Thesis (Ph. D.)--University of Wisconsin--Madison, 1982. / Typescript. Vita. Includes bibliographical references (leaves 686-700).

Thesis (Ph. D.)--Universität Tübingen, 1927.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1951. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [389]-413).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1981. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 256-159).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1968. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Magister Artium - MA / Alan Ayckbourn claims that he has always been facinated by time as an aid to dramatic story telling. The thesis examined how Ayckbourn manipulates the dramatic timeframe, often in an unconventional manner, as a device to aid both the development of dramatic narrative and the development of characterisation within his plays. / South Africa

This thesis details a practice-led investigation of the archive, explored through choreography and the creation of three anarchival performances. The research theorises the anarchival as a creative research methodology for archival questioning and epistemological disruption, enacted through the body. Through a critically reflexive thinking-through of choreographic practice, alongside an interpretivist analysis of performance works by six contemporary South African artists, the thesis surfaces specific ways in which an anarchival disruption of the archive facilitates a re-thinking of colonially inherited knowledge systems, implicit in the archive. The research thus frames anarchival disruption within the broader decolonial project in South Africa as a necessary and valuable strategy for developing a decolonial archival praxis. Chapter One positions the archive in relation to poststructuralist and postcolonial critiques and establishes the archive as a system of knowledge production deeply implicated in the proliferation of colonial epistemologies and the subjugation of bodies and embodied ways of knowing. Chapter Two conceptualises the anarchive, through process philosophy and Deleuzian ontologies, as an alternative archive comprised of the virtual traces of the past that the traditional archive excludes. These traces constitute points of contact for creative research and, when engaged with through the body, become sites for recreation and reimagining. Chapters Three, Four and Five each explicate specific approaches to this encounter in creative practice, departing from three forms of archival remains: objects, bodies, and ghosts, respectively. The disruptive effects of these practices are then developed further through the analysis of specific performance works where related anarchival disruption is evident. Chapter Three considers affect as a disruptor of hierarchical divisions between subject and object in Steven Cohen's Put your heart under your feet… and walk!/To Elu (2017) and Dineo Seshee Bopape's Sa koša ke lerole (2017). Chapter Four analyses the blurring of past and present temporalities in Nelisiwe Xaba's The Venus (2009). In Chapter Five, Gavin Krastin's Rough Musick (2013), Sello Pesa's Limelight on Rites (2014) and Igshaan Adams' Bismillah (2014) are each examined as haunted temporalities where the living and the dead co-exist and affect one another.

This study proceeds from research I have conducted through autobiographical writing, into my experiences of directing untried play texts for first performance. The question of ownership of the meaning conveyed by the play in performance, in the negotiated space between the writer and the director, provides the frame for this discussion. Who has the right of ownership over meaning, and in times of dissension about meaning, whose meaning should prevail? Since it is the writer's first opportunity to see his or her play on the stage, it would seem that the ethics of the situation favour the writer. However, if the director's modality is unconscious, intuitive and 'felt' as mine is, the best and most ethical path to follow may be hard to discern by both director and writer. At the same time, the intuitive modality of the director may be destabilized by the presence of the writer. Within this conundrum my focus is on identifying, exploring and considering the director's modality, which I have identified as 'feminine', a term which in this text favours sexual differentiation as a feminist strategy for the re-creation and re-inscription of woman within a male dominated signifying system. Rosi Braidotti's evocation of Cixous' creative writing as a 'feminine textual body' in resistance to woman as 'non-said', and as procreation of woman as a subject, provides the inspiration for the conceptualization of mise en scène as a feminine textual body. Using Green Man Flashing written by Mike Van Graan and directed by me in 2004, and Lara Foot's Reach that I directed in 2007, as case studies, I consider, as well as assess the impact, of my feminine directorial modality on these two performance texts. I am interested in how meaning is made from inside the feminine modality, what meaning is made, and finally, how the feminine modality is affected by the material circumstances in which these two plays were rehearsed. My aim is to extend the feminine modality into the style of it's dissemination by taking the reader into the 'feeling' of the modality in a style of writing that embodies the personal, intimate, intuitive qualities it invokes. I also take a more analytical view, assessing the efficacy of the feminine modality by using the lenses of materialist feminists such as Dolan and Diamond, as well as Irigaray's 'relational alterity'. The outcome of this exploration is that the feminine modality is both a solution and a problem, depending on material circumstances. Its paradoxical nature requires a third space in which it can stabilize, and yet remain accessible to the unconscious.

Includes abstract. / Includes bibliographical references (leaves [198]-223). / The aftermath is a region that is often associated with disruption, disrepair and trauma. Taking as his departure point his witnessing of the specific aftermath of the September 11th attacks in New York– the author returns to South Africa to locations that are concerned with the aftermath of apartheid and the aftermath of the advent of HIV/AIDS i.e. education and public health. He attempts a method of extracting elements from an aftermath as a form of redemptive critical theory (see Walter Benjamin, Hannah Arendt, Jean L. Cohen and Andrew Arato, Maurizio Passerin D’Entreves) in order to apply a combination of elements into a dialogical method of dramatic practice that might provide opportunities for recovery. This he does through a practice that is based upon participatory research involving participants from a high school and an HIV/AIDS wellness clinic.