two will outline my methodological and conceptual approach. This chapter will include an extended analysis of Friar Bacon’s discussion of the ‘strategy with cunning shows’ in John of Bordeaux (JB. 735). Launching into detailed studies of specific spectacles, Chapter Three focuses on Thomas Lodge and Robert Greene’s collaborative effort, the biblical drama A Looking Glass for London and England. During the play, Prophet Jonah is ‘cast out of the whale’s belly upon the stage’ (LG. IV.i.1460-1). Focusing on this stage spectacle, this chapter seeks to emphasise the commercial appeal of this biblical drama. Examining another stage property, Chapter Four will explore the melodramatic and sensational potential of the tomb stage property in Greene’s James IV. Examining the apparent tension between the play’s two presenters, I will demonstrate that Bohan, a cynical Scot, and Oberon, the King of the Fairies, proffer two distinct, but not mutually exclusive, ways of conceiving of and interpreting theatrical spectacle. Completing my study of spectacular stage properties, Chapter Five examines the symbolic significance of the brazen head, which appears in two of Greene’s plays: Alphonsus, King of Aragon and Friar Bacon and Friar Bungay. In both plays, the brazen head becomes an object of excessive or supreme devotion as either a religious idol or a secular deity. The brazen head is perceived as monstrous not simply because it is a source of horror or astonishment but because it represents the misplaced veneration or worship of something other than God. Turning away from stage properties, my final two chapters look at how Greene exploited specific stage conventions. Directing my attention towards Greene’s Orlando Furioso (c. 1591), I will argue that the figure of Orlando Furioso bequeathed an enduring legacy to early modern theatrical discourse, contributing to the convention of the mad poet, which would be replicated and parodied by a new generation of dramatists. Orlando’s behaviour, which rapidly alternates between that of a madman and that of a poet, forces the audience to contemplate the link between the mania of the mentally ill and the melancholia of the creative genius. Ridiculing the concept of furor poeticus, Greene’s play interrogates the belief that great writers are divinely inspired by God through ecstatic revelation. My final chapter will explore the aesthetics of violence in Selimus. A relatively recent addition to the Greene canon, Selimus depicts the rise of an anti-hero amidst a cycle of brutal violence. My reading of this play posits Selimus as a surrogate playwright, arguing that the semiotics of dismemberment allows Greene to interrogate the concept of artistic autonomy. Widespread indifference to Greene’s work has facilitated critical blindness to the powerful aesthetic appeal of spectacle in early modern drama. This reassessment of Robert Greene’s dramatic oeuvre offers a new perspective on the aesthetics of spectacle in early modern drama.
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Hjul, Lauren Martha. « The family in Shakespeare's plays : a study of South African revisions ». Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001832.
Texte intégralRésumé :
This thesis provides a detailed consideration of the family in Shakespeare’s canon and the engagement therewith in three South African novels: Hill of Fools (1976) by R. L. Peteni, My Son’s Story (1990) by Nadine Gordimer, and Disgrace (1999) by J. M. Coetzee. The study is divided into an introduction, three chapters each addressing one of the South African novels and its relationship with a Shakespeare text or texts, and a conclusion. The introductory chapter provides an analysis of the two strands of criticism in which the thesis is situated – studies of the family in Shakespeare and studies of appropriations of Shakespeare – and discusses the ways in which these two strands may be combined through a detailed discussion of the presence of power dynamics in the relationship between parent and child in all of the texts considered. The three chapters each contextualise the South African text and provide detailed discussions of the family dynamics within the relevant texts, with particular reference to questions of authority and autonomy. The focus in each chapter is determined by the nature of the intertextual relationship between the South African novel and the Shakespearean text being discussed. Thus, the first chapter, “The Dissolution of Familial Structures in Hill of Fools” considers power dynamics in the family as an inherent part of the Romeo and Juliet genre, of which William Shakespeare’s Romeo and Juliet is but a part. Similarly, the impact of a socio-political identity, and the secrecy it necessitates, is the focus of the second chapter, “Fathers, Sons and Legacy in My Son’s Story” as is the role of Shakespeare and literature within South Africa. These concerns are connected to the novel’s use of Shakespeare’s Sonnets, King Lear, and Hamlet. In the third chapter, “Reclaiming Agency through the Daughter in Disgrace and The Tempest”, I expand on Laurence Wright’s argument that Disgrace is an engagement with The Tempest and consider ways in which the altered power dynamic between father and daughter results in the reconciliation of the father figure with society. The thesis thus addresses the tension between parental bonds and parental bondage
32
Edelman, Charles. « The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare ». Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phe21.pdf.
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Idrissi, Nizar. « Stephen Poliakoff : another icon of contemporary British drama ». Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210559.
Texte intégralRésumé :
This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama.Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
34
Van, Dyke Margaret. « Theatrical re/enactments of Mennonite identity in the plays of Veralyn Warkentin and Vern Thiessen ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/MQ28913.pdf.
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Johnson, Toria Anne. « 'Piteous overthrows' : pity and identity in early modern English literature ». Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4197.
Texte intégralRésumé :
This thesis traces the use of pity in early modern English literature, highlighting in particular the ways in which the emotion prompted personal anxieties and threatened Burckhardtian notions of the self-contained, autonomous individual, even as it acted as a central, crucial component of personal identity. The first chapter considers pity in medieval drama, and ultimately argues that the institutional changes that took place during the Reformation ushered in a new era, in which people felt themselves to be subjected to interpersonal emotions – pity especially – in new, overwhelming, and difficult ways. The remaining three chapters examine how pity complicates questions of personal identity in Renaissance literature. Chapter Two discusses the masculine bid for pity in courtly lyric poetry, including Philip Sidney's Astrophil and Stella and Barnabe Barnes's Parthenophil and Parthenophe, and considers the undercurrents of vulnerability and violation that emerge in the wake of unanswered emotional appeals. This chapter also examines these themes in Spenser's The Faerie Queene and Sidney's Arcadia. Chapter Three also picks up the element of violation, extending it to the pitiable presentation of sexual aggression in Lucrece narratives. Chapter Four explores the recognition of suffering and vulnerability across species boundaries, highlighting the use of pity to define humanity against the rest of the animal kingdom, and focusing in particular on how these questions are handled by Shakespeare in The Tempest and Ben Jonson, in Bartholomew Fair. This work represents the first extended study of pity in early modern English literature, and suggests that the emotion had a constitutive role in personal subjectivity, in addition to structuring various forms of social relation. Ultimately, the thesis contends that the early modern English interest in pity indicates a central worry about vulnerability, but also, crucially, a belief in the necessity of recognising shared, human weakness.
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Panday, Sunitha. « Singing for the fatherland : four South African protest plays ». Thesis, 2004. http://hdl.handle.net/10413/8988.
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Torrey, Michael David. « Anxieties of deception in English morality plays and Shakespearean drama / ». 1996. http://wwwlib.umi.com/dissertations/fullcit/9701287.
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« The first fortune : the plays and the playhouse (drama) ». Tulane University, 1985.
Trouver le texte intégralRésumé :
The first Fortune playhouse, far from being merely a rival to the Globe, housed a company that lay claim to a distinct theatrical tradition. Built in 1600 and situated in the northwest suburbs of Middlesex, the theatre represented the commercial and artistic aspirations of Phillip Henslowe and his son-in-law, the actor Edward Alleyn, who together brought the Lord Admiral's (later Prince Henry's) Men to the magnificent stage of the Fortune. There the players staged the best of their old repertory, notably the plays of Marlowe, and introduced new plays designed to please their predominantly middle-class audience, who had, in general, old-fashioned dramatic and conservative political tastes The tragedies were largely revivals, and the one extant new tragedy, Hoffman, continues the tradition of the Marlovian overreacher and the Kydian revenger. The history plays in the repertory reflect a distrust of Catholicism and an overt glorification of Prince Henry, the patron of the company, as the Protestant savior of England. The comedies, which reflect most clearly the tastes of the audience for which the bulk of the repertory was written, flatter the citizen-playgoers by romantically reconciling their apparently strict morality with their practical merchantilism. The repertory served the company well at least through the first decade of operation of the playhouse. Unfortunately, no new plays written for the company after 1611 survive. Events suggest, however, that the second decade would have been markedly less successful Overall, an examination of the repertory and history of the first Fortune reveals the distinctiveness of the company that, for too long, has been overshadowed by or incorporated into the critical evaluation of its more famous rival, the King's Men. By considering the Fortune in terms of its own strengths and weaknesses, we can gain a more accurate conception of the cultural milieu, which, in the drama at least, fostered various traditionsacase@tulane.edu
39
Einmahl, Christiane. « Orality in Medieval Drama : Speech-Like Features in the Middle English Comic Mystery Plays ». 2019. https://tud.qucosa.de/id/qucosa%3A38631.
Texte intégralRésumé :
Da die historische Sprachwissenschaft ausschließlich über geschriebene Texte als Datenbasis verfügt, wurden insbesondere im Forschungsgebiet der historischen Pragmatik bestimmte Genres identifiziert, die Aufschluss über die Sprechsprachlichkeit vergangener Sprachstufen bieten können. Dem dramatischen Genre der Komödie wird in der sprachhistorischen Forschung eine besondere Nähe zur gesprochenen Sprache zugesprochen.
Das Korpus dieser Dissertation umfasst insgesamt 46 Stücke der spätmittelenglischen Mystery Plays, die biblische Episoden von der Erschaffung der Welt bis zum Jüngsten Gericht (komisch) in Szene setzen. Neben der quantitativen und qualitativen Analyse von acht nähesprachlichen Merkmalen (u. a. Anredepronomina, Fragen, Diskursmarker) beinhaltet die Arbeit eine Klassifizierung der komischen Szenen in den Mystery Plays sowie eine Untersuchung der literatur- und kulturhistorischen Kontextfaktoren, die eine Annäherung an Sprechsprachlichkeit in den Texten bedingt haben könnten.:1 Introduction
1.1 Premises and aims
1.2 Outline of the study
2 Comedy play texts as a speech-related genre
2.1 Speech-like genres and 'communicative immediacy'
2.2 Play texts vs. 'real' spoken discourse
2.3 Conclusions
3 'Comedy' in the mystery cycles
3.1 The medieval sense of 'comedy'
3.2 Medieval attitudes to laughter
3.3 Laughter and the comic in the mystery cycles
3.3.1 Humiles personae – sympathetic laughter
3.3.2 Divine triumph over evil – Schadenfreude
3.3.3 Funny games of violence – grim irony
3.4 The potential for 'communicative immediacy' in the mystery 'comedies'
3.4.1 Context and sources
3.4.2 Stylistic guidelines
3.5 Conclusions
4 Speech-like features in the mystery 'comedies'
4.1 Methodological premises
4.1.1 The data
4.1.2 Speech-like characteristics and linguistic features
4.1.3 Challenges and obstacles
4.2 Interactivity in pronominal address – (im)politeness, power and dominance
4.2.1 Second-person pronouns
4.2.1.1 Overall distribution
4.2.1.2 Family relationships
4.2.1.3 'Official' relationships
4.2.1.4 A special case: address in funny games of violence
4.2.2 Summary
4.3 Interactivity in pair structures – cooperation and conflict
4.3.1 Questions
4.3.1.1 Overall distribution
4.3.1.2 Functional analysis
4.3.1.3 Discussion of results
4.3.2 Imperatives
4.3.2.1 Overall distribution
4.3.2.2 Functional analysis
4.3.2.3 Discussion of results
4.3.3 Lexical repetition
4.3.3.1 Overall distribution
4.3.3.2 Functional Analysis
4.3.3.3 Discussion of results
4.3.4 Turn-initial discourse markers
4.3.4.1 Overall distribution
4.3.4.2 Interactional uses
4.3.4.3 Discussion of results
4.3.5 Summary
4.4 Features of sharedness and function – emotion and emphasis
4.4.1 Interjections
4.4.1.1 Overall distribution
4.4.1.2 Emotive-expressive uses
4.4.1.3 A special case: swearing
4.4.2 Vocatives: Terms of endearment and abuse
4.4.2.1 Overall distribution
4.4.2.2 Analysis
4.4.3 Demonstrative pronouns and deictic reference
4.4.3.1 Overall distribution
4.4.3.2 Analysis
4.4.4 Summary
4.5. Discussion: Speech-like features in the Middle English mystery plays
5 Final remarks
6 Bibliography
7 List of abbreviations
8 List of tables
9 List of figures
40
Knowles, Adam Daniel. « Memories of England British identity and the rhetoric of decline in postwar British drama, 1956-1982 / ». Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116103.
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Cameron, John H. « Shakespeare and the Drama of Politic Stratagems ». 2012. http://hdl.handle.net/10222/15356.
Texte intégralRésumé :
“Shakespeare and the Drama of Politic Stratagems” focuses on how Shakespeare dramatically explores strategic issues similar to those discussed by Machiavelli and other early modern politic authors. The thesis is structured in order to tackle the diverse nature of strategy while developing and expanding on its most essential issues. The first chapter deals with the amoral and dangerous political world of the first tetralogy, a world in which one must be strategic in order to survive. Since not every strategist engages in the same kind of strategy or even agrees about what the best strategy might be, the second chapter outlines the different characteristics of Shakespeare’s strategists. These strategists can sometimes achieve success on their own, but no one can survive alone indefinitely, and the third chapter thus outlines the importance of strategic alliances and the dangers of making the wrong alliance. The fourth chapter deals with the numerous kinds of enemies that a strategist must contend with. Not all enemies fight in the same way, so a strategist must be on guard against an enemy’s deceptions, the focus of the fifth chapter. Even if these obstacles are overcome, even the most successful strategists will almost inevitably fail at some point or another. That failure may be due to some flaw in their schemes, or it may be due to the extreme difficulty of achieving success indefinitely. The final chapter deals with the perennial conflict between virtù and fortuna and thus the limits of politic stratagems.
Machiavelli’s works can be seen as an epicenter of strategic thinking in the early modern period, and so they act as a guide through complex, contradictory, but ultimately rewarding issues of strategy and their consequences. Machiavelli serves as both analogue and foil, for while Shakespeare dramatizes similar strategic ideas, his dramatizations reveal greater truths about what is at stake when one explores the nature and consequences of politic stratagems. This thesis demonstrates the multiple factors that make strategy so dynamic and useful to a young dramatist in the process of discovering his own interests in the art of politics and the art of drama.
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Mitchell, Heather S. « 'Dost Thou Speak like a King?' : Enacting Tyranny on the Early English Stage ». Diss., 2009. http://hdl.handle.net/10161/1580.
Texte intégralRésumé :
The Biblical drama that was popular in England from the fourteenth to sixteenth centuries is a fruitful site for exploring the dissemination of political discourse. Unlike Fürstenspiegeln (mirrors for princes literature) or the tradition of royal civic triumphs, Biblical drama, whether presented as ambitious "history of the world" civic cycles or as individual plays put on by traveling companies or parish actors, did not attempt to define or proscribe ideals of kingly behavior. On the contrary, the superstars of the early English stage were tyrants, such as Herod, Pharoah, Pilate, and Lucifer. These figures were dressed in the most lavish costumes, assigned the longest and most elaborate speeches, and often supplied the actors who brought them to life with a substantial wage. This dissertation argues that these tyrants helped to ensure the enduring popularity of Biblical drama well into the Tudor period; their immoderation invited authors, actors, and audiences to imagine how the role of a king ought to be played, and to participate in a discourse of virtue and self-governance that was applicable to monarchs and commoners alike.
This work builds upon a growing scholarly awareness of what Theresa Coletti and Gail McMurray Gibson have called "the Tudor origins of medieval drama": namely, that our modern knowledge of "medieval" plays reflects and relies upon the sixteenth-century context in which they were preserved in manuscripts and continued to flourish in performance. The popularity of the tyrant-figures in these plays throughout the Tudor period - particularly in parts of the country that were reluctant to adapt to the ever-changing economic, judicial, and religious policies of the regime - suggests an enduring frustration with royal power that claimed to rule in the name of "the common good" yet never hesitated to achieve national obedience at the expense of economic, judicial, and religious continuity. Through an examination of surviving play-texts from the Chester Mystery Cycle and Digby MS 133 as well as documentation of performances in Cheshire and East Anglia, this dissertation chronicles Biblical drama's ability to serve as an important site of popular resistance to the Tudor dynasty, both before and after Protestantism became a matter of state policy.
Chapter One considers the Crown's surprisingly active involvement in the civic government of Chester between 1495 and 1521 in counterpoint with the early sixteenth century restructuring of the city's mystery cycle, and argues that the cycle's new opening pageant, The Fall of Lucifer, embodies Chester's fears about losing its traditional civic identity. Chapter Two examines Biblical drama's surprising ability to encourage resistance to tyranny through a reading of The Killing of the Children, which highlights the fleeting and unprofitable nature of earthly power in such a way as to resonate with audiences in the wake of Henry VIII's initial religious reforms of 1536. Chapter Three explores the capacious Mary Magdalen play, which addresses issues of succession, of national religious identity, and of female rule in ways that seem prescient of the controversial crowning of Henry VIII's eldest daughter in 1553. Chapter Four discusses the aftermath of the final performance of the Chester cycle in 1575: the city's mayor was accused of being no less of a tyrant than Herod himself for encouraging performance of a cycle seen by the Crown as "popish idolatry." The project concludes with a Shakespearean envoi: a consideration of Richard III that demonstrates that questions of tyranny and rightful governance remained as important at the end of the Tudor period as they were at the accession of Elizabeth's grandfather in 1485.
Dissertation
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Nel, Johannes Erasmus. « Harold Pinter : breading strategies with reference to The Birthday party, The Homecoming and One for the road ». Thesis, 1989. http://hdl.handle.net/10386/2131.
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Thompson, Liana J. « Maryse Conde's Early Plays : An English Translation of "God Gave Him to Us..." and "The Death of Oluwemi of Ajumako" ». 2009. https://scholarworks.umass.edu/theses/292.
Texte intégralRésumé :
Having built her career and her reputation on her novels, Maryse Condé is not a familiar name in the theater. However, at the beginning of her career Condé was very involved with theater, and her first published works were plays: Dieu nous l’a donné… (1972) and Mort d’Oluwémi d’Ajumako (1973) preceded Condé’s first novel, Heremakhonon (1976). Though these plays do not get as much attention as do her more recent novels, they continue to have a lot to offer: they are highly dramatic, their themes remain relevant to the world today, and they are accessible for a modern audience. This M.F.A. thesis therefore presents the first English language translations of these two early plays of Condé’s, translated as God Gave Him to Us… and The Death of Oluwémi of Ajumako. The translations are preceded by an Introduction exploring the relevance of these plays for a modern audience, the influences that led Condé to craft these two dramas, and the challenges of the translation process.
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Herrington, Neville John. « The English language television single play in South Africa : a threatened genre, 1976-1991 ». Thesis, 1993. http://hdl.handle.net/10413/8747.
Texte intégralRésumé :
The thesis takes the form of an investigation into the various causes leading to
the demise of the English language television single play in South Africa. It does
not position the genre within any particular theoretical framework, but argues
within the context of a liberal/critical discourse that the single play owes its
development and significance to the contribution of its many writers, as well as to
the creative input of the various producers, directors, from within and outside the
SABC. Furthermore, it evaluates the genre within the bureaucracy of the SABC
and the input of the various drama managers, among others, whose decisions
have affected the position of the single play.
The single play is seen as a development of drama having evolved from the stage
play, though moving progressively towards the production values of film.
Research will show that in the South African context, the creative practitioners of
the single play and technology have intersected with style, reflecting the dominant
form of naturalism, mainly evidenced during the early period when many single
plays were produced in the studios of Auckland Park. Within a wider sociopolitical
context, the single play has been evaluated as a negotiation among
writers, censorship, technology, naturalism and bureaucracy.
The investigation will show that the major cause for its demise was the SABC's
increasing commercialisation of TV -1, with the result that programmes on this
channel were evaluated in terms of their ability to deliver large audiences to the
advertisers. This placed the single play in competition for transmission space with
the more popular drama series and serials. Furthermore, the business principle
of cost-effectiveness applied to the single play made it more expensive to produce
than series and serials.
The author's own practical involvement in the production of video and television
programmes, including drama, together with primary source information gleaned
from some forty interviews with practitioners and those whose decisions impacted
on the genre, have been added to the body of the research.Thesis (Ph.D.)-University of Natal, Durban, 1993.
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Suh, Joseph Che. « A study of translation strategies in Guillaume Oyono Mbia's plays ». Thesis, 2005. http://hdl.handle.net/10500/1687.
Texte intégralRésumé :
This thesis is focused on a study of translation strategies in Guillaume Oyono Mbia's plays. By using the sociological, formalistic and semiotic approaches to literary criticism to inform the analysis of the source texts and by applying descriptive models outlined within the framework of descriptive translation studies (DTS) to compare the source and target texts, the study establishes the fact that in his target texts Oyono Mbia, self-translating author, has produced a realistic and convincing portrait of his native Bulu culture and society depicted in his source texts by adopting the same default preservation and foreignizing strategy employed in his source texts. Oyono Mbia's works, his translation strategies and translational behaviour are situated in the context of the prevailing trend and attitude (from the sixties to date) of African writers writing in European languages and it is posited that this category of writers are in effect creative translators and that the strategies they use in their original compositions are the same as those outlined by translation scholars or effectively used by practitioners. These strategies enable the writer and the translator of this category of African literature to preserve the "Africanness" which is the essence and main distinguishing feature of that literature. Contrary to some scholars (cf. Bandia 1993:58) who regard the translation phenomenon evident in the creative writings of African writers writing in European languages as a process which is covert, semantic and secondary, the present study of Oyono Mbia's translation strategies clearly reveals the process as overt, communicative and primary. Taking Oyono Mbia's strategies as a case in point, this study postulates that since for the most part, the African writer writing in a European language has captured the African content and form in his original creative translation, what the translator simply needs to do is to carry over such content and form to the other European language.Linguistics
D.Litt. et Phil. (Linguistics)
47
Savilonis, Margaret Frances Wolf Stacy Ellen. « "--give us the history we haven't had, make us the women we can't be" motherhood & ; history in plays by Caryl Churchill and Pam Gems, 1976-1984 / ». 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3143464.
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Oluwasuji, Olutoba Gboyega. « Re-imagining Ogun in selected Nigerian plays : a decolonial reading ». Thesis, 2018. http://hdl.handle.net/10500/25490.
Texte intégralRésumé :
Text in EnglishThrough an in-depth analysis of selected texts, this study engages with the ways in which Ogun is reimagined by recent selected Nigerian playwrights. Early writers from this country, influenced by their modernist education, misrepresented Ogun by presenting only his so-called negative attributes. Contemporary writers are reconceptualising him; it is the task of this thesis to demonstrate how they are doing so from a decolonial perspective. These alleged attributes represent Ogun as a wicked, bloodthirsty, arrogant and hot tempered god who only kills and makes no positive contribution to the Yoruba community. The thesis argues that the notion of an African god should be viewed from an Afrocentric perspective, not a Eurocentric one, which might lead to violence or misrepresentation of him. The dialogue in the plays conveys how the playwrights have constructed their main characters as Ogun representatives in their society. For example, Mojagbe and Morontonu present Balogun, the chief warlord of their different community; both characters exhibit Ogun features of defending their community. The chosen plays for this study are selected based on different notions of Ogun, the Yoruba god of iron and war, presented by the playwrights. A closer look at the primary materials this thesis explores suggests Ogun’s strong connection with rituals and cultural festivals. These plays exemplify African ritual theatre. Being a member of the Yoruba ethnic group, I have considerable knowledge of how festivals are performed. The Ogun festival is an annual celebration among the Yoruba, where African idioms of puppetry, masquerading, music, dance, mime, invocation, evocation and several elements of drama are incorporated into the performances. The selected plays critiqued in this thesis are Mojagbe (Ahmed Yerima, 2008), Battles of Pleasure (Peter Omoko, 2009), Hard Choice (Sunnie Ododo, 2011), and Morontonu (Alex Roy-Omoni, 2012). No in-depth exploration has previously been undertaken into the kinds of textual and ideological identities that Ogun adopts, especially in the selected plays. Therefore, using a decolonial epistemic perspective, this study offers a critical examination of how the selected Nigerian playwrights between the years 2008 and 2012 have constructed Ogun, the Yoruba god of iron. Such a perspective assists in delinking interpretations from the modernised notions mentioned above, in which Ogun is sometimes a paradoxical god. Coloniality is responsible for such misinterpretation; the employed theoretical framework is used to interrogate these notions. The research project begins with a general introduction locating Ogun in Yoruba mythology, which forms the background to how the god is being constructed in Yorubaland. Also included iii in this first chapter is a discussion on a decolonial perspective, the principles of coloniality, the aims and objective of the study, and the relevant literature review. Thereafter, chapter two focuses on Battles of Pleasure and argues that the play re-imagines Ogun as a god of peace and harvest as opposed to a god of war and destruction. Chapter three discusses how Ododo’s Hard Choice reconceptualises Ogun as a god of justice, in contrast to him being interpreted as a god who engages in reckless devastation of life. Chapter four explores Ogun’s representation in Yerima’s Mojagbe as a reformer who gives human beings ample time to change from their wayward course to a course that he approves. In chapter five, Ogun’s reconception as a remover of obstacles in Roy-Omoni’s Morontonu is examined. The study concludes with a discussion on how Africans should delink themselves from a modernist Eurocentric perspective and think from an Afrocentric locus of enunciation.
English Studies
D. Litt. et Phil.(English)
49
Savilonis, Margaret Frances. « "--give us the history we haven't had, make us the women we can't be" : motherhood & ; history in plays by Caryl Churchill and Pam Gems, 1976-1984 ». Thesis, 2004. http://hdl.handle.net/2152/1257.
Texte intégral
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Scholtz, Pieter J. H. « Theatre for young audiences and the Commedia dell'arte : the living tradition of the Commedia dell'arte in theatre for young audiences, with specific reference to selected original texts and performances ». Thesis, 1992. http://hdl.handle.net/10413/8694.
Texte intégralRésumé :
The thesis affirms the relevance of "Theatre for Young Audiences" as a valid
and distinctive genre; a performance genre that should entertain, educate and
provide meaning in terms of its creative interaction with personal, social, artistic and
cultural issues. The practice of playwrighting is removed from the assumption that
it relies exclusively on inspiration, intuition and spontaneity; it is placed within a
creative, experiential and discursive mode in which dramatic, theatrical,
performance and structural issues can be researched, analysed and evaluated
culminating in the crafting, making and presentation of innovative and challenging
theatre.
The research component of the thesis attempts to identify the social and moral
responsibility of the playwright writing for young audiences. It is asserted that
knowledge about the maturation of young people is crucial in the creative processes
of writing plays and making theatre. The second chapter in Part One of the thesis,
asserts that knowledge about the physical, emotional and intellectual maturation of
the intended audience should clearly impact on the delineation of plot, action,
character, language, audience participation, ethics and morality. The thesis clearly
identifies the importance of this knowledge for the Arts Educator.
However, "Theatre for Young Audiences" does not function solely in the realm
of education. The thesis distinguishes this genre from those of "Theatre-in-Education"
and "Drama-in-Education". The thesis firmly supports this distinction
and affirms the status of "Theatre for Young Audiences" as a performing art. This
argument is given further credence by the creative interaction of original scripts with
the "living tradition" of the Commedia dell' Arte. The Commedia dell' Arte is
examined from an historical perspective; pertinent features are addressed, selected,
utilised and transformed into a dynamic theatrical experience for young audiences in
contemporary South Africa.
The Commedia dell' Arte serves as a theatrical model and becomes a creative
device for further and renewed innovation. The inclusion of three original plays in
Appendices 1, 2 and 3, plus numerous references to selected, original texts and
performances provide an illustration of the concept that playwrighting for young
people can effectively and imaginatively transpose theoretical inquiry into
imaginative and challenging theatre experience.
The thesis attempts to utilise a clear conceptual basis for the development of
argument - the educational and psychological perspectives provide a foundation for
ideas and critical writing. The theatre heritage becomes a catalyst for innovative and
pertinent theatre that affirms the status, purpose and nature of "Theatre for Young
Audiences" in contemporary South Africa.Thesis (Ph.D.)-University of Natal, Durban, 1992.