Xing-ju literally means 'New Theatre' in Mandarin and denotes the non-traditional performing style in Taiwan. Xing-ju is regarded as the product of colonisation in Taiwan. The thesis began with the first emergence of Xing-ju in the Japanese colonial era at the beginning of the twentieth century, and went on to examine the development of Xing-ju and its sub-forms within a colonial historical context. Having gone through different colonial regimes, Xing-ju has developed into the local theatre form characterizing the hybridity of Taiwanese culture. My study aims to fill a gap in Taiwanese contemporary theatre history, to look at Xing-ju and its sub-forms from a post-colonial perspective, and to provide a continuous and complete Xing-ju history within a theoretical context. In addition, how Xing-ju has exemplified ‘Taiwaneseness’ while presenting multiple cultural characteristics is also examined. This thesis also draws on primary source data, obtained via field research, to analyse the characteristics of Xing-ju performances. Finally, while addressing my research questions through theoretical analysis, I also examine them through the lens of practical work. Inspired by critical syncretism, I experiment with an alternative way to explore the nature of Taiwanese culture and theatre form. With its hybrid cultural characteristics including Japanese Shinpa-geki, Chinese Peking Opera, Ge-zai Xi and Western theatre styles, I discuss how a definition of ‘Taiwaneseness’ emerges through Xing-ju.

This thesis serves as an examination of the process I underwent to arrive at answers to those questions. Chapter I examines differences between Pierre Corneille's seventeenth century L'Illusion Comique and Kushner's modern-day adaptation. Chapter II takes a closer look at textual analysis specific to Kushner's adaptation. Chapter III documents pre-rehearsal and designer collaboration. Chapter IV follows the production process from casting to performances. This chapter also includes many of the problems encountered and solutions reached. Chapter V, the summary, includes an assessment of the entire process, including; rehearsals, production, and my role as director. A summary of audience evaluations also is included in this chapter. The appendixes follow with a transcription of the audience discussion, backward analysis, floor plan, photos, and the playbill.

This thesis examines post-war black British theatre through a transnational lens. It argues that the hitherto prioritization of a national paradigm in discussions of black British theatre is not sufficiently complex to chart the historical processes that have shaped it and the multiple spatial, cultural, and political contexts in which it has been generated. This thesis finds that a transnational optic exposes a network of connections – physical, ideological and psychic – between blacks in Britain and other global black communities which have shaped and transformed the lives of Britain’s black communities and their cultural production. The thesis is divided into three chapters: the USA (chapter 1), the Caribbean (chapter 2), and Africa (chapter 3). Each chapter represents a specific geo-cultural-political space with which black British theatre has an important relationship. Each chapter follows the same broad structure: the first half of the chapter establishes a particular transnational process and mode of analysis which frames the ensuing historical discussion; the second half is devoted to an analysis of two contemporary black British dramatists. The USA chapter examines black British theatre through the lens of Americanization and Black Power. The first half traces the influence of black America on black British theatre’s formation, organization and expression in the post-war period. The second half examines works by Kwame Kwei-Armah and Mojisola Adebayo. The Caribbean chapter applies the process and theory of creolization to a discussion of the rise and consolidation of Caribbean culture in black British theatre. The chosen case studies for this chapter are Roy Williams and Bola Agbaje. Finally, the African chapter discusses the recent flux of immigrants from Africa since the 1990s and, using the concept of diaspora as an analytic model, explores the impact this has had on black British theatre. The second half focuses on works by Inua Ellams and debbie tucker green. Dividing the thesis into the spaces of the USA, the Caribbean and Africa allows one to filter and track the origination and circulations of particular sets of ideas, practices and / or people. The divisions reiterate that I am looking at complex heterogeneous material informed by multiple strands of influence. Nevertheless, connections between the chapters emerge, which illustrate historically embedded circuits of influence and exchange that have routinely transgressed national borders. Taken as a whole, the thesis supports the idea that black British theatre not only merits a transnational approach, but is, in fact, a transnational practice in itself.

The problem with which this study is concerned is that of directing and producing an original play. The study attempts to take an original script which contains very little indication of setting, description of character, or stage direction, and establish workable patterns of interpretation and action, all of which are consistent and compatible with the central theme and idea of the script. The task generates a particular responsibility and challenge in that the experiment is happening for the first time.

The purpose of this thesis is to develop a rationale for a theatre program in the middle school.

The purpose of this study is to make an account of the theatrical plans and activities of Margo Jones other than the productions in her theatre in Dallas and her experiences as a producer and director on Broadway.

The goal of this paper is to examine the practice of Applied Theatre in order to better define the genre and make a case for its legitimization and inclusion in higher theatre education. By looking at the theatre practitioners of the 20th century who paved the way for its existence as well as modern practitioners, a definition will be distilled down to five core characteristics of the practice with several case studies illustrating those characteristics. Once a clear distinction has been made between Applied Theatre and other similar genres, the case will be made for why the field should be considered mainstream. Additionally, it will be revealed how underserved the genre is in higher education and why its inclusion is important in college theatre programs.

A playwright is confronted with a barrage of problems each time he attempts to write a playscript. As each problem is either solved, eliminated, or worked out on its own, the play grows closer to its life upon the stage. In writing The Invalid, I was spared not one of the many problems a playwright faces when he writes a play. am certain that I not only encountered, but solved many of the same problems that other writers encounter, in a manner not unlike their own. In fact, in this introduction, I present a few thoughts by other playwrights who have inspired much of my own work in the theatre. The problem I discovered to be central in the creation of The Invalid is that of creating character.

A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre at Virginia Commonwealth University.

In order to design a costume for a period show, a costumer must unify the personality of the character in the appropriate historical style with the director's concept for the production. My study endeavors to aid the costumer in search of the historical clothes of the Medieval and Renaissance court Fool. Lack of time to do extensive research often imposes limitations on a designer's creativity. Through extensive research. into Medieval and Renaissance art, with the aid of Robert Armin's jest book, and descriptions of the household accounts of the period, I have compiled a document that will save a harried designer time and leg work. There are several books available on the personality of the court Fool as presented in drama, and studies are available about the history of the court Fool. However, no one, to my knowledge, has collected and presented a study solely dedicated to the clothes of the court Fool. Costume book authors either ignore the Fool or present only one illustration. Many of the most interesting illustrations are in books printed in the 1800's; and, therefore, they are not available to most researchers. Als·o several of the books are written in French; and, therefore, they must be translated before the text can become valuable to most American designers. Some writers have concentrated on various special characters such. as servants or royalty; other writers have specialized in costume piece.s or special periods of clothing. The plan followed in this study was first to carefully view the art of the Medieval and Renaissance courts. I studied paintings and etchings and searched for the court Fool in the background. Then I would sketch or xerox the Fool and isolate him from the rest of the picture. His clothing was analyzed by breaking it down into four categories: hood, bauble, coat, shoes. Note was taken of any other accessories such as swords or jewelry. The Fool's wardrobe is distinguished by several recurring traits. To be included in this study, traditional Fool's clothing must have ass's ears, bells, cockscomb, or some type of a tail. The Fool may carry one of several types of baubles or marottes. The basic garment may be either a tunic of varying length or a body suit. The shoes may be long and pointed, or they may reflect the contemporary fashion. My second approach was to read source books containing documents pertaining to the household accounts of the period and literature providing references to the court Fools. From these. I gleaned such. information as money allotted for the Fool's clothes, descriptions of the clothing, insights into the social position of the Fool, and the function of the court Fool in the noble household. In order to provide a study encompassing all the design possibilities, my third approach. was to scour costume books, assembling a series of costumes that prominent costume writers advocated for the court Fool. I included secondary sources because my purpose was to compile a document containing all the costume possibilities available for a designer. The secondary sources provided adaptations of the historical garments and stylized designs based on the writer's historical research. Since there are. numerous fool characters in the plays of Shakespeare, children's· drama, and musicals like Once Upon A Mattress, my goal is to fill a void by providing a fingertip reference for a costume designer. My hope is that with the aid of the study a costume designer can quickly scan the various costume possibilities. Therefore, a designer could create designs for the court Fool of greater variety that would combine the personality of the character and the director's vision.