Voice training has been influenced by separatist attitudes which have allowed for classes which train the body to be separate from those which train the voice. This study acknowledges that to train an actor in separate compartments and then expect the completeness of human expression in performance, is to train under false pretences. There is a need to address the imbalance of separatism and this is examined within the context of voice training. An holistic approach to voice training forms the basis of the argument, which focuses on the need to re-educate the notion of physicality in voice training. Chapter one proposes an understanding of the notion of physicality by drawing on the attitudes of selected theatre practitioners towards the physical nature of the theatre encounter. The expressive energies of the actor's body are responsible for the physicalisation of a play; for this reason the movement of voice and speech is not only examined as source movement, but also as the movement of an actor's response and communication. Chapter two examines some practices which led to attitudes of separatism in voice training, and introduces prevalent practices which are attempting to involve the energy of the physical experience. Chapter three proposes that the Alexander technique be used as the foundation for an awareness of individual physicality. Where chapter one examines the theory of this notion, chapter three proposes an experiential understanding of the same. The Alexander technique is a training in effective body use and it's principles are fundamental to an awareness of body use and functioning. It is argued that these principles should underlie a re-education of physicality. The final chapter of the thesis argues for physicality in South African voice training programmes which would complement the physicality of contemporary theatre forms. It is hoped that this study will provide further incentive for the continued review and adjustment of drama training in South Africa.

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The films and theoretical writings of Alexander Kluge have been receiving greater attention from the North American German Studies community in the 1980's. This thesis is designed to give the reader a general introduction to the intellectual context of his writing and film-making, as well as provide an analysis of the relationship between the structure and content of one of his more recent films, "Der Ang riff der Gegenwart auf die Obrige Zeit", and his theories about the structure and content of the individual and collective societal consciousness. The first part of the thesis deals with Kluge's association with the lnstitut tor Sozialforschung, more commonly known as the Frankfurt School, and their particular brand of marxist social and cultural theory. The work of the Frankfurt School's most noted scholar, Theodor W. Adorno, is used as a reference work with which Alexander Kluge's early theoretical writings are contrasted and compared. The second part deals with two exemplary cultural producers and critics, Bertolt Brecht and Jean-Luc Godard. The use of montage technique in Brecht's dramas and Godard's films, and the desired effect which was to be produced, is compared to Kluge's own ideas on the associative technique and its potential as an analytic tool. The third part of the thesis deals with the work of Walter Benjamin, whose unique fusion of Critical Theory and near-eastern mysticism produced an epistemology which finds its most precise expression in the employment of montage. Benjamin's assertion that the truth content in any situation can only arise out of the juxtaposition of elements in a 'constellation' corresponds very closely to the 'constellation' construction in Kluge's films. Finally, the analysis of the film "Der Angriff der Gegenwart auf die Obrige Zeit" brings together all of these concepts --the social theory of the Frankfurt School, the production aesthetics of Godard and Brecht, the epistemology of Benjamin --and combines them with Kluge's own most recent theoretical writings to provide the reader with a possible interpretation of the elements in the film and their relation to the network of ideas which forms the world-view of theorist and film-maker Alexander Kluge. / Thesis / Master of Arts (MA)

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This thesis explores the influence of Alexander Hamilton upon the administration of John Adams. It begins with the background of the conflict between Adams and Hamilton, continues through Adam's presidency and ends with the "death of the Federalist party."

The purpose of this study was to identify, investigate, and analyze the life and contributions of Alexander Albert Liveright (1907-1969). It was limited to selected experiences that characterized him as an adult educator. The dissertation primarily examines Liveright's speeches, books, articles, reports, research papers and correspondence; government documents; and newspaper articles located in the Archives and Manuscripts of Continuing Education at Syracuse University. From these data a synthesis and interpretation were developed.

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 347-366).

No description available.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1992.