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This thesis explores the work of three women practitioners in radio and examines the process of writing radio drama through a mixture of criticism and practice. It analyzes early theories about radio drama and compares them with those of today, in order to ascertain whether the early ideas are still relevant. Starkey points out that radio has been relatively undertheorized (2004: 204), so this evaluation of the practice of writing radio drama adds to knowledge of the medium as a whole. The work focuses on two women practitioners from the past: Hilda Matheson, whose book Broadcasting (1933), was the first single authored text on radio and broadcasting by a woman published in English (Crook 1999: 12) and Mabel Constanduros, who was a prolific writer and actress of the time, specialising in comedy. Matheson s ideas are compared with those of Val Gielgud and other early theorists, which were more accepted at the time. This analysis leads to close examination of a debate at the heart of radio drama, that being whether noises or dialogue are the best method of storytelling. Finally there is a consideration of the author s own writing practice, using three broadcast radio plays, 21 Conversations with a Hairdresser, 15 Ways to Leave Your Lover and Jesus, The Devil and a Kid Called Death. This provides insight into the changing methods of writing for radio. The findings create a story design for writing the Radio 4 Afternoon Drama. Final written drafts are included, along with audio copies of the plays as they were broadcast. Several different types of criticism create the theoretical base, including works on cultural theory, feminist theory and reception theory, as well as texts on radio, screen, play and comedy writing.

The portrayal of women in Setswana literary works and in the electronic media tends to perpetuate stereotypes of women. This may result in a society that continues to degrade women. Ntsimane, the author of Motlhabane, has written a drama series that depicts women in a negative way through the creation of weak female characters who are often exploited by males, are gossips, adulterous and generally manipulative and of low morals. Feminist literature has, among other things, challenged, especially male authors who promote and perpetuate negative stereotypes of women. The view that women are weak, adulterous, possessive and have low morals emerges from traditional cultural perceptions, and thus writers who do not give a balanced view of women continue to portray this view. Women have been discriminated against in many spheres of life, such as in the work place, at home, in politics, in the economy and in society in general. This study explores the portrayal of women in the radio series Motlhabane and reveals clearly that the series fails to portray women as having an important role to play in life and in a family structure and thus need • to be afforded respect. The conclusions of this study are a warning to men about women who do not fit the traditional mould of submissive wives and are therefore looked upon as being morally corrupt and promiscuous. The author does not treat his female characters with respect. The study highlights challenges facing emerging authors who write about women, and directs them to focus on representing women in a balanced manner in their works. The challenge for the emerging generation of authors is to learn to write in a sensitive balanced manner about women. / M.A., African Languages, Potchefstroom University for Christian Higher Education, 2003

The portrayal of women in Setswana literary works and in the electronic media tends to perpetuate stereotypes of women. This may result in a society that continues to degrade women. Ntsimane, the author of Motlhabane, has written a drama series that depicts women in a negative way through the creation of weak female characters who are often exploited by males, are gossips, adulterous and generally manipulative and of low morals. Feminist literature has, among other things, challenged, especially male authors who promote and perpetuate negative stereotypes of women. The view that women are weak, adulterous, possessive and have low morals emerges from traditional cultural perceptions, and thus writers who do not give a balanced view of women continue to portray this view. Women have been discriminated against in many spheres of life, such as in the work place, at home, in politics, in the economy and in society in general. This study explores the portrayal of women in the radio series Motlhabane and reveals clearly that the series fails to portray women as having an important role to play in life and in a family structure and thus need • to be afforded respect. The conclusions of this study are a warning to men about women who do not fit the traditional mould of submissive wives and are therefore looked upon as being morally corrupt and promiscuous. The author does not treat his female characters with respect. The study highlights challenges facing emerging authors who write about women, and directs them to focus on representing women in a balanced manner in their works. The challenge for the emerging generation of authors is to learn to write in a sensitive balanced manner about women. / M.A., African Languages, Potchefstroom University for Christian Higher Education, 2003

The Visual Staging of Audio Plays explores the directing practice of radio dramas that are staged for viewing purposes rather than their typical solo-auditory purposes. The thesis is comprised of three separate parts: a brief history of theatrical sound, an introduction to radio drama theory and practice, and application. The application portion is a detailed first-person account of my personal experience staging It’s a Wonderful Life: A Live Radio Play by Joe Landry for TheatreVCU’s Mainstage winter special event in 2015. It is also in this section where I integrate history, theory, and practice to formulate technique for directing the genre for stage.

The life of the controversial Irish nationalist Roger David Casement, who was sentenced to death for high treason by the British Crown, has inspired writers to produce works of various literary genres: prose, poetry, drama and critical essays. This doctoral dissertation aims to investigate, under the light of trauma theory as suggested chiefly, but not solely by Cathy Caruth, Ron Eyerman and Dominick La Capra, the ways in which the figure of Roger Casement can be associated with traumatic events that have sealed Anglo-Irish relations. Thus, I have selected works that deal with Casements Life as he acts both for and against the trauma inflicted by imperialism respectively as a Victorian hero in Arthur Conan Doyles The Lost World (1912) and as an oblique presence in the 1916 Easter Rebellion in Jamie ONeills At Swim, Two Boys (2001); the trauma surrounding his Trial and the discovery of the homosexual Black Diaries that culminated in his hanging through his representation as a whole man in Mario Vargas Llosas The Dream of the Celt and in Patrick Masons The Dreaming of Roger Casement (2010); and finally, the trauma that persists unresolved in his Afterlife, as a ghost in David Rudkins Cries from Casement as his Bones are Brought to Dublin and as traumatic memory in the Annabel Davis-Goffs The Foxs Walk. As a result, we have found that the representation of Roger Casement in these works, although in various ways, is a metaphor for the traumatic process itself: an embodiment of the disjunction of temporality, [and] the surfacing of the past in the presente (Whitehead) as his presence continues to haunt the story of the transatlantic world. / A vida do controverso nacionalista irlandês Roger David Casement, condenado à morte por alta traição pela Coroa Britânica, inspirou a escrita obras de diversos gêneros literários: prosa, poesia, teatro e ensaios críticos. Esta tese de doutorado tem como objetivo investigar, sob a luz da teoria do trauma, tal como sugerido principalmente, mas não exclusivamente por Cathy Caruth, Ron Eyerman e Dominick La Capra, diferentes maneiras pelas quais a figura de Roger Casement pode ser associada a eventos traumáticos que selaram as relações Anglo-irlandesas. Dessa forma, foram selecionados trabalhos que lidam com a Vida de Casement, como ele age a favor e contra o trauma causado pelo imperialismo como herói vitoriano em The Lost World (1910) de Arthur Conan Doyle e como uma presença oblíqua na Revolta da Páscoa de 1916 em At Swim, Two Boys de (2001) Jamie ONeill; o trauma em torno de seu Julgamento e da descoberta dos Black Diaries que o levaram à forca por meio de sua representação como um homem completo em The Dream of the Celt (2012) de Mario Vargas Llosa e em The Dreaming of Roger Casement (2012) de Patrick Mason e, finalmente, o trauma não resolvido que persiste em sua Vida após a Morte, como um fantasma em Cries from Casement as his Bones are Brought to Dublin (1973) e como memória traumática em The Foxs Walk de Annabel Davis-Goff. Verificamos que as representações de Roger Casement nessas obras, ainda que de formas distintas, representam uma metáfora do processo traumático em si: Uma personificação da disjunção da temporalidade, [e] o surgimento do passado no presente (Whitehead), visto que sua presença continua a assombrar a história do mundo transatlântico.

Thesis (M. A. (African Languages)) -- University of the North, 1993 / Refer to the document

[pt] Esta dissertação tem por finalidade enfocar e divulgar a trajetória profissional de Jotta Barroso. Dentre todas as suas atuações em cinema, teatro e televisão, priorizaremos o seu trabalho realizado nos anos 1952 a 1956 em Visconde do Rio Branco (MG), enquanto diretor, produtor artístico e locutor na Rádio Cultura Rio Branco. Dos vários tipos de programas presentes neste espaço radiofônico, interessa-nos descrever a produção de radioteatro, Rua da Saudade, bem como analisar seu processo de construção com seus códigos e motivos temáticos protagonizados numa perspectiva melodramática. Em todo o trabalho há um percurso imprescindível no universo da memória - lembranças de uma época dinâmica, rica por suas produções culturais. / [en] The object of this thesis is to study and publicize the career of Jotta Barroso. Out of his various activities in movies, theater and television, emphasis will be given to his work in Visconde do Rio Branco, Minas Gerais State, as director, artistic producer and announcer, from 1952 to 1956, in Rádio Cultura Rio Branco. Among the different kinds of programs associated with Barroso, we will focus on the soap opera Rua da Saudade, analyzing the process of creation of the series, with its codes and leitmotifs, structured within a melodramatic perspective. Barroso`s work is marked throughout by a universe of memories of a dynamic period, rich in cultural productions.

This thesis explores the potential fruitfulness of drama for Christian theology through a close analysis of particular dramatic works by Dorothy L. Sayers (1893-1957). This project contends that to determine the extent to which drama can be more than a mere metaphor in theological writing, it is vitally important for theologians to attend to specific instances of dramatic performance. The approach of this project is, therefore, one of taking time over particular plays, examined with sensitivity to the circumstances of the original productions of these works. Through such close study of Sayers’ plays, a case is made for drama’s capacity to show forth God’s action in history. At the heart of the theology which emerges from the plays is an incarnational and participatory dynamic: a movement which brings embodied, time-bound specificities into an intimate relationship with the excessive, uncontainable, superabundance of divine being. This thesis aims to contribute to the growing body of work which is discovering deep resonances between drama and theology. It also makes a significant contribution to the study of Sayers’ writings. Whilst Sayers’ detective fiction and other prose, in particular her book The Mind of the Maker, has received attention from scholars interested in theology, the theological significance of her plays has been overlooked. The thesis examines in detail four of Sayers’ dramatic works. Chapters Two and Three each treat works written for broadcast on BBC radio: first, Sayers’ 1938 nativity play, He That Should Come; second, her series of twelve plays depicting the life of Christ, The Man Born to Be King, broadcast between 1941 and 1942. Chapters Four and Five discuss plays written for performance in ecclesial settings: The Just Vengeance, commissioned as part of a festival at Lichfield Cathedral in 1946, and The Zeal of Thy House, the Canterbury Cathedral Festival play for 1937.

The life of the controversial Irish nationalist Roger David Casement, who was sentenced to death for high treason by the British Crown, has inspired writers to produce works of various literary genres: prose, poetry, drama and critical essays. This doctoral dissertation aims to investigate, under the light of trauma theory as suggested chiefly, but not solely by Cathy Caruth, Ron Eyerman and Dominick La Capra, the ways in which the figure of Roger Casement can be associated with traumatic events that have sealed Anglo-Irish relations. Thus, I have selected works that deal with Casements Life as he acts both for and against the trauma inflicted by imperialism respectively as a Victorian hero in Arthur Conan Doyles The Lost World (1912) and as an oblique presence in the 1916 Easter Rebellion in Jamie ONeills At Swim, Two Boys (2001); the trauma surrounding his Trial and the discovery of the homosexual Black Diaries that culminated in his hanging through his representation as a whole man in Mario Vargas Llosas The Dream of the Celt and in Patrick Masons The Dreaming of Roger Casement (2010); and finally, the trauma that persists unresolved in his Afterlife, as a ghost in David Rudkins Cries from Casement as his Bones are Brought to Dublin and as traumatic memory in the Annabel Davis-Goffs The Foxs Walk. As a result, we have found that the representation of Roger Casement in these works, although in various ways, is a metaphor for the traumatic process itself: an embodiment of the disjunction of temporality, [and] the surfacing of the past in the presente (Whitehead) as his presence continues to haunt the story of the transatlantic world. / A vida do controverso nacionalista irlandês Roger David Casement, condenado à morte por alta traição pela Coroa Britânica, inspirou a escrita obras de diversos gêneros literários: prosa, poesia, teatro e ensaios críticos. Esta tese de doutorado tem como objetivo investigar, sob a luz da teoria do trauma, tal como sugerido principalmente, mas não exclusivamente por Cathy Caruth, Ron Eyerman e Dominick La Capra, diferentes maneiras pelas quais a figura de Roger Casement pode ser associada a eventos traumáticos que selaram as relações Anglo-irlandesas. Dessa forma, foram selecionados trabalhos que lidam com a Vida de Casement, como ele age a favor e contra o trauma causado pelo imperialismo como herói vitoriano em The Lost World (1910) de Arthur Conan Doyle e como uma presença oblíqua na Revolta da Páscoa de 1916 em At Swim, Two Boys de (2001) Jamie ONeill; o trauma em torno de seu Julgamento e da descoberta dos Black Diaries que o levaram à forca por meio de sua representação como um homem completo em The Dream of the Celt (2012) de Mario Vargas Llosa e em The Dreaming of Roger Casement (2012) de Patrick Mason e, finalmente, o trauma não resolvido que persiste em sua Vida após a Morte, como um fantasma em Cries from Casement as his Bones are Brought to Dublin (1973) e como memória traumática em The Foxs Walk de Annabel Davis-Goff. Verificamos que as representações de Roger Casement nessas obras, ainda que de formas distintas, representam uma metáfora do processo traumático em si: Uma personificação da disjunção da temporalidade, [e] o surgimento do passado no presente (Whitehead), visto que sua presença continua a assombrar a história do mundo transatlântico.