Thesis (M.S.)--Boston University / PROGRAM OBJECTIVES: "Chronicles of Time" will trace the development of the American theatre during the past century from tbe Civil War to the present. It will show how the elements of society have influenced the different ph ses of theatre; e.g. , melodrama, romanticism, realism, the road company, and summer stock, up to the present school of social psychiatry of Williams, Miller, and Hellman . The programs will, of course, follow a chronological order. The need for this series is basically to show the development of the American theatre over the past one hundred years . This series will explain why the American theatre went through certain stages in its development, and what caused these stages. "Chronicles of Time" intends to acquaint the public with some of the reasons why the American the tre evolved into its present form. [TRUNCATED]

Thesis (M.S.)--Boston University

Thesis (M.A.)--Michigan State University. Dept. of Theatre, 2008. / "The objective of this study is to discuss the history and origin of the Plowshares Theatre Company based upon an interview with the current artistic director, Gary Anderson, and his assistant, Dr. Addell [Austin] Anderson"-- vFrom the abstract. Title from PDF t.p. (viewed on Aug. 4, 2009) Also issued in print.

Thesis (Ph.D.)--Indiana University, Dept. of Theatre and Drama., 2009. / Title from PDF t.p. (viewed on Jul 14, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4529. Adviser: Rakesh H. Solomon.

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Richard R. Flores. Vita. Includes bibliographical references.

No description available.

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 221-229).

Nesta pesquisa discutem-se práticas de resistência nas ações artístico-pedagógicas dos grupos teatrais latino-americanos Grupo Cultural Yuyachkani (Peru) e Tribo de Atuadores Ói Nóis Aqui Traveiz (Brasil). Para tanto, desenvolve-se o modo como essa noção participa na constituição de sujeitos e subjetividades, uma vez que produz saberes que de alguma forma conduzem e ensinam modos de ser e de estar na cultura e na época em que se vive. Observa-se que a resistência praticada no surgimento dos grupos, na década de 1970, em pleno período de ditaduras e governos militares, não é a mesma a partir do momento de transição democrática, em que o inimigo contra o qual se luta torna-se difuso e descentralizado. Em seguida, analisam-se quatro estratégias de resistência que emergem das práticas de ambos os grupos. A primeira evoca a noção de gesto decolonial, que rompe com a colonialidade dos saberes e das relações de poder. O gesto decolonial ressalta a independência e a potência do local, do emergente e do marginalizado frente aos imperativos universalizantes e hierárquicos. A segunda evoca o corpo feminino como espaço de resistência, questionando os princípios que subjugam esse corpo e destacando o papel da mulher no combate à violência e na imaginação por um outro mundo possível. A terceira estratégia evoca o compromisso assumido pelos grupos em lidar com a memória. Ao buscar o reconhecimento do protagonismo histórico dos marginalizados, enfatiza outros modos de narrar e transmitir a memória, em contraposição às interpretações hegemônicas sobre nosso passado. A última estratégia discute a prática da criação coletiva, com suas nuances e diferenças, como espaços de experimentação e resistência ao pensamento único. Essas quatro estratégias são práticas que propõem subjetividades micropolíticas, em contraposição à macropolítica instituída. Promovem saberes e formas de viver diferentes, que se lançam a um futuro ainda sem forma. / In this research is discussed resistance practices in the artistic-pedagogical actions of the Latin American theater groups Grupo Cultural Yuyachkani (Peru) and Tribo de Atuadores Ói Nóis Aqui Traveiz (Brazil). To do so, is developed the way in which this notion participates in the constitution of subjects and subjectivities, since it produces knowledge that somehow leads and teaches ways of being in the culture and in the time in which we live. It is observed that the resistance practiced in the emergence of the groups, in the 1970s, during the period of dictatorships and military governments, is not the same from the moment of democratic transition, in which the enemy against then fights is diffuse and decentralized. Then, are analysed four resistance strategies that emerge from the practices of both groups. The first one evokes the notion of decolonial gesture, which breaks with the coloniality of knowledge and power relations. The decolonial gesture emphasises the independence and potency of the local, of the emergent and of the marginalized against the universalizing and hierarchical imperatives. The second one evokes the female body as a space of resistance, questioning the principles that subjugate this body and highlighting the role of women in combating violence and in the imagination for another possible world. The third strategy evokes the group's commitment to deal with the memory. In seeking the recognition of the historical protagonism of the marginalized, emphasize other ways to narrate and transmit the memory, in opposition to the hegemonic interpretations of our past. The last strategy discusses the practice of collective creation, with its nuances and differences, as spaces of experimentation and resistance to the single thought. These four strategies are practices that propose micropolitical subjectivities, opposed to the established macropolitics. They promote different forms of knowledge and ways of living, which launch into a future still without form.

Utilizing a model based on Queer theory and comprising four relational paradigms, this thesis examines specific dramas of Mae West and Terrence McNally in an effort to understand the multiple relationships between the text, the society and the culture in the production of a gay male identity and its representation on the American stage in the 1920s and the 1990s. Each relational paradigm is the product of a different twentieth century scholar and can be viewed as an individual lens through which one aspect of a drama or culture can be magnified, illuminated or distorted. These paradigms are: culture and power; science and sex; gender and performance; plus structurization and identity. The most significant paradigm, structurization, provides the culminating focal point for the contributions of the other relational paradigms. Through this examination, Mae Wests dramas in the 1920s produced a prescriptive attitude toward the gay male in society, a thing to be cured. The dramas of Terrence McNally produced a subscriptive attitude toward the gay male, an equal human being who should not be marginalized. Ultimately, Broadway Theater can be seen as a site of cultural production that shapes the views of its audience as much as it is shaped by the larger society in which it exists.

Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 197-214).