Denna undersökning utgår ifrån Mary Jo Bitners servicescape-modell om hur fysiska miljöegenskaper formade efter en berättelse eller tema påverkar serviceverksamheter. För att sedan implementera modellen i en digital miljö. Resultatet av att nyttja teorierna kring servicescapes på exempelvis serviceverksamheter ger besökare möjlighet att fly undan vardagen, medvetet eller omedvetet, genom en kombination av olika sinnen. I undersökningen såg vi att besökarens självmedvetenhet kunde jämföras med Mihaly Csikszentmihalyis teorier om ”flöde”, där medvetandetillståndet hos en individ blir uppslukat av individens aktivitet. Ur denna jämförelse kunde förutsättningarna och kriterierna för ”flöde” nyttjas. Undersökningen påvisar att anpassning av servicescape i en digital miljö leder till en förlust av sinneskombinationer i jämförelse med fysiska servicescapes. Detta ändrar dock inte det faktum att besökaren upplever ett mervärde av platsen då tillämpning av servicescapes i skapandet av fysiska som digitala miljöer öppnar upp för besökare att inte bara bevittna respektive berättelse utan även delta i den. / This study is based on Mary Jo Bitner’s servicescape-model of the physical environment, shaped by a story or a certain theme, towards adapting the model into a digital environment. The result of applying the theories surrounding servicescapes to where a service process takes place, gives visitors an opportunity to escape from the everyday life, consciously or unconsciously, through a combination of the human senses. The study found that the effect, a lesser amount of self-awareness, could be compared with Mihaly Csikszentmihalyi’s theories of "flow", a mental state where an individual becomes fully immersed in the process of the activity. The conditions for "flow" could therefore be used as a foundation in the creation of “digital servicescapes”. The adaptation of servicescape towards a digital environment led to a loss of possible combinations of senses in comparison with physical servicescapes. Though this did not result in removing all the added value of adapting the servicescape-model into a digital environment, for it is still expanding the opportunity for visitors to interact with the story respectively, instead of being idle observers.

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This thesis is a personal journey. My work on VCU’s production of SWEENEY TODD began in the Spring of 2012 when I came on board the production as dramaturg. Part of what is contained within is both an explanation of my dramaturgical research method as well as samples of the research I have compiled. However, my role was drastically changed in the Fall of 2012 when I was cast as the primary antagonist in the production. The thesis chronicles the rehearsal process as my role as dramaturg increasingly gave way to my role as actor. It attempts to answer the question, “Is it possible to be both dramaturg and actor on a single production?” Finally, the thesis is a reflection of the overall process of working on a challenging theatrical production in an academic setting.

Cette thèse est l'aboutissement de huit années de travail qui ont portés sur la représentation de la défaite dans le théâtre du dix-septième siècle. Notre corpus comprend 75 pièces, 60 tragédies, 14 tragi-comédies et une comédie-heroïque jouées entre 1634 et 1663 et mettant en avant le thème de la défaite, telle que la définissent les dictionnaires de l'époque, c'est-à-dire la perte d'une bataille après une intervention armée qui peut aller des guerres externes ou internes, internationales, civiles ou religieuses, qui dominent dans les tragédies de la première période étudiée, soit les années 1634-1643, aux complots militaires ou privés qui seront plutôt l'apanage des pièces de la dernière période, soit les années 1653-1663. / This thesis is the outcome of eight working years wich concerned the representation of the defeat in the theater of the seventeenth century. Our corpus includes 75 plays, 60 tragedies, 14 tragicomedies and a heroic comedy played between 1634 and 1663 and putting forward the theme of the defeat, such as defined in the dictionaries of this time, that is the loss of a battle after an armed intervention which can go external or internal, internaltional, civil or religious years 1634-1643, in the military or private plots dominate in the tragedies of the first studied period, or which will be rather the priviledge of the plays of the last period, or the years 1653-1663.

Syftet med den här studien var att undersöka hur en diskursiv berättelse skrivs fram i Aftonbladets granskning av fackförbundet Kommunal i januari 2016. Artikelserien handlade om fackliga företrädares bristande samklang mellan ord och handling. Politiker i regeringsställning drogs in och det fanns gott om aktörer som offentligt uttryckte sin kritik. En dryg vecka efter att artikelserien startat annonserade förbundsordföranden sin avgång. Materialet utgjordes av Aftonbladets pappersutgåva under perioden 13 – 21 januari 2016. Undersökningen genomfördes med en kombination av kvantitativ och kvalitativ metod. Först gjordes en kvantitativ innehållsanalys för att skapa översikt över materialet. Därefter gjordes en kvalitativ text- respektive bildanalys för att komma åt den diskursiva berättelsen. För den kvalitativa textanalysen användes modeller och begrepp från medieretorik, diskursanalys och retorik. I den kvalitativa bildanalysen användes en modell byggd på semiotik. Undersökningen pekar mot en diskursiv berättelse som konstrueras av följande delar: Två övergripande teman, ett samspel mellan nyhets- och opinionstexter, en tydlig och närmast arketypisk rollfördelning, fakta som framhäver konflikter och kontraster samt dramatiska effekter i språk och bild. Nyhetsberättelsen om ”Kommunals förlorade heder” överensstämmer i hög grad med John B. Thompsons fem kännetecken för en politisk skandal. Aftonbladet presenterar en konflikt som utvecklas genom komplikationer och polariseringar mellan inblandade parter, vilka i enlighet med triangelhypotesen tvingas reagera offentligt på varandras agerande. / The aim of this study was to examine how a discursive narrative is performed in Aftonbladets investigations on the trade union Kommunal in January 2016. Trade union representative’s lack of consistency between word and action were depicted in a series of articles. Politicians representing the government were involved and there were plenty of actors voicing their criticism. About a week after the start of the series, the chairwoman of the union announced her resignation. The sample consisted of Aftonbladets printed edition between the 13th and the 21st of January 2016. The study was performed with a combination of quantitative and qualitative methods. It began with a content analysis to get an overview of the material. After that, qualitative text respectively image analyses were carried out to get at the discursive narrative. For the qualitative text analysis methodology and concepts from media rhetoric, discourse analysis and classical rhetoric were used. The image analysis was carried out with a methodology based on semiotics. The study points towards a discursive narrative constructed of the following parts: Two general themes, interaction between news and commentary items, clear and almost archetypal roles, facts utilized to highlight conflicts and contrasts, and dramatic effects in language and images. The news narrative about ”The lost honor of Kommunal” conforms to a great degree to John B. Thompson’s five characteristics of a political scandal. Aftonbladet presents a conflict developed through complications and polarizations between the actors concerned who according to the triangle hypothesis are made to react publicly on each other.

Diploma thesis "Kancelář Blaník: Politická satira jako zrcadlo skutečné politiky" aims to discover what image of politics the satirical series "Kancelář Blaník" presents to the audience and how it achieves it. After the necessary theoretical anchoring of the researched issue follows a practical analysis of the series, which focuses on the characteristics of main and secondary characters, objects of satire and dramaturgical structure of episodes and the whole series. The final part of this thesis also describes the movie "Prezident Blaník", which follows the series and shows the differences in the processing of one theme in different formats.

Selon la définition classique, le théâtre est action et parole en action : « c’est une imitation faite par des personnages en action et non par le moyen d’une narration » (Aristote, Poétique, 1449b). Or, force est de constater que le théâtre d’Eugène Ionesco déroge à ce précepte et constitue une entorse à la conception aristotélo-hégélienne du genre fondé sur le primat du dialogue et la représentation de conflits entre personnages. La diégésis sous toutes ses formes – récits stricto sensu, mais aussi récits protopoétiques, descriptions et portraits – y abonde. Si le glissement modal devient systématique, la narration continue à être conditionnée par le contexte mimétique. Néanmoins, le cadre spatio-temporel s’en trouve foncièrement fragmenté, les notions d’intrigue et d’action mises à mal ou supplantées, sans que cette esthétique dramatique ne devienne pour autant épique au sens brechtien. Dans la prolongation des écrits non fictionnels de Ionesco, la narration est à la fois une trace du processus d’écriture et un moyen d’investigation ; elle devient le creuset d’une quête à la fois identitaire et mystique. / According to the classical definition, theatre is conceived as action and words in action : “it represents men in action and does not use narrative” (Aristotle, Poetics, 1449b). The theatre of Ionesco, however, clearly bends the rules of the aristotelo-hegelian primacy of dialog and representation of conflicts between characters. It is rich in diegesis in all its forms – storytelling, protopoetic narrative, descriptions and portraits; the shift in modes becomes systematic. Nonetheless, narrative is conditioned by the dramatic, mimetic framework. But space and time are fragmented, the concepts of plot and action undermined, without the aesthetics of Ionesco becoming epic in the Brechtian sense. Prolonging the non fictional writings of Ionesco, narrative in his theatre is to be considered both as a trace of the writing process and a means of investigation, located at the crossroads between a search for identity and a quest for mysticism.

Alma Hiperbólica: dramaturgia de um corpo melancólico é uma dissertação que une teoria e prática para refletir sobre o que chamamos de corporeidade e dramaturgia melancólicas. Investigamos a experiência social subjetiva hipermoderna, por meio de um estudo centrado na ideia de melancolia, aqui entendida como sintoma de um sistema econômico, social e político gerador de miséria subjetiva e, de outro lado, como potência de resistência e de criação de uma nova anatomia de nossa experiência física e social. A potência deste corpo melancólico ancora-se na sua capacidade de revelar nossa condição hipermoderna como um estado de exceção, interessando-nos pesquisar a linguagem artística que pode ser elaborada neste processo de tradução do \"vazio melancólico\" em corporeidade. Nossa pesquisa partiu de um processo de criação artística, o solo Anatomia da Melancolia - experiência I, em que o material teórico foi experimentado como corporeidade e dramaturgia. Nessa pesquisa, propomos uma perspectiva dialética, no limiar de uma reflexão filosófica, sociológica e histórica, tendo como referências bibliográficas principais os autores Walter Benjamin, Georges Didi- Huberman, Giorgio Agamben, Julia Kristeva e Theodor Adorno. / Hyperbaric Soul: dramaturgy of a melancholic body is a dissertation that unites theory and practice to reflect upon we call melancholic corporeity and dramaturgy. We investigate the hypermodern subjective social experience through a study centered on the idea of melancholy, which here understood as a symptom of an economic, social and political system generating subjective misery and, on the other hand, as a power of resistance and creation of a new anatomy of our physical and social experience. The power of this melancholy body is anchored in its ability to reveal our hypermodern condition as a state of exception, interested in researching the artistic language that can be elaborated in this process of translating the \"melancholic void\" into corporeity. Our research started from a process of artistic creation, the solo Anatomy of Melancholy - experiment I, in which the theoretical material was experienced as corporeity and dramaturgy. We use a dialectical perspective, at the threshold of a philosophical, sociological and historical reflection, with bibliographical references such as Walter Benjamin, Georges Didi- Huberman, Giorgio Agamben, Julia Kristeva and Theodor Adorno.

Tendo um conjunto de ensaios como base, esta tese busca discutir uma dramaturgia de cunho realista e contemporâneo, produzida por autores como Henry Ibsen, Harold Pinter e David Mercer, e suas relações com o contexto da adaptação audiovisual. Dentre os problemas abordados está o debate sobre a questão da teatralidade, ocorrido nos EUA, no final da década de 1960. A teatralidade é aqui entendida como expressão artística entre as linguagens artísticas tradicionais e contemporâneas, e como aproximação do universo da arte e da experiência cotidiana. Como parte do diálogo estão incluídas produções recentes no campo da pintura, música popular e documentário. Nesse aparato de questões, a produção ensaística também ganha visibilidade por meio de um ensaio audiovisual, produzido especialmente para este trabalho e apresentado em sua versão escrita e filmada. / Taking a body of essays, this dissertation examines a certain realist and a contemporary dramaturgy produced by authors such as Henry Ibsen, Harold Pinter and David Mercer, and discusses its relations with the audiovisual adaptation context. Among its subjects is the debate about theatricality which occurred in the U.S. in the late 1960s, understood as artistic expressions between traditional and contemporary artistic languages, as well as an approach between the universe of art and everyday experience. Recent productions in painting, popular music and documentary are also discussed alongside the essays. The question related to essayism itself is also addressed through an audiovisual essay, submitted in its written version and in the filmed one, both especially produced for this work.

Thesis advisor: Stuart Hecht / The work done on this project has combined the knowledge I have accumulated from nearly all of the classes and learning opportunities I have experienced over the course of college. The first semester's work consisted of a long literary analysis of Three Days in comparison to three other plays contemporary with it. This resulted in “Looking Behind Us As We Leap Ahead.” In the paper, I compared the use of time in Three Days of Rain, Sideman by Warren Leight, Angels in America, Part One: Millennium Approaches by Tony Kushner, and Sight Unseen, by Donald Margulies. All of these plays were written by American playwrights in the last decade of the twentieth century. The initial connection between the four plays was the fluidity of time, an element of dramatic structure that creates abstractions and skewed perception within the play. However, after studying the plays in conjunction with each other, I was struck by just how much the concept of time can affect a play not only in its form, but also in its content. Issues related to history, preservation, and planning for the future ran through all four of the plays, as it became obvious that time was of the utmost importance in the theater of the 1990s. The same proved to be true in the production of theater in 2004. The rest of the thesis was devoted to the production of Three Days of Rain, directed by me and produced by the Contemporary Theater in the Bonn Studio in March 2004. I kept journal entries throughout the process of creating this thesis, which aided in the final written part of the thesis, “One Year of Rain: Memoirs of a Director.” This section, while more personal in nature than the first academic writing, also deals with issues of time, as it documents the trials and successes of this production, as well as the personal growth of the author and director over the course of the project. The additional information supplied is evidence of dramaturgical research related to the production. Outside sources filled in the information about the world of the play that the text was missing. The combination of the support of this research and the production of the play allowed the ultimate goal of the director to be realized: To bring the play to life, and to bring real life to the play. / Thesis (BA) — Boston College, 2004. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Theater. / Discipline: College Honors Program.