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Thesis (M.S.)--University of Wisconsin--Madison, 2001. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 154-156).

Thesis (M.F.A.)--University of Wisconsin--Madison, 1984. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaf 51).

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AN ABSTRACT OF THE THESIS OFClaude Ryan Towery, for the Master of Fine Arts degree in Theater, presented on April 1, 2022, at Southern Illinois University Carbondale. TITLE: THE FAMILY THAT PLAYS TOGETHER STAYS TOGETHER: DIRECTING HAY FEVER BY NOËL COWARD MAJOR PROFESSOR: Professor Olusegun Ojewuyi From the spring of 2021 to the spring of 2022, the period of time during which this document was written, the Covid-19 pandemic was still ongoing. The pandemic’s cataclysmal events precipitated a paradigm shift across cultures and societies around the world – a shift that affected countless vocations, leaving many confused and uncertain as to how they would continue working, supporting themselves and their families, pursuing their dreams, etc. Every theatre practitioner in the United States was negatively affected in some form or another, and many lost their jobs. Questions as to how theatre could continue and/or survive ran the gamut. This document chronicles how my thesis production survived. The Family That Plays Together Stays Together... reviews my process and journey of directing Noël Coward’s Hay Fever, and the challenges and triumphs that came with directing a theatrical production during a worldwide pandemic – a journey that has forever changed me and my perception of this art form and the world around me. This paper, in chronological order, details all the phases necessary in bringing this production to fruition. Chapter One includes the preliminary research, playwright’s biography, play analysis, and directorial interpretation of the script (vision & concept). Chapter Two details the pre-production process, examining the design and production meetings, dramaturgy, and marketing. Chapter Three delineates the production process, auditions and casting, rehearsals, the development of techniques employed, and performances. Chapter Four is a personal reflection of the pitfalls, discoveries, and changes I i would make if I were to direct this play in the future. The final chapter also includes a section on techniques and practices that will help me grow in my craft as a director, artist, and academician. I have come up with a phrase that summarizes my directing of Hay Fever, my graduate school experience, and practicing theatre during a worldwide pandemic; “Life is but a game, and a game that must be played to the finish.”

A retired actress and her quirky family trap four guests in elaborately woven games in Noel Coward’s Hay Fever. Within the concept of “playing house,” the glamour of Coward’s work lives on through scenery, costumes, and lighting, while his quirkier side is highlighted in hopes of making his Comedy of Manners accessible to a new audience.

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Cette thèse est consacrée à la figure de Ponce Pilate et à son remarquable déploiement depuis le XIXème siècle dans la littérature occidentale (francophone, anglophone, hispanophone). Ancrée dans la démarche mythocritique de Pierre Brunel, notre recherche interroge précisément les enjeux de l’évolution d’une telle figure et propose de définir sa place en littérature. Progressivement le juge romain devient un véritable objet d’étude, sujet de fiction à part entière. Si l'on constate qu'il ne correspond pas à la définition du mythe, il en comporte néanmoins certains aspects et va même jusqu'à développer certains mythèmes qui lui sont propres tels que son geste symbolique du lavement de mains ou la présence lumineuse de son épouse. Enfin, si la figure de Pilate appartient à la configuration narrative du procès de Jésus de Nazareth, elle est une figure mythique, et sa réhabilitation partielle ou totale, aux XXème et XXIème siècles, passe nécessairement par l’aspect politique du personnage. Après avoir considéré l’importance prise par Ponce Pilate en littérature, à partir du XIXème siècle, nous nous interrogerons sur son statut mythique et sur la place que lui donnent les écrivains de la modernité, cherchant l’homme sous la légende. Entre romanité et christianisme, la voie de la modernité place Pilate face à son humanité. / This dissertation is dedicated to Pontius Pilate’s figure and to his evolution in Western literature (French, English, and Spanish) from the 19th century. The study examines his role in literature under the light of Pierre Brunel’s mythocriticism, and analyzes how his portrayal developed over time. From his wake to his rise, Pontius Pilate becomes a real object of interest, a fictional subject on his own. This work concludes that he does not correspond to the actual definition of a myth. Rather, he has some aspects of it and even carries some mythemes of his own such as the symbolic gesture of washing his hands or his wife’s glowing presence. Lastly, if Pilate belongs to Jesus of Nazareth’s narrative format, he is then a mythical figure, and therefore his partial or even total rehabilitation must necessarily pass through the character’s political aspect. Modern writers seek for the man underneath the legend. Between Romanism and Christianity, modern time voices place Pilate against his own humanity.

AN ABSTRACT OF THE THESIS OFZachary Alley, for the Master of Fine Arts degree in Technical Direction, presented on March 27, 2022, at Southern Illinois University Carbondale. TITLE: I HAVE A FEVER FOR MORE PEACOCKS: TECHNICAL DIRECTION FOR HAY FEVER MAJOR PROFESSOR: Thomas FagerholmThe Hay Fever production was produced on December 2, 2021 at Southern IllinoisUniversity Carbondale’s School of Theater and Dance. This thesis will pull the reader through the ideas, planning, and construction of the realized scenic design that composed the work of the technical director on this production. Focuses on how the technical director maintained open communication between the production team throughout the process. The technical director strived to bring clear interpretations of the scenic elements into their drafting to be used by the build crews to make the set a reality within the time and budget. Hopefully by presenting this thesis to the reader they can have a more extensive understanding that the work of technical direction is even more involved than just the material world of set construction.

Despite the broadening of the subject matter of English drama in its ???new wave??? period from the late nineteen fifties, it is striking to see how much of enduring mainstream English drama has a domestic focus. The purpose of this thesis is to provide the first full-length study of marriage on the English stage from 1930-1990. The thesis examines the way in which a number of important playwrights have fashioned drama from the conflict between the public, or institutional, functions of marriage and the private, or relational, functions of marriage. The thesis places this conflict into historical context. This will show that the conflict between the private and public aspects of marriage is not one of clearly opposed opposites but one that is made dynamic by significant social and legal changes to the status, function and conventions of marriage. The thesis also demonstrates that this conflict is further complicated by class considerations and by the particular circumstances of each marital partnership. From the wealth of material available, I have chosen to examine in detail the work of seven playwrights who have made significant contributions to domestic drama or domestic comedy. Playwrights have been selected because their plays gained a strong audience on first performance and because, through numerous revivals and through publication of scripts, they have earned an enduring place in English drama. John Osborne???s Look Back in Anger, which in 1956, ushered in the ???new wave???, is pivotal play for discussion. The previous generation is represented by Noel Coward, J. B. Priestley and Terence Rattigan. The ???new wave??? and its aftermath are represented by Harold Pinter, Tom Stoppard and, finally Alan Ayckbourn. Despite a wide variety of approaches to the topic of marriage, these writers tend to assume a middle class audience and to follow or adapt the traditions of realism or comedy of manners. This thesis argues that despite real, even radical, changes to marriage, to accepted sexual practices and to the status of women in the sixty years under discussion, the mainstream theatre has tended to be conservative in its presentation of marital and sexual matters, especially in continuing to reinscribe a public/private opposition determined by gender.