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This study proposes and tests a model for play development analysis, which offers a framework and a vocabulary for cataloguing the working parts of play development initiatives. When scholars analyze a completed play text, there are several useful categories available with which to organize observations, including space and time, character, dialogue, plot and story, genre, and spectacle. Such basic categories have been lacking in the analysis of play development and dramaturgy practice. In order to create a framework for analysis, the hourglass model for play development analysis proposes the basic categories of source, perspective, leadership, company modelling, choice of form, conditions of creation (including assumed theatrical conventions), design, given and anticipated consequences, and reception. The three case studies included in this project demonstrate the uses and limitations of the analysis model for new play development and its categories. The Whispering Pines play development process at Nightswimming and the processes experienced by the participants in the 2011 Tarragon Playwright’s Unit both fit easily into the hourglass, largely because they employ traditional roles in the play development process without challenging established hierarchies and because both resulted in play texts; Nightswimming’s Rough House, as a devised piece, challenges the model and demonstrates its flexibility in dealing with non-traditional forms of theatre-making. By providing grounds for comparison between these three markedly different models, the hourglass teases out a number of productive contrasts between text-based and devised theatre. The model which I propose and test in this study has been designed to introduce a formal, pragmatic methodology to the heretofore anecdotal field of scholarship on English-Canadian dramaturgy and new play development. Its formation is indebted to and embedded within the scholarship which has come before. The pragmatic model is proposed as a methodological framework for analysis that has yet to be employed in scholarship on dramaturgy practice and new play development in particular. In my analysis of three play development initiatives, I identify the common elements inherent in each development setting and, by using the same methodology to understand each process I uncover the formative elements unique to each process. The uniquely structured analysis contributes to existing scholarship by illustrating how new play development serves or does not serve the playwright, how the relationship between dramaturg and writer affect the process, and to what extent the realities of each development model in question do or do not serve the needs of each project. The thorough analysis afforded by the model tests the three tenets of play development identified by scholarship on development dramaturgy and illuminates the inner workings of the development initiatives which are particular to each case study.

This study proposes and tests a model for play development analysis, which offers a framework and a vocabulary for cataloguing the working parts of play development initiatives. When scholars analyze a completed play text, there are several useful categories available with which to organize observations, including space and time, character, dialogue, plot and story, genre, and spectacle. Such basic categories have been lacking in the analysis of play development and dramaturgy practice. In order to create a framework for analysis, the hourglass model for play development analysis proposes the basic categories of source, perspective, leadership, company modelling, choice of form, conditions of creation (including assumed theatrical conventions), design, given and anticipated consequences, and reception. The three case studies included in this project demonstrate the uses and limitations of the analysis model for new play development and its categories. The Whispering Pines play development process at Nightswimming and the processes experienced by the participants in the 2011 Tarragon Playwright’s Unit both fit easily into the hourglass, largely because they employ traditional roles in the play development process without challenging established hierarchies and because both resulted in play texts; Nightswimming’s Rough House, as a devised piece, challenges the model and demonstrates its flexibility in dealing with non-traditional forms of theatre-making. By providing grounds for comparison between these three markedly different models, the hourglass teases out a number of productive contrasts between text-based and devised theatre. The model which I propose and test in this study has been designed to introduce a formal, pragmatic methodology to the heretofore anecdotal field of scholarship on English-Canadian dramaturgy and new play development. Its formation is indebted to and embedded within the scholarship which has come before. The pragmatic model is proposed as a methodological framework for analysis that has yet to be employed in scholarship on dramaturgy practice and new play development in particular. In my analysis of three play development initiatives, I identify the common elements inherent in each development setting and, by using the same methodology to understand each process I uncover the formative elements unique to each process. The uniquely structured analysis contributes to existing scholarship by illustrating how new play development serves or does not serve the playwright, how the relationship between dramaturg and writer affect the process, and to what extent the realities of each development model in question do or do not serve the needs of each project. The thorough analysis afforded by the model tests the three tenets of play development identified by scholarship on development dramaturgy and illuminates the inner workings of the development initiatives which are particular to each case study.

Ο Βασίλης Ζιώγας είναι, αναμφισβήτητα, η πιο ιδιότυπη δραματουργική φωνή της μεταπολεμικής περιόδου. Σε μια εποχή που οι περισσότεροι θεατρικοί συγγραφείς ξοφλούσαν τα χρέη τους στο πρόσφατο μετεμφυλιακό παρελθόν, αποτύπωναν τον ανερχόμενο ελληνικό αστισμό, ακολουθούσαν, δειλά, τα σύγχρονα ευρωπαϊκά ρεύματα και προσπαθούσαν να χαράξουν τις νέες δραματουργικές συντεταγμένες, ο Βασίλης Ζιώγας, αποκόπηκε από τον ομφάλιο λώρο της μητρικής δραματογραφίας και καινοτόμησε σε πολλούς τομείς: κυρίως στη θεματολογία μύθο και στη γλώσσα. Επηρεασμένος από τον σουρρεαλισμό και το "θέατρο του παραλόγου", καινοτόμησε σε πολλούς τομείς: στη θεματική, στην πλοκή, στην τεχνική του, στο ύφος, στη γλώσσα. Ως ο κατεξοχήν μεταπολεμικός θανατοκεντρικός συγγραφέας, ο Ζιώγας μεταχειρίστηκε το φαινόμενο του θανάτου ποικιλοτρόπως. Η παρούσα διατριβή μελετά το φαινόμενο του θανάτου από ιδεολογική και αισθητική σκοπιά, καθώς και τις σημασιολογικές συνδηλώσεις που ο Ζιώγας του προσέδωσε. Μελετώνται, έτσι, οι καταστάσεις και οι πράξεις των δραματικών προσώπων, ώστε να προσεγγιστεί η ιδεολογία του Β. Ζιώγα, για το "κοσμικό" σχέδιο και για τον προορισμό του ανθρώπου στο σύμπαν. Κατά την ερμηνεία των θεατρικών του έργων ανιχνεύθηκαν στοιχεία από τη φιλοσοφία του Ηράκλειτου, του Σαρτρ και του Καμύ, στοιχεία από τις φιλοσοφικές θεωρίες του Ινδουϊσμού και του Βουδισμού. Επίσης, στοιχεία από την ψυχαναλυτική οπτική του Γιουνγκ, καθώς και αναφορές σε επιστημονικές θεωρίες, όπως αυτή της Κβαντομηχανικής και της Σχετικότητας. Επιπλέον, κατέστη σαφές ότι ο Β. Ζιώγας προσπάθησε να αφυπνίσει το κοινό του και να το κατευθύνει δυναμικά προς τον πνευματικό και κοινωνικό προβληματισμό. / Vasilis Ziogas (1937-2001) is undoudtedly a unique and idiosyncratic figure in Greek post-war playwriting. After the Second World War, the majority of Greek dramatists were still preoccupied with themes of the Civil War; they attempted to restore traditional realism, and to depict the everyday life of the rising Greek middle class. They were following, albeit hesitantly, European psychological dramatic models while trying to establish their own theatrical identity. Vasilis Ziogas kept himself distanced from those mainstream tendencies. Influenced by surrealistic trends and the "Theatre of the absurd", he was innovative in many domains: themes, plot, technique, style, language. The present thesis examines the above-mentioned aspects of Ziogas's work through the aspect o death. The thesis examines the fables, the heroes and the circumstances, aming to the understanding of the "cosmic" plan -as Ziogas has conceived it- and, if possible, of the purpose and place of mankind in the universe. Plilosophical ideas -especially those of Heraclitus-, ideas from the domains of psychoanalysis, Buddism, Hinduism,Sartre and Kamus, as well as quantum physics, are traceable in many of his works. Furthermore, through his plays Ziogas tried to guide the audience towards self-awareness and social action.

This study proposes and tests a model for play development analysis, which offers a framework and a vocabulary for cataloguing the working parts of play development initiatives. When scholars analyze a completed play text, there are several useful categories available with which to organize observations, including space and time, character, dialogue, plot and story, genre, and spectacle. Such basic categories have been lacking in the analysis of play development and dramaturgy practice. In order to create a framework for analysis, the hourglass model for play development analysis proposes the basic categories of source, perspective, leadership, company modelling, choice of form, conditions of creation (including assumed theatrical conventions), design, given and anticipated consequences, and reception. The three case studies included in this project demonstrate the uses and limitations of the analysis model for new play development and its categories. The Whispering Pines play development process at Nightswimming and the processes experienced by the participants in the 2011 Tarragon Playwright’s Unit both fit easily into the hourglass, largely because they employ traditional roles in the play development process without challenging established hierarchies and because both resulted in play texts; Nightswimming’s Rough House, as a devised piece, challenges the model and demonstrates its flexibility in dealing with non-traditional forms of theatre-making. By providing grounds for comparison between these three markedly different models, the hourglass teases out a number of productive contrasts between text-based and devised theatre. The model which I propose and test in this study has been designed to introduce a formal, pragmatic methodology to the heretofore anecdotal field of scholarship on English-Canadian dramaturgy and new play development. Its formation is indebted to and embedded within the scholarship which has come before. The pragmatic model is proposed as a methodological framework for analysis that has yet to be employed in scholarship on dramaturgy practice and new play development in particular. In my analysis of three play development initiatives, I identify the common elements inherent in each development setting and, by using the same methodology to understand each process I uncover the formative elements unique to each process. The uniquely structured analysis contributes to existing scholarship by illustrating how new play development serves or does not serve the playwright, how the relationship between dramaturg and writer affect the process, and to what extent the realities of each development model in question do or do not serve the needs of each project. The thorough analysis afforded by the model tests the three tenets of play development identified by scholarship on development dramaturgy and illuminates the inner workings of the development initiatives which are particular to each case study.

Using the social model of disability as a catalyst, this practice as research project starts with the understanding that theatre can disable some of its spectators. Contemporary theatre is conventionally visual. If a theatregoer has low or no vision she or he can be disable by theatre. An investigation of historic directing practice and dramaturgy will demonstrate an ocular bias in contemporary performance. A theatre director is in a unique position to counter this bias and influence opening performance to those with visual impairments or blindness. The idea of blind spectatorship is a provocation for directors and theatre makers. What are popular and experiential definitions of blindness and how might these ideas influence conceptions of an audience? How does theatre disable someone with low or no-vision? What can a director do to open performance to a blind or visually impaired spectator? Audio description interviews with audience members and access specialists, the practice of theatre companies like Extant and Graeae and an Affirmative Model of Disability frame and inform this study. It will be argued that access strategies for the visually impaired or blind, outside of a very few companies, are not widely considered within an artistic purview. This thesis aims to place these access responsibilities firmly within a director’s control and considerations. By locating this study in my own directing practice, I can demonstrate how performance can be opened to a broader audience. Four fully produced stage plays covering a range of performance styles (kōläzh, 2006; Foto, 2010; In the Tunnel, 2010; Variations on the Death of Trotsky, 2012) and several laboratory experiments focused on elements of staging, production, directorial intent and perceptive intersections of access are used to question and exhibit the findings of this study. Sonic dramaturgy emerges as a particularly useful tool for theatre makers and an economic and scalable balance to visual conventions.

It will be demonstrated, in conclusion, that in art as in life, the contingencies Britten imposed upon the Christian element are ultimately displaced by other 'non-Christian' elements related to the Classical paradigm.

The thesis deals with dramaturgy as used and implemented in selected areas of the arts ? literature, theater, film and music. Besides these four artistic disciplines experiential education is mentioned with its understanding of dramaturgy. On the basis of information submitted, the thesis focuses on the comparison of artistic fields with experiential education. In addition the thesis handles the question of applying the principles of dramaturgy in school teaching.

Entre os séculos XVI e XVII, a Espanha, à época o mais poderoso império, teve uma de suas principais expressões artísticas no teatro, que se notabilizou por seu caráter fortemente popular, papel análogo ao assumido pelo cinema norte-americano de comunicação de massa na primeira metade do século XX, quando os Estados Unidos já haviam se consolidado como grande potência mundial. Assim sendo, o presente projeto objetiva investigar e relacionar os procedimentos dramatúrgicos do Século de Ouro Espanhol e da Era de Ouro de Hollywood, períodos artísticos de ambos os contextos, a partir de análise comparativa entre obras bibliográficas preceptivas - com o complemento de peças teatrais e filmes específicos - bem como da leitura de referencial teórico diversificado, de maneira que se faça possível o estabelecimento de bases abrangentes para o estudo de uma dramaturgia do entretenimento. / Between the 16th and 17th centuries, Spain, at the time the most powerful empire, had one of its main artistic expressions on theater, which was famed for being strongly popular, something similar to the role played by the American cinema during the first half of the 20th century, when the United States had already established themselves as a great world power. Thus, this project intends to investigate and connect the dramaturgical procedures from Spanish Golden Age and from Classical Hollywood, artistic periods from both contexts, based on a comparative analysis between preceptive works, with the complement of specific plays and films, in order to lay down some comprehensive basis for the study of a dramaturgy of entertainment.

Entre os séculos XVI e XVII, a Espanha, à época o mais poderoso império, teve uma de suas principais expressões artísticas no teatro, que se notabilizou por seu caráter fortemente popular, papel análogo ao assumido pelo cinema norte-americano de comunicação de massa na primeira metade do século XX, quando os Estados Unidos já haviam se consolidado como grande potência mundial. Assim sendo, o presente projeto objetiva investigar e relacionar os procedimentos dramatúrgicos do Século de Ouro Espanhol e da Era de Ouro de Hollywood, períodos artísticos de ambos os contextos, a partir de análise comparativa entre obras bibliográficas preceptivas - com o complemento de peças teatrais e filmes específicos - bem como da leitura de referencial teórico diversificado, de maneira que se faça possível o estabelecimento de bases abrangentes para o estudo de uma dramaturgia do entretenimento. / Between the 16th and 17th centuries, Spain, at the time the most powerful empire, had one of its main artistic expressions on theater, which was famed for being strongly popular, something similar to the role played by the American cinema during the first half of the 20th century, when the United States had already established themselves as a great world power. Thus, this project intends to investigate and connect the dramaturgical procedures from Spanish Golden Age and from Classical Hollywood, artistic periods from both contexts, based on a comparative analysis between preceptive works, with the complement of specific plays and films, in order to lay down some comprehensive basis for the study of a dramaturgy of entertainment.