This dissertation aims to explore problems of gender, masculinity and cultural memory shared by men in the theatre workshop process through looking at the workshop process of four HIV/AIDS plays. The narrative that evolved in the process of creating each play carries an important and current documentation of story and myth that illustrate a unique social understanding of varied but relevant HIV/AIDS issues. In this dissertation the scripts will act as primary text in an exploration of the importance of workshop theatre in documenting the creation of stories and myth in the HIV/AIDS context. The focus of the exploration is on the male participants, with the intention of gaining a greater understanding of contemporary masculine issues in the context of HIV/AIDS. / Thesis (M.A.) - University of KwaZulu-Natal, Pietermaritzburg, 2008.

This thesis involves a study of theatre in early 17th century London, focussing on the work of the boy companies. These were theatre companies made up entirely of child actors, who performed on the stages of the private theatres up until about 1609. The attitude that I take is that the performances staged by these companies constituted a separate theatre-form or performance-practice of its own, and accordingly I approach the plays put on by these companies as being part of a specific repertoire, the study of which nevertheless bears wide implications for our understanding of the culture of early modern London. Regarding their performances in terms of the possibilities which they offered for the de-familiarisation of cultural practices, of selfconsciously staging conventions in high relief, I have followed a seam of scepticism surrounding the representation of identity in this culture. My 'thesis' is that within the cultural practice that this theatre constituted there was an acute awareness of the inconsistencies and evasions which existed within the strategies of self-fashioning in the urban setting, an awareness which was ironically distinguished by a highly ambivalent theatricality. The first chapter involves a reading of one of the last and certainly most demanding plays written for this theatre, Epicoene or The Silent Woman by Ben Jonson. Growing out of Jacques Lacan's studies of subjectivity and the subjective gaze, I approach this playas a performance-text which directly and self-consciously addresses issues of performance and dramaturgy. In chapter two I site the space of the theatre itself with reference to other available 'playing spaces', in particular the banqueting-house and the city itself, as I draw in other plays of the repertoire. The thesis concludes with a discussion of the body of the child as being constructed in this culture as an ambiguous site of passivity and self-avoidance, out of which I turn to deal with the constituting and performing of male and female gender.

Writing a thesis is like writing a story book, this book is a story of the 17-year-old Asia-Europe Meeting (ASEM). It serves as a case-study of inter-regionalism, one of the newest cooperative mechanism in today’s international arena. Among a variety of cooperative frameworks, namely, multilateral global governance, effective multilateralism, regionalism, regionalisation, inter-regionalism is much less explored. This research determines how the rise of inter-regionalism influences the actors in the international arena and vice-versa. The key actors in inter-regionalism and their interaction are explored. Existing studies in the field of inter-regionalism in general and on the ASEM process in particular have been theory-led. There is a significant deficit of empirically-driven research in the field. In order to comprehensively understand inter-regionalism and the ASEM process, this research incorporates a substantial empirical focus. An unprecedented array of primary data is used. A variety of quantitative and qualitative data collection and analysis methods are employed to generate this unique and comprehensive empirical analysis of ASEM. Ultimately, this thesis demonstrates the persistent state-centrism and lack of actorness of regions and regional organisations as independent actors in the ASEM process. Nation-state remains the primary actor in inter-regionalism; yet, they turn to bilateralism when more concrete cooperation or affairs have to be handled. The proliferation of sideline meetings, although as by-product, becomes one of ASEM’s key added-value to international relations. The empirical analysis also finds that inter-regional fora like ASEM offer participants regular information and views updates and promote socialisation among government officials in the official track and among the involved individual from civil society in the unofficial track.

"...we, directors and actors, put into practice the practice - we don't practice the theory. I think that if there is no theory of acting, at least there are theoretical laws that we may find, curiously enough, in all traditions of acting. It is true that the term "theory of acting" does not seem fundamentally wrong, but it seems always somewhat imperialistic and pretentious. I prefer to use fundamental laws which we sometimes know but then sometimes lose and forget. It is only practice that all of a sudden can make law or tradition rise to the surface. I will not say then that there is no theory of acting; on the contrary, there have been many of them. Of course, what interests me in these multiple theories are the essential laws that are common to all of them." - Ariane Mnouchkine (from "Building Up the Muscle" in Re:direction edited by R. Schneider and G. Cody, Routledge, London, 2002.) I come to filmmaking from an actor's perspective and believe that the power of each individual performance is the key to audience engagement with a feature film. The technical aspects of filmmaking, for me, exist primarily to serve the story as revealed through the actors' performances. Because performance in film has been a neglected area of research, I set out to explore the different approaches to performance theory which might apply to film performance in an Australian context. In this dissertation, I have asked a number of key questions about how the director communicates with the actor to elicit the desired performance. I framed this thesis around one overarching question: What is the dominant approach used by Australian film directors when working with actors on performance? This study reveals that many Australian filmmakers have been most influenced by a wide variety of approaches to working with actors, particularly because of the way actors are trained in Australia. My interest in this project was partially triggered by my observation that many filmmaking students at QUT seem driven by the technical aspects of filmmaking. Given the complex demands made on actors, filmmakers who do not learn to speak the actor's language arguably fail to capitalize on their working relationships with actors. I have attempted to express my findings in plain English because the whole purpose of this project was to ensure that my findings would be of use to new filmmakers in a practical sense.

Thesis (Ph.D.)--Tufts University, 1996. / Adviser: William Sun. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 315-341). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Diss. Stockholm : Handelshögsk., 2004.

Thesis (M. A.)--University of Tasmania, 1981. / "May 1981." Includes bibliographical references (leaves 262-266). Also available in print format.

Thesis (doctoral)--Universität, Wien, 1961. / Includes bibliographical references (p. 424-438) and index.

Thesis (Ph. D.)--UCLA, 2008. / Vita. Description based on print version record. Includes bibliographical references (leaves 246-260).

Thesis (doctoral)--Universität, Wien, 1961. / Includes bibliographical references (p. 424-438) and index.