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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Nedjma and Algeria in the works of Kateb Yacine : towards a national identity

Salhi, Kamal January 1991 (has links)
No description available.
2

Performing arts in regional communities: The case of Bunbury, Western Australia.

r.mccarron@ecu.edu.au, Robyn McCarron January 2004 (has links)
Abstract In Australia during the 1990s increased attention was paid to regional, rural and remote communities and, in terms of arts and culture, the establishment of regional arts umbrella organisations, at both national and state levels, stimulated interest in, and development of, the arts in those communities. Discourses around the notion of the civil society and the ways in which social and cultural capital can be acquired and transferred, have led to renewed interest in the economic and social functions of the voluntary, not-for-profit sector of Australian society. This thesis aims to advance the critical study of regional cultural development. It examines the role and function of the performing arts within regional communities through a case study of the city of Bunbury, Western Australia. Regional performing arts are often trivialised or marginalised by metropolitan practitioners, critics and academics, particularly as they are almost entirely, in Australia, a volunteer/amateur pursuit. However volunteer performing arts groups provide physical and social spaces that encourage networks of civil engagement that have implications for the functioning of the broader community; and, in the case of Bunbury, a degree of independence from the bureaucratic requirements of arts funding bodies. The thesis proposes that volunteer, not-for-profit (amateur) theatre has a stronger claim on the title ‘community theatre’ than the state-funded community theatre movement of the 1970s and 1980s. The thesis also examines the strong community affiliations that have been generated by the community-owned, professionally-managed Bunbury Regional Entertainment Centre. It situates this discussion in the context of the rapidly changing urban landscape in which the Entertainment Centre is placed and its affiliations with local, regional, state and national funding, networking and touring structures. It argues that considerable social and cultural capital is generated through the active involvement of citizens at many levels of the performing arts in a regional community such as Bunbury. Although for most, the involvement is voluntary and recreational, it also has direct economic outcomes in terms of the developing creative industries of the region. A major contribution of the thesis is the provision of a model for the function and impact of regional community performing arts as it theorises the tensions between governmental (funding) models and self-generated regional arts practices through case study and detailed analysis. In doing so the thesis contributes to key debates in two significant ways, firstly by providing an important historical/cultural document and secondly, by highlighting new ways of thinking and speaking about the role of the performing arts in regional communities.
3

The threshold of 'normality' : transformation in theatre for adults with learning disabilities and recovering from mental illness

Higgins, Rebecca January 2008 (has links)
This thesis explores the change that occurs through the experience of Applied Theatre and participatory drama with specific participant groups: adults with learning disabilities, and those recovering from mental illness. Termed 'transformation' through an anthropological perspective of theatre and subsequent links with ritual theory, the thesis asks how and why this change (and the potential for it) can be identified through the fictive situation offered by participation in drama or theatre. This analysis occurs through the application of a particular theory: Turner's liminality (1969). Turner's (1969) theory of ritual, following Van Gennep (1977) is applied to discussion of practical field work with seven different groups to unravel the relationships between individual and group, the pretence and the real, and the self within the pretence and the real. Methodological and ethical issues arising from this are discussed. Turner's theory of the 'liminal zone': the space 'in between' one state in ritual and the next, is applied to the space of the 'theatre event' in both making (the process) and performing (the product) drama and theatre. Turner's 'communitas' is outlined as a description of the human group connection that occurs during this making and performing. The conceptual relationship between the social form of reality and the aesthetic form of pretence is discussed with reference to the work of Schechner (1988). The potential of a different objective self is of particular relevance for these participant groups because the fiction challenges the social categorisation of these groups imposed by contemporary British society. One outcome of the research is the recognition of this correlation between the fiction and reality. The participants recognise their ability as objective selves (within the pretence) and this contributes to a changed perception of their subjective selves (beyond the pretence). This is affirmed by the witnessing of the changes effected by the pretence and underlines the importance of the group within the theatre event. This transformation is outlined as a reflexive cycle, drawing on research in Health and Social Care, and in disability politics, in situating the participants as active contributors to the research practice.
4

-"Varsågod publiken". : Community Theatre- en möjlig väg för tonårstjejer att ta plats i samhällsdebatten?

Schönfeldt, Ylva January 2014 (has links)
This paper is a qualitative study based on a phenomenological perspective. The purpose of the study has been to examine how the artistic work with a Community Theatre can visualize the beliefs held by young girls in Skellefteå today regarding the power structures that exist in their lives and how they affect them. Furthermore, the study aims to examine how the work of a theater can provide participants with the opportunity to visualize these structures of power to the public. Questions raised in the study concerns the power structures the young girls are experiencing in their daily lives, how they affect them, how to through a theater approach them in an artistic practice and how the participants' experience of existing power structures is influenced by the work of a theater. The study began with a focus conversation about the participants' view of power in different areas. Based on the conversation, we decided to revise and orchestrate a part of Shakespeare's Othello, focusing on jealousy and men's violence against women in intimate relationships. This was rehearsed and performed to an audience during Trästockfestivalen in Skellefteå. The study ended with a further focus conversation which concerned the work of the theater production and how it affected the participants' view of power. The results show that participants believe that it has been useful to work with the power structures in this way. In particular, they have appreciated the discussions and the opportunity of amateurs to work with the profession, and in this work get visibility to real-life, current issues for an audience.
5

Teaterledare på 120 timmar? : En studie om skapandet av en teaterledarutbildning

Schönfeldt, Ylva January 2014 (has links)
This paper is a qualitative study of the pedagogical conditions and the knowledge necessary for the creation and development of an education regarding leadership in the field of amateur theatre. The purpose of the study has been for participants to reflect and create knowledge about the creation and implementation of a course for leaders of amateur theatre. Questions raised in the study concern the students’ previous experience of drama, theatre and leadership; their desire to become leaders of theatre; their own view of their need for knowledge for their future leadership; their understanding of the contents of the education and the theoretical perspectives upon which a course in theatre leadership can build. Finally, the participants’ perceptions of difficulties and possibilities of working as theatre leaders were investigated. All 13 participants have answered a questionnaire regarding their previous experience of drama, theatre and leadership and also about why they want to become theatre leaders. The participants have also taken part in four focus conversations regarding what they think they learned, how they value the knowledge they gained and what knowledge they feel will be needed in a future leadership. The data has been analyzed hermeneutically to find patterns in the participants’ perceptions of their learning. The results show that participants consider it being useful to work in groups with exercises related to their future leadership. In doing so, they reinforced prior knowledge and developed new knowledge within all areas of the education. The results also show that several participants fear there will be financial constraints and a lot of solitary work in the future. The opportunities expressed regard the participants’ increased ability to provide opportunities for children and young people to play theatre and thus develop in the art of theatre as well as personally.
6

Teatro amador paulista (1963-1975): organização federativa, fazer teatral e resistência à ditadura / Paulista amateur theatre (1963-1975): federative organization, theatrical practice, and resistance to the dictatorchip

Vilela, Mauriney Eduardo 06 April 2018 (has links)
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-06-13T12:26:38Z No. of bitstreams: 1 Mauriney Eduardo Vilela.pdf: 10612358 bytes, checksum: 20469bbd226d7c217f73b60b79a0ae8f (MD5) / Made available in DSpace on 2018-06-13T12:26:38Z (GMT). No. of bitstreams: 1 Mauriney Eduardo Vilela.pdf: 10612358 bytes, checksum: 20469bbd226d7c217f73b60b79a0ae8f (MD5) Previous issue date: 2018-04-06 / The history of the State of São Paulo’s amateur theater federative movement is described and analyzed in the period between 1963 and 1975. We will describe the action of the State Board of Theatre (CET), and go together with the creation and development of amateur theater federations and the Confederation of Amateur Theatre in the State of São Paulo (COTAESP), in addition to the meetings, congresses, and festivals of Amateur Theatre. In the analysis way, we seek to understand what made people (and groups) with such different proposals become organized, building associations, organizing conferences, doing festivals, and searching political and physical spaces, for a period of a dozen years. The analysis also seeks to define who did amateur theatre during this period, their motivations and goals, their themes, and languages. According to what was analyzed, the amateur performances seem to be immersing in the feelings of your public and contributed to advancements and changes in social relationships, even facing powerful opposition of a military dictatorship / A história do movimento federativo paulista de Teatro Amador é descrita e analisada, no período entre 1963 e 1975. No âmbito descritivo, a partir da ação da Comissão Estadual de Teatro (CET), acompanha-se a criação e desenvolvimento das federações de Teatro Amador e da Confederação de Teatro Amador do Estado de São Paulo (COTAESP), além das assembleias, congressos e festivais de Teatro Amador. No terreno da análise, busca-se compreender o que fez pessoas (e grupos) com propostas tão diferentes agirem em conjunto, construindo federações, organizando congressos, fazendo festivais e conquistando espaços físicos e políticos, por um espaço de tempo de uma dúzia de anos. A análise também busca definir quem fez teatro amador nesse período, suas motivações e objetivos, seus temas e linguagens. De acordo com o que foi analisado, as encenações amadoras parecem ter imergindo na estrutura de sentimentos de seu público e contribuído para avanços e transformações nas relações sociais, mesmo enfrentando poderosa oposição de uma ditadura militar
7

Amatören - den som älskar : En kulturanaltyisk studie av amatörteaterns betydelse och möjligheter i Västerbotten

Molin, Olivia January 2023 (has links)
The amateur – the one who loves is an assay about the conditions of existence for amateur theatre in the region of Västerbotten, Sweden. During the last 20- something years the number of active amateur theatre-companies has gone from being a well-established form of cultural expression to being absent in the majority of the Västerbotten-communities. The purpose of this essay has been to understand why the people who are still active amateur theatre-performers-and- (volunteer)workers is interested in this form of art and which kinds of conditions of existence matters and enables these people to live their amateur theatre-lives. To be able to answer to this purpose it has been important to meet and speak to people from different parts of Västerbotten, why the study is multisited with shorter visits to several different places. By doing so, I have interviewed 12 people who still are, or used to be, engaged in amateur theatre, and I also visited three different amateur theatre companies to observe while they were rehearsing. Theoretically, the starting point has been the term culture and cultural theories such as a gleaning from Pierre Bourdieu's theories of practice where field, conditions of existence, habitus and symbolic capital has been identified in the empirical material and clarified with the help of feeling-work from Erin Hurley and orientation from Sarah Ahmed. The results have shown that the participants who has been interviewed all have (or used to have) three things in common: a great passion and love for the arts, an urge for self-realization and a longing to be part of a field or community of practise. But depending on where you live and where you come from, your conditions of existence differ quite a lot - even within the region of Västerbotten.
8

Abram-se as cortinas, o primeiro ato vai começar: o Grupo Teatral Amadores Cratenses, 1942-1950. / Open up the curtains, the first act will begin: the Amateur Theatrical Group Cratenses, 1942-1950.

Amorim, Marta Regina da Silva 28 March 2016 (has links)
This work aims to analyze the performance of the Theater Group of Cratenses Amateur (GRUTAC) between the years 1942 and 1950 using the approach of Cultural History. The theatrical practice of this group can tell us a lot about the values of cratense society of this period and about the history of amateur theater that developed in Brazil in the first decades of the twentieth century. For this, we will use as a starting point the memories of members of GRUTAC, which in the early 1990s strove to create their own story through narratives about their own trajectory. In addition to these memories, we also used as sources for this work theatrical texts chosen by the group to be staged, because we observed that the GRUTAC appropriated the national theatrical production to show the morality and customs present in the society in which they were inserted. By analyzing the content of these plays we can know more about the history of Brazilian theater and dramaturgy. In the quest to understand social values of the cratenses during the study period, we will make the analysis of newspaper articles that talked about the group's performances and about the accepted and not accepted social behaviors within this society. / Fundação de Amparo a Pesquisa do Estado de Alagoas / Este trabalho tem o objetivo de analisar, através do enfoque da História Cultural, a atuação do Grupo Teatral de Amadores Cratenses (GRUTAC) entre os anos de 1942 e 1950, pois a prática teatral deste grupo pode nos dizer muito sobre os valores da sociedade cratense deste período e da história do teatro amador que se desenvolveu no Brasil das primeiras décadas do século XX. Para isso, utilizaremos como ponto de partida as memórias dos membros do GRUTAC, que no início da década de 1990 se empenharam em criar a sua própria história através de narrativas sobre sua trajetória. Além dessas memórias, também utilizamos como fontes de pesquisa para este trabalho textos teatrais escolhidos pelo grupo para serem encenados, pois observamos que o GRUTAC se apropriou da produção teatral nacional para apresentar a moralidade e os costumes presentes na sociedade em que estava inserido. Através da análise do conteúdo dessas peças, podemos conhecer mais sobre a história do teatro brasileiro e a dramaturgia nacional. Na busca de compreender os valores sociais cratenses do período estudado, faremos a análise dos textos jornalísticos que falam sobre a atuação do grupo e os comportamentos sociais aceitos e criticados dentro dessa sociedade.
9

Problematika překládání divadelních her se zaměřením na školní divadlo. Komentovaný překlad souboru dramat Davida Llorenteho Los árboles dormidos / The translation of theatre plays focusing on school theatre groups. A commented translation of the drama collection Los árboles dormidos by David Llorente

Zábojová, Lenka January 2015 (has links)
This work consists of three parts: the translation theory of drama and the specifics of school theatre, the translation of a play by David Llorente, Los árboles dormidos, and a commentary discussing the translation. The theoretical part focuses on problems and characteristics of translations of this genre. The commentary to the translation includes a translation analysis, a discussion of the translation problems and their solutions, and a typology of translation shifts. Keywords: Recipient, paradox, obsolescence of translation, scenic notes, school theatre, amateur theatre, translation analysis, translation shifts.
10

A criação do Teatro Paulista do Estudante (TPE), sua inserção e fusão com o Grupo Arena da cidade de São Paulo: conflitos e contradições / The foundation of Teatro Paulista do Estudante (TPE), its insertion and fusion with São Paulo's Arena Group: conflicts and contradictions

Murrer, André Dutra [UNESP] 03 July 2017 (has links)
Submitted by ANDRÉ DUTRA MURRER null (andremurrer@gmail.com) on 2018-03-28T11:44:16Z No. of bitstreams: 1 André Murrer - Dissertação Mestrado - Repositório.pdf: 10760673 bytes, checksum: ee3bf05aefe45588bc2bd606cf760b35 (MD5) / Rejected by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: - o item “folha de aprovação” nos itens pré-textuais é obrigatório segundo as normas da ABNT, portanto deve constar no arquivo anexo. Caso seja necessário, consulte o modelo em: http://www.ia.unesp.br/Home/Biblioteca/orientacoes-para-a-normalizacao-de-trabalhos-academicos_iaunesp_26_03.pdf Agradecemos a compreensão. on 2018-04-02T19:43:24Z (GMT) / Submitted by ANDRÉ DUTRA MURRER null (andremurrer@gmail.com) on 2018-04-03T15:21:25Z No. of bitstreams: 1 André Murrer - Dissertação Mestrado - Repositório x.pdf: 10789954 bytes, checksum: 7fce5906a1abdd98b9f0ff2ced45323f (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-04-03T20:43:52Z (GMT) No. of bitstreams: 1 murrer_ad_me_ia.pdf: 10789954 bytes, checksum: 7fce5906a1abdd98b9f0ff2ced45323f (MD5) / Made available in DSpace on 2018-04-03T20:43:52Z (GMT). No. of bitstreams: 1 murrer_ad_me_ia.pdf: 10789954 bytes, checksum: 7fce5906a1abdd98b9f0ff2ced45323f (MD5) Previous issue date: 2017-07-03 / O Teatro Paulista do Estudante foi um grupo amador criado em 1955, por jovens militantes do Partido Comunista. Tinham como principal objetivo divulgar o teatro entre os estudantes secundaristas e universitários e atrair novos integrantes para as fileiras do Partido. Entre seus mais representativos fundadores estavam Vera Gertel, Oduvaldo Vianna Filho e Gianfrancesco Guarnieri. O Grupo acreditava que poderia fazer um teatro que se popularizasse e chegasse às massas de trabalhadores e estudantes, articulando o fazer teatral com a função política e social. Em 1956, menos de um ano após sua fundação, o TPE se une ao Grupo Arena da Cidade de São Paulo, e os jovens amadores se tornam profissionais de teatro. Em 1958, o Grupo estreia o espetáculo Eles Não Usam Black-Tie, escrita por Guarnieri. Os remanescentes do TPE, em conjunto com o Teatro de Arena, conseguem, com esta peça, colocar em prática o que almejavam desde o início de suas atividades: incentivar o autor nacional e colocar em cena obras que refletissem sobre a realidade brasileira e colocassem a classe operária como protagonista. A apresentação de Eles Não Usam Black-Tie foi o prenúncio da forma teatral que lhes interessava desenvolver e a motivação que faltava para que o Teatro de Arena estabelecesse um processo de construção de uma nova dramaturgia, a partir de discussões políticas, históricas e estéticas. A este processo se deu o nome de Seminários de Dramaturgia do Arena. / The amateur theatre group Teatro Paulista do Estudante was founded in 1955 by young political activists from the Communist Party. Their main goal was to publicize the theatre among the high school and college students, and to atract new members for the Party. Some of its most representative founders were Vera Gertel, Oduvaldo Vianna Filho and Gianfrancesco Guarnieri. The Group believed they could do a popular theatre, one that could reach the masses of workers and students by joining acting with political and social roles. In 1956, after less than a year of its foundation, the TPE fuses the Grupo Arena da Cidade de São Paulo, and the young amateurs become theatre professionals. In 1958 the Group debuts the theatre play Eles Não Usam Black-Tie, written by Guarnieri. With this play, the remaining members of TPE together with Teatro de Arena, succeed to execute what they longed for since the beggining of their activities: to encourage the national authors and to perform plays that could reflect Brazilian reality, bringing the working class as leading figure. The performance of Eles Não Usam Black-Tie was the harbinger of the theatre form they wished to develop and also the missing motivation for Teatro de Arena to organize a new dramaturgy building process based on political, historical and aesthetic discussions. This process was named Seminários de Dramaturgia do Arena (Dramaturgy Seminars of Arena).

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