This dissertation falls in line with work produced during the past fifteen years or so, aimed at improving our appreciation of late medieval/early Tudor English Drama. The approach is based especially on looking at the rapport likely to be achieved between audience and players (and via the players, with the playwrights), in actual performance. Attention is given to the permanent modes of human thought, that are unaffected by the ephemeralities of a particular period; attention is therefore drawn to the traps that may mislead the unwary twentieth-century critic, and some new insights are offered into the purposes of the playwrights. Several cycle plays are treated, together with two of the moralities and two interludes. The point is made that these playwrights showed a considerable mastery of the possibilities inherent in drama, as is demonstrated by the provision for achieving rapport with the audience / M.A. (English)

This dissertation falls in line with work produced during the past fifteen years or so, aimed at improving our appreciation of late medieval/early Tudor English Drama. The approach is based especially on looking at the rapport likely to be achieved between audience and players (and via the players, with the playwrights), in actual performance. Attention is given to the permanent modes of human thought, that are unaffected by the ephemeralities of a particular period; attention is therefore drawn to the traps that may mislead the unwary twentieth-century critic, and some new insights are offered into the purposes of the playwrights. Several cycle plays are treated, together with two of the moralities and two interludes. The point is made that these playwrights showed a considerable mastery of the possibilities inherent in drama, as is demonstrated by the provision for achieving rapport with the audience / M.A. (English)

Thesis (MDram (Drama))—University of Stellenbosch, 2006. / Acknowledging theatrical styles such as physical theatre, Tanztheater and poor theatre as forms of ‘total theatre’, and recognizing that there has been a prolonged process of development to reach such a point, the first chapter investigates the historical divide between dramatic dance and drama as starting point. Subsequently, in considering the body as expressive medium, the impact of content and form on the training of the performers’ body for the theatrical context is also evaluated.

Thesis (MDram)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: In this thesis the author investigates aspects of the use of improvisation and improvisational methods, techniques and exercises by modem practitioners. The study commences with a look at the beginnings of modem improvisation in the nineteenth century, when improvisation was used only tentatively by performers as a preproduction aid to the exploration of character and personal response. In more recent times the process has become one of collaboration and research; as a means of selfdiscovery, as a means of text creation and as a vehicle for finding a 'voice' for the silent majority within a particular community or society. This study also traces the use of improvisation in South Africa where the improvisational process has been incorporated into democratic and collaborative forms like workshop theatre and workers' theatre, and serves as a useful method of political investigation and conscientisation. The study will also briefly touch what on is now termed 'theatre-fordevelopment', since its practitioners make extensive use of improvisational techniques, and its techniques are allied to those of workers' and workshop theatre. The final chapter provides an application of the theories discussed in the bulk of the study in a brief discussion of the author's own attempts at utilising improvisation as a directing and scriptwriting tool in a student production. / AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek die outeur die gebruik van improvisasie en die verskillende metodes, tegnieke en praktiese toepassings daarvan deur moderne praktisyns. Die tesis begin deur te kyk na die oorsprong van moderne improvisasie in die 1ge eeu toe imporvisasie slegs tentatief deur akteurs gebruik is om vóór die produksiefase as 'n hulpmiddel te dien om 'n karakter en persoonlike reaksies te ondersoek. Die proses het onlangs tot een van samewerking en navorsing verander; as 'n methode tot selfontdekking, 'n hulpmiddel by teks-skepping en as 'n medium om 'n "stem te vind" vir die 'stille meerderheid' binne 'n gegewe gemeenskap of samelewing. Hierdie studie ondersoek ook die gebruik van improvisasie in Suid Afrika waar die improvisasieproses in demokratiese en spanwerk vorme soos bv. werkswinkelteater en werkersteater geïnkorporeer is, waar hulle as uiters nuttige vorme van politieke ondersoek en -bewusmaking dien. Die studie raak ook vlugtig aan 'teater-virontwikkeling', aangesien die praktisyns daarvan grootliks gebruik maak van improvisasie-tegnieke en die tegnieke wat hulle gebruik redelike ooreenstem met dié van werkswinkelteater en werkersteater. Die finale hoofstuk verskaf 'n toepassing van die verskeie teorieë wat in die hoofgedeelte van die tesis bespreek word, in 'n kort bespreking van die outeur se eie pogings om improvisasie as 'n regie- en teksskeppingsinstrument in 'n studenteproduksie, te gebruik.

Made available in DSpace on 2016-12-23T14:36:48Z (GMT). No. of bitstreams: 1 Conselho Popular de Vitoria.pdf: 424320 bytes, checksum: 35ad75f50e1fc5dd7deeb968ced181fb (MD5) Previous issue date: 2008-04-27 / O trabalho é um estudo de caso sobre o Conselho Popular de Vitória (CPV) organização representativa das associações de moradores do município de Vitória de sua fundação, em 1986, até 2004. Ancorado em autores que estudaram a participação política da sociedade civil nas décadas de 80 e 90 o objetivo é empreender uma análise que especifique o perfil de atuação deste movimento em termos de interesses e demandas, do seu papel junto aos movimentos de bairro que representa e da sua relação com o poder municipal. A estratégia de apreensão do objeto de estudo deu-se pela metodologia qualitativa que possibilita a compreensão de fenômenos, fatos e procedimentos particulares de pequenos grupos. O resultado da pesquisa revelou que o CPV, ao longo da sua trajetória, sofreu modificações no seu perfil de atuação. Se nos anos 80 apresentou uma postura mais independente na relação com o poder público, nos anos 90 assume uma posição mais próxima ao governo, fortalecida pelo processo de abertura e institucionalização dos canais de participação. Contudo, essa postura levaria ao longo dos anos a um padrão de relação extremamente frágil com o poder público e entidades dos movimentos de bairro, visto que, assumindo uma postura de parceiro e legitimador das ações do poder público, tem deixado de ser um operador das demandas da sociedade civil e se transformado em agente cooperador do poder público. / This paper is a case study about the CPV (Vitória Popular Council) organization that represents the resident associations in the city of Vitória from its foundation and in 1986 to 2004. Based on authors who studied the political participation of civil societies in the 1980s and 90s, the aim is to perform an analysis to specify the acting profile of this movement in terms of interest and demand; its role in the movements of the neighborhoods it represents and its relation with the city government. The study strategy adopted qualitative methodology, which allows understanding particular phenomena, facts and procedures of small groups. Results showed that CPV, throughout its history, has changed its acting focus. If in the 80s the movement had a more independent position towards the city government, in the 90s it took a position closer to the government, strengthened by the opening process and institutionalization of channels of participation. Nevertheless, this posture would lead to an extremely fragile relation with the government and neighborhood entities, throughout the years. Since the CPV has had a position of government s partner and legitimator of actions, it has quit being an operator of the civil society s demands and become a government collaborator.