Besieged by a Nation of Playwrights Jan Lier Critic and Dramaturge of the National Theatre in Prague The cultural endeavours of the second half of the 19th century and the turn of the 20th century - from which we have inherited more than is immediately apparent - have for the most part already been described. Nevertheless, most of what we know about them comes to us only through selected figures from the realm of politics, literature, or theatre. At the same time, there existed many other individuals who had a significant influence on their time. They may not have been "pillars" of their era - many of which are retroactively constructed by subsequent eras and have often been uncritically conserved to this day. We have thus chosen to take a new look at this era in question through the figure of Jan Lier. Although Lier had been quite popular during his life and held several important positions in society, he was ignored by later historians. This dissertation presents the full range of Lier's activities, which we divide into three parts. The first section (Ecce Homo Jan Lier) describes the author's life from his youth to his literary debut and popular novels, which brought him fame as an author of railway novels and stylistically refined (perhaps excessively so) salon prose that irritated contemporary...

Through the lens of dramaturgy theory, this study conceptualizes Israel as the stage, North American and Chinese students as two groups of actors, and social integration as their play, seeking to answer this question: how do the different roles North American students and Chinese students play in Israel lead them to different experiences of social integration? This study attempts to understand what roles American and Chinese students initially wanted to play and what shaped them, where, how and with whom they conducted their performances, and if the roles they played were adjusted during the process. Eight sets of semi-structured in-depth interviews were conducted with four American students and four Chinese students. The research findings and analysis reveal that although American and Chinese students do have different experiences of integration, they nonetheless share similar strategies that a dramaturgical framework can successfully elicit. Moreover, the analysis presented in this thesis, also, suggests that the experience of international students is likely much more layered than what is reflected in much of the literature that addresses the integration of international students.

The purpose of this study is to develop a model that tests the impact of attendees' perceived importance of event design on their overall satisfaction of the event. By understanding what attendees' perceive as important and valuable to their overall experience, and thus enhancing their overall experience, researchers, planners, and managers alike will potentially have a tool for assessment and forecasting. Responses were collected from 373 participants who have attended a particular large music and gaming festival. The study found that the perceived value and importance of event design has a significant and positive effect on an event attendee's overall experience. This study has established a scale for planners and designers to implement in other event evaluation circumstances to allow for them to identify their weak links according to their customer base, and then enhance them in order to improve future event growth. / Master of Science

Orientador: Gentil Luiz de Faria / Resumo: Esta tese tem como corpus de análise, dentro de uma perspectiva teórico-comparatista, as peças de teatro Casa de boneca (1879), de Ibsen e A dança final (1993), de Plínio Marcos. Em linhas gerais, foi proposto um estudo e interpretação das peças a fim de estabelecer relações entre as marcas discursivas e jogos de poder que permeiam as personagens femininas e masculinas. O objetivo da pesquisa foi realizar, por meio de uma abordagem comparatista, uma investigação para elucidar a aproximação entre os autores, as peças de teatro e as personagens, com a finalidade de examinar como a temática do feminino está configurada no campo da dramaturgia. Ao ancorar a pesquisa nos textos teatrais como possibilidade de análise, verificou-se a relevância no estudo da dramaturgia ibseniana e pliniana por trazerem arraigadas no interstício textual uma autorização discursiva que permite refletir o teatro como lugar possível para discutir questões de gênero, principalmente na viabilidade de (re) pensar a condição da mulher no âmbito familiar e social no sentido de equiparar diferenças. Importa ressaltar que, como resultado, a comparação foi salutar por observar o momento histórico de produção das peças teatrais, a linguagem empregada pelos autores, a forma literária específica, as ideologias encravadas nas didascálias, o discurso das personagens, dentre outros elementos que contribuem para o processo de análise estrutural de uma peça de teatro, uma vez que a arte (como performance do imaginário) ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis has as its corpus of analysis, from a theoretical-comparative perspective, the plays Casa de boneca (1879), by Ibsen and Plínio Marcos' A dança final (1993). In general terms, it was proposed a study and interpretation of the plays to establish relations between the discursive marks and power games that permeate the female and male characters. The research aimed to conduct, through a comparative approach, an investigation to elucidate the approximation between the authors, the plays and the characters, for the purpose to examine how the feminine theme is configured in the field of dramaturgy. By anchoring the research in theatrical texts as a possibility of analysis, it was verified the relevance in the study of the Ibsenian and Plinian dramaturgy for bringing rooted in the textual interstice a discursive authorization that allows to reflect the theater as a possible place to discuss gender issues, especially in the viability to (re) think about the condition of women in the family and social context in in terms of equating differences. It is important to emphasize that, as a result, the comparison was salutary for observing the historical moment of production of the plays, the language employed by the authors, the specific literary form, the ideologies embedded in the rubrics, the discourse of the characters, amongst other elements that contribute to the process of structural analysis of a play, given that art (as performance of the imaginary) in dialogue with re... (Complete abstract click electronic access below) / Doutor

To fully realize plays in another culture, it is important for the actors and audience to understand the meaning of the words that are being spoken in the context of the culture of the play. This thesis examines the various dramaturgical problems that arise in producing British plays with dialect in the United States, and uses sociolinguistic analysis to explore the various solutions that have been applied to bridge the gap between script and audience. Alan Bennett’s The History Boys (2004) and Irvine Walsh’s Trainspotting, (adapted for the stage by Harry Gibson in 1995), are both deeply connected to the dialect in which they are written. The first part of this thesis examines the complications that come with performing these plays in America, but ultimately argues that dialect in these cases becomes our key into the world of the play and perhaps even the essence of their appeal to an American audience. In the case of both How the Other Half Loves by Alan Ayckbourne (1970) and Losing Louie by Simon Mendes da Costa (2005) a separate script was created for the American audience which translated the original British English into American English. The second part of this thesis then explores the dramaturgical decisions that had to be made in translating these plays and how these decisions affected the finished product.

Det finns ett filmiskt berättande som gör att jag blir ett med dess universum. De ögonblicken intresserar mig. Jag märker att de innehåller ett visuellt utelämnande. Luckor av tomhet som gör att filmen skapar ett djupare intryck inom mig. Ett intryck som varar. Jag är nyfiken på hur dessa moment kan byggas upp, hur det går att arbeta konstnärligt, dramaturgiskt och tekniskt med dessa. Jag vill utveckla konstnärliga metoder som jag kan använda som filmfotograf i fiktion såväl som dokumentär. För att utforska detta så skapar jag en kortfilm, vanten.   En ingång till mellanrummet. Jag är i det här arbetet intresserad av bildspråk, jag är intresserad av hur vi skapar olika visuella världar när vi berättar med filmfotografi. Jag är här inte främst intresserad av det som för berättelsen framåt, utan av det andra. Den aspekt av bildspråket som på något sätt lämnar rymd. Rymd som kan få vara tom, eller fyllas i av betraktaren.   Min utgångspunkt är att mellanrum finns i allt berättande, att dessa skapar det utrymme som behövs för att det gestaltade ska nå fram till tittaren. Det är en central funktion såväl i litteratur, film, teater och andra konstformer. Vi använder oss ständigt av utelämnande då vi berättar någonting, vare sig det är med bild eller ord. Om vi berättar någonting så utesluter vi någonting annat. Om vi riktar kameran åt ena hållet, så registrerar den inte det som händer i andra riktningen.  Det här är också något som är helt omöjligt att isolera helt från filmen i sig, det är snarare något som är helt integrerat i den filmiska gestaltningen. Det är därför svårt att tala om det här som ett fenomen helt särskilt från filmen.  Dessutom är det något som jag upplever att vi sällan talar om, även om många säkert skulle hålla med om att det kan vara en viktig aspekt av berättandet. Det är lätt hänt att vi bara fokuserar på det som är det centrala för handlingen, särskilt när vi är många som behöver samarbeta för att skapa ett berättande. Det är ofta enklare att tala om andra delar av filmiskt berättande, som är mer praktiska, tekniska eller lättare att definiera och det finns då också en risk att det som är svårdefinierat nedprioriteras.  Jag vill genom detta arbete ge den här aspekten av filmiskt berättande fokus. Och förhoppningsvis så kan jag fortsättningsvis också ha det som ett redskap, och dessutom kommunicera kring det, med de jag arbetar.

How could we organize as MUSHROOM(-mycelium) - is the structuring desire of my current delving. It is fictionalizing the human as something that is able to become something else through taking care. It is rooted in a broader matrix of questions of WHAT, HOW and WITH WHOM an artist (everybody is an artist, who wants to be an artist) CAN do when mushroomy processes like disintegration and co-dependence appear tangible for very distant bodies at the same time. How could we is creating a research on what has been already tried and what practices of shared imagination could emerge at the moment. It is also acknowledging a common place that defines 'we'. What would we gain and what would we lose by not mentioning the 'we'? It is also about access or sensibility to technologies of collective intelligence. It is also about embodiment of the others. organize to hope through time to take agency to handle, again, take care to invigorate connections to bio-mime, -play, -think as MUSHROOM(-mycelium) as a not yet known as an overly complex as a more than itself ? The diverging ideas around the allure of mycelial-like organization unveil a visceral surrender to the need of singular approaches, fixed maps or comfortable stories. Possible answers demonstrates a post-disciplinary sensitivity for choreographies of ceaselessness. / <p>The main place of my presentation has been the fairycircles.hotglue.me page.</p> / Fair-y circles, community baased mushroom learning network

Current secondary theatre education in America places a priority on Western ideals of theatre history and practices. Latine theatre history is hardly taught, and if it is, it is touched minimally. Latine culture places an emphasis on a collective, both in theoretical and practical work. Similarly, the practice of dramaturgy itself is rarely mentioned in curriculums, rather intertwined within lessons of acting, directing, and design. This creates an imbalance in practice versus theory in theatre education. I intend to introduce the concept of collaborative dramaturgy: a form of dramaturgy where students collaborate as dramaturgs to bring about discussions about identity. I believe it is important that Latine students are exposed not only to seeing Latine creatives represented on stage but as well as in their curriculum. In this thesis, I will explore the following questions: How does collaborative dramaturgy fit in a Latine classroom? How does a focus on physicality and text aid Latine theatre education? How does Latine representation work in a non-Latine text?

This master’s thesis documents the dramaturgical exploration of the spring 2018 University of Massachusetts Amherst Department of Theater’s production of gender non-conforming performance artist Taylor Mac’s The Lily’s Revenge. The thesis is separated into two parts. The first half focuses on my dramaturgical analysis of Mac’s play and its exploration of queer temporality and queer embodiment, asserting the importance of queer aesthetics in American drama and its vital role in shaping the future of LGBTQIA+ politics in the United States. The second half includes reflections on rehearsal processes and performances, giving readers and fellow artists examples of the potential of queer dramaturgical practices that are products of LGBTQIA+ theater and politics in the United States. These reflections show the application of research to rehearsal processes into theatrical performances as directed, designed, and performed by graduate and undergraduate students at UMass Amherst Department of Theater, located in Amherst, Massachusetts, thus giving a trajectory of how the queer and feminist theories written into the play are manifested into a full production through collaborative design, movement, staging, and performance. Drawn from my discoveries while working on The Lily’s Revenge as production dramaturg, I have shaped my own style of collaborative “queer dramaturgy” with the director and designers, hopefully, opening new entry points of future explorations for queer dramaturgs to synthesize theory and practice onto the stage with collaborators from all disciplines and identities.

This M.F.A. thesis in dramaturgy presents the first-ever stage adaptation of South African writer Marlene van Niekerk’s 2004 novel Agaat. Van Niekerk is an internationally acclaimed novelist, short story writer, poet, and dramatist particularly known for her lengthy novelistic excavations of Afriakner identity, in which sexuality, race, and gender collide in compelling but fraught ways. Covering nearly fifty-years of South African history—from the establishment of apartheid in 1948 through the nation’s transition to democracy in 1994—Agaat investigates everyday cycles of abuse and intimacy through the story of white farmer Milla de Wet and her coloured adopted daughter-cum-maid, Agaat Lourier. This thesis foregrounds the interconnections between theory and practice by presenting both the adaptation itself and a prolonged engagement with theories of adaptation and dramaturgy. It is framed, then, around a simple question: How might dramaturgy and adaptation, as cultural and artistic processes and products, encounter one another? Through analysis of current discussions in the fields of Adaptation Studies and dramaturgy, and reflections on the particular challenges and possibilities of adapting van Niekerk’s novel to the stage, the thesis argues that adaption can be understood as a mode of encounter that opens up spaces for connection between people, texts, and cultures. A dramaturgical method of adaptation is concerned not with hierarchy, authority, and fidelity, but rather with viewing adaptation as a conversation between a network of resonances. The thesis begins with an overview of van Niekerk’s work and context, moves to an examination of current conversations in Adaptation Studies and dramaturgy, and concludes with a prolonged reflection on the process of adapting Agaat to the stage.