In my research into interdisciplinary choreographic processes, I found there to be a lacking representation of recent scholarship dedicated to exploring the relationship between literature and dance. As a dance theatre choreographer who often utilizes textual sources as impetuses for artistic creation, I have employed methods of traditional dramaturgy in my practice and, in seeking scholarship on this subject, have noted a need for clear examples of dance dramaturgy in practice. In this thesis study, I employed methods from literary studies and dramaturgy in the process of adapting a work of short fiction by Kurt Vonnegut for the stage. I documented my process and have structured the information for the benefit of those who may read it. The artistic product of this research was presented to an audience in direct relation to its literary source. At the conclusion of this research, I posit that dance can function as literary criticism.

A presente tese procura operar uma análise interpretativa de seis peças teatrais brasileiras recentemente escritas (do ano de 2000 em diante), das setenta e uma peças lidas ao longo da pesquisa de doutorado, a título de exemplificação de três modos distintos de operar em sua arquitetura a tensão entre a tradição dramática e sua ruptura. Em linhas gerais, as rupturas parciais dos preceitos do drama dão-se por meio da organização do material em forma de fragmentos de dramas, na maioria das vezes justapostos e disjuntos, por meio do enfraquecimento da função dramática do diálogo, que tende à conversa destituída do poder de progressão causal, chegando mesmo ao esfumaçamento do referencial e supervalorização da linguagem enquanto instância poética e, finalmente, por meio do uso de recursos dramáticos e não dramáticos enquanto objetos de linguagem a funcionar como material da peça com os quais o autor se deleita, manipulando-os em chave de humor. / This thesis seeks to operate an inter pretive analysis of six recently written Brazilian\'s plays (from 2000 onwards), chosen among the seventy one pieces that have been read along the doctoral research, as an exemplification of three distinct modes of operate on its architecture the tension between the dramatic tradition and the rupture from it. In general, the partial ruptures of the precepts of drama take place through the organization of material in the shape of drama\'s fragments, most of the time juxtaposed and disjoint, through the dramatic weakening of the function of dialogue, which tends to the conversation devoid of power from causal progression, which may reach the blurring of referential and overvaluation of language as poetic instance, and finally through the use of dramatic and not dramatic resources as language objects to operate as material of play with which the author delights, manipulating them in a key mood.

An exploration of the challenges that participatory culture presents to traditional theatre experiences and practical ideas for creating participatory lobby displays, including case studies.

Thesis (M.A.)--Miami University, Dept. of Theatre, 2007. / Title from first page of PDF document. Includes bibliographical references (p. 36-37).

The movement of blog is its usage of friendly interface, which makes fearful people overcome the barriers to the technology. Moreover, blog makes people hold the power, which in the past only a few privileges could have to contact the society. Its model of usage also becomes uploading from downloading. Blogging has people be the public communicators to the whole world. Blogging, which contains the characteristics of personality, free writing style, immediateness, and hyperlinks, has become the top ten of popular internet activities in Taiwan since 2006. Blog is the virtual environment controlled by its owner. Therefore, the correct self-image presented in front of the audiences is quite important. Trammell and Keshelashvili found that A-list bloggers not only express much more self information than common users but also actively engage in the impression management. The purpose of this research uses the dramaturgy of Goffman, self-concept of James, and impression management of Jones to discuss these popular bloggers how to play each self-performance and fulfill the dreams to be super stars in their fields through the usage of some blog elements, such as words, multimedia and so on. A-list blogs are not merely searched, hyperlinked and subscribed by other blogs but their views can compete with the mainstream media as well. Therefore, this research has tried to investigate the internal characteristics of blog content and the self-presentation and the strategies of impression management of A-list bloggers. The results of this research are divided by the discussions in the three dimensions. First, the external characteristics of A-list blogs remain the basic or original structure and a little change. Moreover, A-list blogs use few stretched elements and their articles are published with both words and pictures. Second, the research has found that these A-list blogs are mainly diary-type and besides, personal and life-style typologies. In other words, A-list bloggers view blog as the platform of their expression and self-record. Especially, the female A-list bloggers prefer to the diary-type blogs. On the contrary, more male A-list bloggers have the filter-diary blogs. Furthermore, hyperlinks extend the bloggers¡¦ views, express their personal information and also present the image as¡§blog is me¡¨. Third, the self-presentation of A-list bloggers is the performance of the front stage, which most bloggers carefully control in front of the audiences to get their liking and praise with the ingratiation and self-promotion.

As a new information technology, blog just becomes another space where users present themselves. It plays a role that extends individual¡¦s real life experiences. The personalized medium of individual style is not only the concrete product of user¡¦s own faith and value, but also the self-presentation stage of users. And blog has close correlation with user's self-approval construction. On the other hand, as a result of digital camera¡¦s prevailing, it accomplishes the blog¡¦s high popularizations. There¡¦re more and more photographic skilled people like using blogs to try their skills greatly or to accumulate their creations. Blogs have become the best platforms for them to cut a fine figure. A blog comprising photos is called photoblog. For them, photoblogs are their fervent personal stylish image dairies. This research takes spectacle/performance paradigm and dramaturgy as the main theories to dive into the behaviors of bloggers¡¦ self-presentations on the blogs, incising from blogger, audience, blog, articles and so on as breakthrough points. This research takes in-depth interview and text analysis as research methods to explore how bloggers present, read, and react with readers while they use blogs on the internet. According to the research findings, blog has transformed from personal media to personal performance stage, and photography has become one consumption tool which makes bloggers express themselves beyond writing. As a result, blogs have become new media-spectacle made by users¡¦ self-performances. Involving that, the ambit between culture-producer and culture-consumer has vanished. People who watch other¡¦s performances also become the performers who are watched by others at the same time. Blogs have been viewed as an exhibition where bloggers can promote ideas, reflect inner moods, realize and remind themselves by photography. People still can choose photography as new lifestyle which has stronger personal uniqueness. Then, people can express this kind of new lifestyle on the personalized blog platform and accomplish the circuit of spectacle/performance.

I define the youth respondent method as a process by which artists and/or producers involve children and/or young adults through planned theatre activities or discussions with the objective of answering specific questions about the development of the work and collect feedback to improve the text or further the production. This pluralistic practice grants agency for the target audience, while informing the creators of the possibilities of the play and answering challenging questions regarding the work. Considering a continuum that places creative dramatics and children’s theatre at its poles, the youth respondent method demonstrates a merger of the two genres affiliated with youth, theatre, and play. My dissertation documents the youth respondent method’s application in a number of mid-twentieth century and contemporary case studies from the U.S., all of which received national attention through festivals and professional productions at regional theatres throughout the country. These case studies include: Playwright Charlotte Chorpenning’s work with the Goodman Theatre (1940s), Deni Kruger’s play MUDDY BOOTS (2005), Jason Tremblay’s play KATRINA: THE GIRL WHO WANTED HER NAME BACK (2009), Lydia Diamond’s play HARRIET JACOBS (2008), and Duncan Sheik and Stephen Sater’s musical SPRING AWAKENING (2006). This diverse group of plays and musicals relied on variations of the youth respondent method at different stages of their development and production processes, in which youth took the reins to serve as collaborative creators. The child is another essential collaborator in determining how their generation can make a better future through the practice and art of theatre. I examine the dialectics between artists, scholars, producers, and children, applying the youth respondent method. This model strengthens Theatre for Young Audience (TYA) plays while it gives children the agency to learn, exchange ideas, and address subjects that are important to them. TYA is a continually expanding field, although there is a significant lack of scholarship documenting its growth and such important practices as this method. By documenting various forms of the best of this practice, I hope to educate other scholars and practitioners about its vitality. / text

This practice-as-research project discusses modes, processes and aesthetics of contemporary dramaturgy, as practiced in experimental theatre and dance works in Europe from the 1990s onwards. In order to do this, the project draws particularly on discourses around ‘drama’ and suggests that the term can be redefined and usefully rehabilitated for both analysis and the creation of experimental performances. More specifically, this project defines drama (deriving from the Greek dro=act) as stage action, and dramaturgy (deriving from the Greek drama + ergo= work) as a practice that works endlessly for the creation of this drama/action on stage and is therefore always connected with it. In order to approach the newly proposed notion of ‘experimental drama’, this research uses the six main dramatic elements offered by Aristotle in his Poetics: plot, character, language, thought, the visual and music. Furthermore, it adds a seventh element: the spectator and contemporary understandings around the conditions of spectatorship. It then offers an analysis of dramaturgical processes and aesthetics of experimental stage works through these elements. Given that this is a practice-as-research project, it is accordingly multi-modal and offers its perspectives on dramaturgy and experimental drama through both critical and performance texts, documentation traces (photographs and video recordings) of artistic practice – all present in this thesis – and a live event; all these modes complement each other and move constantly between the stage and the page to proceed with the research’s inquiries. The current thesis has borrowed the dramaturgical structure of two artistic projects, created within the frame of this research practice, to generate its writings. The introductory parts of this text place the work within the discourse on practice-as-research and discuss the project’s proposal for an analysis of contemporary dramaturgy through drama. The Short (Research) Stories that follow analyze experimental works, created both within the frame of this research practice and outside it, by other artists, following the Aristotelian model. The element of spectatorship intervenes in this analysis instead of standing separately in the thesis. The project’s closing live event returns from the page to the stage to continue and add to discussions around central issues of the work, in its various distinct modes.

This thesis is a study on how game mechanics affect dramaturgy through pacing within the multiplayer MOBA genre of video games and serves as an addition to ease dramaturgic design for future games. The thesis contains an introduction of drama and some of related terms in addition to the MOBA game genre, its format and a short history of the genre. To compare the observations and analysis made in this study, previous work on both dramaturgy and pacing have been recollected.

A presente tese procura operar uma análise interpretativa de seis peças teatrais brasileiras recentemente escritas (do ano de 2000 em diante), das setenta e uma peças lidas ao longo da pesquisa de doutorado, a título de exemplificação de três modos distintos de operar em sua arquitetura a tensão entre a tradição dramática e sua ruptura. Em linhas gerais, as rupturas parciais dos preceitos do drama dão-se por meio da organização do material em forma de fragmentos de dramas, na maioria das vezes justapostos e disjuntos, por meio do enfraquecimento da função dramática do diálogo, que tende à conversa destituída do poder de progressão causal, chegando mesmo ao esfumaçamento do referencial e supervalorização da linguagem enquanto instância poética e, finalmente, por meio do uso de recursos dramáticos e não dramáticos enquanto objetos de linguagem a funcionar como material da peça com os quais o autor se deleita, manipulando-os em chave de humor. / This thesis seeks to operate an inter pretive analysis of six recently written Brazilian\'s plays (from 2000 onwards), chosen among the seventy one pieces that have been read along the doctoral research, as an exemplification of three distinct modes of operate on its architecture the tension between the dramatic tradition and the rupture from it. In general, the partial ruptures of the precepts of drama take place through the organization of material in the shape of drama\'s fragments, most of the time juxtaposed and disjoint, through the dramatic weakening of the function of dialogue, which tends to the conversation devoid of power from causal progression, which may reach the blurring of referential and overvaluation of language as poetic instance, and finally through the use of dramatic and not dramatic resources as language objects to operate as material of play with which the author delights, manipulating them in a key mood.