• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 933
  • 546
  • 300
  • 199
  • 133
  • 61
  • 42
  • 37
  • 29
  • 21
  • 20
  • 15
  • 14
  • 11
  • 6
  • Tagged with
  • 3403
  • 881
  • 763
  • 560
  • 556
  • 465
  • 385
  • 315
  • 309
  • 296
  • 272
  • 228
  • 190
  • 189
  • 178
  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

WRITING IN DEVISED THEATRE: PRACTICAL APPROACHES WITH COMPARISONS TO INDIVIDUAL PLAYWRITING PROCESSES

Morris, Kate Rebecca 07 July 2014 (has links)
This thesis documents and explores specific writing practices in the theatre. As a playwright and deviser, I examine the two commonly practiced methods of making theatre; the pre-written play creation model, often known as the hierarchal model, and the collaborative creation model of devised theatre, in order to establish certain differences and similarities. These comparisons allow for a synthesis of the two approaches into one inclusive order that can account for the necessary stages of play creation, whether approaching it from the page or from a devising studio. The six chapters herein are dedicated to the influence of both creation modes on my own work, and the discussion of practical case studies in order to draw applicable conclusions about writing practices in the theatre. Through interviews with writers and theatre artists, and discussion of my own Practice as Research study into writing within a devising ensemble, I have been able to chart my own practice within each mode and draw relationships between this practice and that of others creating contemporary theatre. Through an examination of my charted processes, which I have labeled my orders of operation, I make comparisons between how plays are created on the page of the playwright and in the collective devising ensemble. I then offer a synthesized approach as a potential method of inclusive theatre practice.
2

Restoring Performance: Personal Story, Place, and Memory in Post-Katrina New Orleans

Fox, Anne-Liese Juge 06 December 2013 (has links)
Following the devastation of 80 percent of the city of New Orleans and the prolonged period of trauma due to levee failure and lack of effective emergency response in 2005, New Orleanian performing artists independently and along with national artists to create post-K performances as acts of restoration. This study explores post-disaster New Orleanian performances that engage with the interaction of personal story, place, and memory in response to disaster. How are these site-specific performances at significant sites of memory performative in the J.L. Austin sense? In the context of disaster, what are ethical implications of remembering? How may certain post-disaster performances animate community; sustain and convey cultural memory; reclaim lost spaces; incorporate marginalized stories; counter and resist master narratives; forge bridges of pre-and post disaster identities; and open an imaginative space to envision recovery. For this study I draw from the theoretical work of Jill Dolan, Peggy Phelan, Elin Diamond, Diane Taylor, Joseph Roach, Sylvie Rollet, Dwight Conquergood, James Thompson, Jan Cohen-Cruz, Sonia Kuftinec, Paul Connerton, and Pierre Nora to approach these performances. The act of making community visible to itself through the vehicle of story unleashes a performative power in these performances that follows conceptualizations of memory as embodied, connected to the present moment, and always in movement. These post-K performances engaging personal story, place, and memory take many forms: a bus tour, gutted home visitations, a communal feast, hauntings, an occupation, story sharing in community sites and in red tents, improvisational performance, and symbolic reclamation of iconic sites of disaster. How do these performances, through their overt process of recollection, inhabit a present moment and emphasize presence? How do these performances of memory invigorate a movement forward in the direction of recovery for communities reeling from disaster? This study looks most closely at LakeviewS: A Sunset Bus Tour by Home NOLA?; Paul Chan/Creative Times Waiting for Godot; Swimming Upstream coproduced by V-Day International and Ashé Cultural Arts Center in New Orleans; and the ongoing work of NOLA Playback Theatre in micro-community settings.
3

Joan: A Play With Broken Songs

Neidhardt, Colton James 16 April 2015 (has links)
ABSTRACT This thesis details the writing process, rehearsals and performance of the authors devised play, Joan: A Play With Broken Songs. The play aims to reimagine events occurring the evening before the death of French folk hero and Catholic Saint, Joan of Arc. The play exists in the moments between sleep and waking, in which Joan is visited by her own patron Saints (Margaret and Catherine,) as well as the Archangel Michael. The Saints then guide Joan through the dreamscape revealing to her images of the past, present, and future that allow her to come to peace with the sacrifice she will soon make. The piece is presented in an abstracted reality that supported the authors artistic aesthetic by incorporating forms of dance, movement, percussion, and spiritual music, which were heavily influenced by the landscape and eclectic nature of life in Louisiana. The script was devised by LSUs M.F.A. Acting ensemble as a collaborative project that featured the core ensemble of eight actors as well as two undergraduate performers and three undergraduate technicians. The challenges and difficulties throughout the writing and performance process are detailed: theoretical and practical implications are examined, and a written copy of the script is included.
4

Augmented Renaissance: From Creation to Revelation

Atkinson, Christopher 20 April 2015 (has links)
During the summer of 2013, the M.F.A. acting ensemble at Louisiana State University was charged with devising solo performance projects that would be performed December 6-14, 2014. We were given artistic freedom to create shows that could cover different topics and a variety of genres. The writing and performance of this project served as a graduation requirement, but was also pitched as a professional opportunity post graduation. Initially I opposed this project, but I soon became elated once I chose my subject matter. I knew that if I was going to perform a solo piece for 30-40 minutes it had to be based on things that I was genuinely passionate about. I also wanted to devise a show that would grant me the opportunity to share talents that havent been showcased. Black Drama, especially the works of August Wilson and jazz music came to mind in this moment. Chapter One of this thesis explains my purpose for choosing this subject matter and my vision. Chapter Two discusses August Wilsons artistic impact during my undergraduate acting training. Chapter Three includes historical research that aided in devising my work. Chapter Four details my initial literary, music, dance, and design element ideas. Chapter Five explores my transition and rehearsal process from script development to show performance. Chapter Six is the finalized listing of characters and their physical and vocal distinctions. Chapter Seven is the final script. Chapter Eight concludes this thesis and discusses audience response and areas for future development.
5

Missing. . . A Story of Ambiguous Loss

Adams, Ashley Nicole 23 April 2015 (has links)
There are two forms of ambiguous loss. Type one occurs when there is a physical absence, but a psychological presence, such as the loss one feels towards the grandparent that passed away before their birth. Type two occurs when there is a psychological absence, but a physical presence, such as the loss one feels towards a spouse with Alzheimers or dementia (Morris). The opportunity to create, direct, and star in my own one-woman show inspired me to explore the form of ambiguous loss my family and I endure each and every day due to the disappearance of my aunt, Sharon Shebby Wills. In Chapter one, I will be discussing the research process of developing the script. In Chapter two, I will speak on the creation of the script, the rehearsal process, and the final performance. Chapter three is a reflection on my experience and what it taught me about myself as a theatre artist. I will conclude with what I hope for the future of my piece and what it taught me about writing, directing, and acting.
6

Props Management in Professional and Educational Institutions

Duvall, Matthew David 26 April 2015 (has links)
This thesis is a study of common practices and unique challenges of theatrical prop shop management in universities and how this compares to professional theaters and other prop producing organizations. The following pages will identify the commonalities and differences between prop shops in terms of management of budgets, schedules and personnel and will offer examples of common current practices. Also reproduced here is a survey of prop managers and its results, which was developed to produce facts and figures which are used as evidence. A direct comparison of educational and professional theater institutions has not been published. The evidence presented by the survey and a study of existing literature suggests that the two types of institutions are not as different as anecdotal evidence might suggest. This survey and the concussions drawn here will serve as a starting point for an academic discussion about how prop shops are managed and how the subject is taught.
7

Lucky Charms

Moriarty, Timothy James 09 April 2015 (has links)
This paper details the writing process and performance of my autobiographical one-person play, Lucky Charms. The play presents my decision to leave the Jesuit novitiate while in the midst of a crisis of faith. Through the recollection of various experiences from childhood and adolescence, the narrator attempts to discover what it means to truly have a spiritual experience. Along with my own perspective, the piece also incorporates various other characters from the authors past. In this document I have detailed the challenges and difficulties of writing and performing this piece, examined the theoretical and practical implications of its major themes, and have included a written copy of the script.
8

Reupholstery: A Guide for Prop Masters

Brittingham, Kathryn Leigh 10 April 2015 (has links)
Upholstery is something that is often looked upon as a daunting task. With a full guide to reinforcement for stage use, options in foundations, and charts to compute fabric yardages, this thesis will provide professional prop masters with a guide to heighten their standards of upholstery onstage. Featuring options and ideals for varying skill sets; it will assist prop masters with more information regarding the topic with options particular to the theatrical profession. In lieu of an expansive library of upholstery books that feature a variety of techniques, the information included in this document will serve as a supplemental guide of the best practices for theatrical use.
9

Theatre Safety in Louisiana Secondary Schools: A Survey Study

Pyfrom, Christopher 27 March 2015 (has links)
Participation in secondary school theatre can have many benefits including the development of improved reading comprehension, self-concept, and empathy. In the world of professional theatre, each design area has its own department head and several levels of assistants and workers below them. Yet in the world of secondary school theatre, we expect one person to assume all of those roles in addition to the regular responsibilities of teaching. Not many people see theatre as being dangerous when compared to sports, science labs, or vocational education. However, it can contain many of the same risks. This study investigated several factors that could influence theatre safety. Those factors included (1.) the education, certification, and training of theatre educators; (2.) the makeup and expectations of theatre; and (3.) theatre safety and hazards. A survey instrument was developed and revised to align with questions asked in previous studies and to make the time commitment reasonable. The survey was conducted online and participants were invited via a letter of invitation sent to school principals. Though the survey followed the format of several other successful studies, responses were too few to be able to generalize and any results must be interpreted with caution. Also undetermined was the actual number of Louisiana secondary schools that offered theatre related classes and/or activities. Further research is suggested on this topic in order to ensure that students, teachers, and patrons are being provided the safest possible secondary school theatre experience.
10

A Cleansing Breath: A Journey of Creation on the Hard Road

Barnhart, Addie Leigh 27 March 2015 (has links)
To adhere to the structure of Louisiana State University and Swine Palaces Actor Training program, the M.F.A. candidates are required to develop new work. This project is in place to cultivate the individual actors sensitivities to his/her own process in theatre making, grow as an artist, and begin the long journey of devising and constructing work, in this case a solo play, that has the potential to continue to grow after graduation. My piece is derived from several of the classic Greek plays and myths but told with a twist on the traditional stories and entirely from different womens perspectives. This thesis will detail the process of research, creation, production and reflection for the project that I call The Weight of Smoke.

Page generated in 0.0394 seconds