Thesis (Ph.D.)--State University of New York at Buffalo, 2005. / Title from PDF title page (viewed on Apr. 18, 2006) Available through UMI ProQuest Digital Dissertations. Thesis adviser: Braswell, Geoffrey E. Includes bibliographical references.

Thesis (M.S.)--University of Montana, 2007. / Title from title screen. Description based on contents viewed Aug. 13, 2007. Includes bibliographical references (p. 52-53).

Thesis (M.S.C.I.T.)--Regis University, Denver, Colo., 2007. / Title from PDF title page (viewed on June 26, 2007). Includes bibliographical references.

Thesis (M.S.)--Oregon State University, 1986. / Typescript (photocopy). Includes bibliographical references (leaves 38-40). Also available on the World Wide Web.

Texte remanié de: Th. univ.--Archéol.--Lyon 2, 1987. / Textes en français et en égyptien. Bibliogr. p. 199-209. Index.

For practitioners and scholars of site-specific theatre, attempts to understand the relationship between a site and performance have often focused on performance. The many ways a site can inform and enhance the audience's experience of performance has been thoroughly explored, but what about the reverse? How can performance facilitate an experience of place and inform audiences about the value and potential of the places around us? I contend that site-specific performance which privileges place--including its varied histories and meanings--can foster a more thorough consideration of the places we inhabit and equip us to make better decisions about them. This thesis uses three case studies to explore the experience of place in performance and its potential implications. My case studies are Rob Ashford and Kenneth Branagh's production of Macbeth at the 2013 Manchester International Festival, We Players of San Francisco, and PlaceBase Productions of Minneapolis.

Made available in DSpace on 2016-08-26T15:19:17Z (GMT). No. of bitstreams: 1 tese_9299_Carolina_Cuquetto_dissertacao_2.pdf: 4512384 bytes, checksum: aa316e432412680eb0022855fe46d601 (MD5) Previous issue date: 2015-09-28 / Stephan Doitschinoff compõe narrativas visuais através de signos religiosos e políticos, representações de plantas enteógenas e anagramas que ora indicam fragmentos litúrgicos, ora inscrições alquímicas. Trabalha com a ressignificação de ícones e símbolos para provocar uma reflexão sobre o controle exercido por instituições e ideologias dominantes. Suas proposições artísticas avançam para além da tela e experimentam relações com o espaço e com o espectador para sugerir novas maneiras de olhar o mundo. A partir das reflexões teóricas de Miwon Kwon, Claire Bishop e Nicolas Bourriaud discutimos os nexos entre a especificidade do site e as possibilidades de participação nos trabalhos de Doitschinoff em que verificamos pontos de convergência entre esses eixos, a saber: Temporal (2008), Novo Asceticismo (2009), Brilho do Sol (2011) e Cras do Micélio (2013).

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Despite thirty published evaluation reports citing the effectiveness of Vancouver’s safe injection site (Small 2008), the Canadian federal government refuses to endorse safe injection sites as a health service option available to injection drug users (IDUs). Insite’ s evaluation results are undergoing debate, because two communicative spheres of knowledge, each with a unique authoritative language, are conflicting as each is attempting to gain moral authority over the right to recontextualize drug users. Drawing on a literature review of two harm reduction programs in Vancouver, Insite and Sheway, and expert interviews with evaluators, I show that what constitutes “evidence” is in fact subjective, determined by spheres of communicability that are built upon social, professional and political contexts. To confront the problematic nature of this issue, I suggest that evaluators and overseers need to treat program evaluation as a process of negotiation, best approached in a fluid manner. By obscuring multiple user experiences in the evaluation of harm reduction programs, evaluators and overseers risk imposing their communicative ideologies on what it means to be a drug user. / Arts, Faculty of / Anthropology, Department of / Graduate

Johnny Drops the Bomb is a site-specific, historical play written to be performed in the Diefenbunker, a bomb shelter built to protect key members of the Canadian government in the event of a nuclear attack. As a practice-as-research project, Johnny Drops the Bomb explores the theories and techniques associated with performing history in situ: aura and atmosphere, empathy and witnessing, embodiment and being-in-the-world, proximity and site-specificity, and upsurges of the Real. As the written component of that practical project, this thesis contextualizes Johnny Drops the Bomb by situating it within these approaches, reflecting on the role that each technique played as I wrote, rehearsed, and ultimately performed it with two other actors.