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This study seeks to explore the meaning of diary-keeping for women. In particular, this research is focused on the relationships between the diary and leisure, the diary and performance, and the diary and dominant gender discourse. This study is guided by a feminist, dramaturgical, qualitative, interpretive framework. Unstructured “active” interviews with seven women in a rural, Nova Scotian community were used to create a collaborative process driven by the participants’ experiences as diarists. The phenomenological method was used to analyze the resulting transcripts. By incorporating interviews with diarists into the analysis, and by framing the research within leisure studies, this research addresses two gaps in the existing literature on diaries: the lack of women’s voices in the interpretation of their diaries and the absence of the diary in leisure studies. This study found that the social experience of diary-keeping can reproduce dominant gender discourses; however, findings also demonstrated that women use their diaries to resist the ethic of care, disrupt oppressive dichotomies and take control of the direction of their lives. Furthermore, diaries are meaningful insofar as they allow the diarist to take control of her personal space, time, and life story. Through this space the diarist can perform the story of her life in whatever way she sees fit; she takes her performance to the public, despite the risk of doing so. Therefore, though the diary can act to reproduce traditional notions of femininity, this research found that it can also be a space for women to resist dominant gender discourses.

This study seeks to explore the meaning of diary-keeping for women. In particular, this research is focused on the relationships between the diary and leisure, the diary and performance, and the diary and dominant gender discourse. This study is guided by a feminist, dramaturgical, qualitative, interpretive framework. Unstructured “active” interviews with seven women in a rural, Nova Scotian community were used to create a collaborative process driven by the participants’ experiences as diarists. The phenomenological method was used to analyze the resulting transcripts. By incorporating interviews with diarists into the analysis, and by framing the research within leisure studies, this research addresses two gaps in the existing literature on diaries: the lack of women’s voices in the interpretation of their diaries and the absence of the diary in leisure studies. This study found that the social experience of diary-keeping can reproduce dominant gender discourses; however, findings also demonstrated that women use their diaries to resist the ethic of care, disrupt oppressive dichotomies and take control of the direction of their lives. Furthermore, diaries are meaningful insofar as they allow the diarist to take control of her personal space, time, and life story. Through this space the diarist can perform the story of her life in whatever way she sees fit; she takes her performance to the public, despite the risk of doing so. Therefore, though the diary can act to reproduce traditional notions of femininity, this research found that it can also be a space for women to resist dominant gender discourses.

This interpretive study uses hermeneutic phenomenological methodology to understand the experience of six college students in Taiwan who participate in TV talk show as studio audience. Texts were collected from in-depth interviews. The result indicated a dramatic interaction framework toward the whole experience: participants as performers must ¡¥act¡¦ like undergraduate students, though the show ¡V from script, setting to personal front ¡V must be ratified by producer. Furthermore, two transformative effects are found in participants. First, they were socialized in the studio through the performance, and learned more social-performing skills and scripts. Second, they are bothered by mixing up their drama-roles with social-roles. It was the producer¡¦s purpose to represent ¡¥a world beneath¡¦ of college students in University. However it became ¡¥a public trial¡¦ on TV after excessive entertainment manipulation.

The raison d¡¦être for non-profit organizations (NPO) is to promote its ideas in hoping to change the society. NPOs pursue the goals that benefit the public, and communicate and market its missions through various channels, thus can be considered as a branch of ¡¥social marketing.¡¦ However, as a member of the mundane world, however supreme its ideals may be, from the perspective of symbolic interactionism and Irving Goffman¡¦s dramaturgy, NPOs inevitably face the same reality like any other organizations ¡V the gap between ideas and practices, the contrast between front-stage and back-stage, and the seemingly irrelevance but virtually two sides of one coin between seriousness and ludicrousness. This study uses two small NPOs as the context for research and the field for participant observation. The research adopts ethnographically-oriented participant observation as its methodology approach. Taking ¡¥social marketing¡¦ as a contrast, it uses dramaturgy, social representation theory, and symbolic interactionism to sneak into the process of human interaction under the sacred umbrella of NPOs¡¦ missions. The results indicate the following points: 1.During the process of idea practicing, ideals have to compromise with practices, and a balance between the two has to be met; 2.Although the participants of NPOs¡¦ activities appear to be supportive to NPOs, they may actually be attracted by the activities itself (not the ¡¥mission¡¦), or even worse ¡V they do not really care about what NPOs intend to do; 3.It appears that volunteers come forward to help marketing activities because they identify with the NPOs; however, very often they are being attracted by their own interest and/or ¡¥guan-xi¡¦; 4.Full-time workers are responsible for daily operation of the NPOs, and therefore have more knowledge about the organization. Although they are on behalf of their organizations and thus their ideals, they still need to practically make their livings while also look for opportunities for self-fulfilling. 5.Under the guidance of their missions, NPOs also face challenge to survive, and have to interact and communicate with the public under the framework of daily life.

Playwriting theory has, from its beginning, been concerned with the search for the essential nature of dramatic writing. Early playwriting treatises (poetics) defined the essential aspects of drama as being the plot (creation of sequences of fictional events), the moral character of its heroes, the idea of enactment, or the rhetorical and lyrical qualities of the text. These categories were kept through later treatises with different emphasis being put on each category. An understanding of drama as a sequence of fictional events (plot) has been central in acting theory. Modern theories and techniques centred on Stanislavsky’s ideas rely heavily on rehearsal methods that carefully establish the sequence of actions of the characters in a play as a result of psychological motivations. This method was described by Stanislavsky in An Actor’s Work on a Role, published in 1938, and is known as the Method of Physical Actions. This thesis reassesses the definition of playwriting as consisting essentially in the creation of a plot populated by suitable characters. Rather than discussing playwriting theory in isolation it attempts a bridge between acting theory and playwriting theory by using the Method of Physical Actions as an equivalent to plot. Acting theory is thus considered as a theoretical justification for the centrality of plot. The method used is hermeneutic — a systematic interpretation of poetics, unveiling in almost an archaeological manner the relevance of the essential definitions of drama, such as character, source, genre, and language to the concept of plot. The chronological path of development of dramatic theories is shown to be gradual: from the strict obedience to the narrative line imposed by the mythic sources, in classical treatises; through to an interest in the lyrical expression of the predicament of specific characters, in neoclassical theory; to an awareness of specific social types in the eighteenth century; and, finally, to the conception of the plot as a product of the mental life of individual characters in modern theory.

Edward Albee's late-career plays contain realistic characters who struggle to create identities for themselves in an America still clinging to misbegotten cultural ideals of the 1950s (e.g. power, money, the "perfect" family). This thesis seeks to give these relatively unexamined later plays the attention they deserve. Therein, Albee's conception of the American Dream is defined through an analysis of essays on post-World War II American domestic social attitudes. The playwright's biography is also examined. I then discuss Albee's stylistic and thematic groundwork by way of criticism of several early plays (The Zoo Story, The American Dream, Who's Afraid of Virginia Woolf?), followed by original textual analysis of three later plays (Three Tall Women, The Play About the Baby, The Goat, or Who is Sylvia?) in an attempt to uncover how Albee's comment on American cultural mythology has changed since the beginning of his career.

Magistro darbo tikslas – aptarti monologą XIX a. pab. – XXI a. pr. lietuvių dramaturgijoje. Monologų sklaida išryškina skirtingų lietuvių dramaturgijos laikotarpių bendrąsias tendencijas: vyraujančių charakterių pobūdį, prasmines slinktis, žanrines, stilistines ypatybes, specifinį estetinį psichologinį poveikį, ryšį su adresatu. Vaižgantas, Keturakis, Žemaitė įtvirtino realistinį tikrovės vaizdavimo būdą. Romantinėse pjesėse formuojamas „aukštasis“, poetinis dramos stilius. Realistiniams kūriniams būdingas šnekamosios kalbos imitavimas. Monologams būdinga funkcija – atpasakoti pasibaigusius įvykius ir buvusius išgyvenimus. Dramaturgai neoromantikai siekė dramaturgiją pakreipti romantinio atsinaujinimo linkme. Pasak J. Lankučio, pradėta tolti nuo įprastinio patriotinių jausmų deklaravimo, istorinės, socialinės iliustracijos. Skirtingai nei mėgėjiškosios dramaturgijos laikotarpiui, neoromantizmo dramaturgijai būdingas žanrinis sinkretizmas. Apie žanrinių ribų maišymąsi byloja paantraštės (pavyzdžiui, V. Krėvės „Šarūnas“ – „Senųjų dienų gyvenimo pasaka“). Monologų analizė išryškina V. Krėvės, V. Mykolai�����io-Putino dramų orientaciją į poezijos žanrą, į jos stilistiką. Neoromantinių kūrinių monologe ryškus lyrinis pradas: personažai pasakoja apie šios akimirkos būsenas ar įvykius. Atsiranda poetiškumas, lyrinis subtilumas, vaizduojami ryškūs, individualizuoti charakteriai. Išskiriamas savitas kalbėjimo būdas: stilizuojama lietuvių liaudies daina. „XX a. 3 – 4 dešimtmečių... [toliau žr. visą tekstą] / V. Summary ‘‘Development of the monologue in Lithuanian dramaturgy“ In this study was analised the monologue in XIX century end – XXI century beginning dramaturgy. At the beginning of the work, conception of the monologue is given. In it different attitudes of dramatists to monologue is emphasized. Some dramatists think, that certain elements of monologue forms are negatyve, not acceptable (statics of thoughts and thinking, outburst of emotions) and the monologues in their dramas are not used often. The others think, that monologues have merit and use them in drama. A. Samulionis, P. Pavi give the classification of the monologues, though it is not detailed. In monologues problematics, themes of “Amateurish dramaturgy“ the realistic reality representing way (the dramas of Žemaitė, Keturakis, Vaižgantas) and romantic-patriotic (A. Fromas-Gužutis) are often used. The main functions of the monologue: informational, dinamical, pushing the act of the drama further, characterising the personage who is taking, structural-compositional. The orientation to poetry stilistics and genre of V.Krėvė, V. Mykolaitis-Putinas reveals in neoromantical drama: mithology, lyrism. In monologues distinct individualised characters are pictured in the historical dramaturgy. Of the middle of the XX century (J. Grušas, J. Marcinkevičius) the monologues show universal, crossing the concrete historical times problematics. The language is characterised with didactical tones, passionativenes. K. Saja... [to full text]

This work aims to study the Post Modern tendencies, dominating in Modern Lithuanian dramaturgy. The aim is achieved through the analysis of different plays of two Lithuanian playwrights: Marius Ivaškevičius and his works “Madagaskaras“ and “Malыš”, as well as Laura Sintija -Černiauskaitė’s and her play “Liučė čiuožia”. Critics and experts of the theory of theatre refer to them as the most promising Lithuanian Modern playwrights. These works were staged in theatre and reconized in various festivals.

This project examines the ways in which allusion and quotation may be used by playwrights in the composition of play scripts, principally through the writing of two full length stage plays, String and The Talent, accompanied by a supporting exegesis. This exegesis examines how quotation and allusion are used in these works to support particular meanings intended by the author. The project also looks at theories that consider the ways allusion functions, particularly focusing on the debate in the field between the advocates of the theories of influence and intertextuality. It does not attempt to provide an historical overview nor an exhaustive investigation of the development of the major theories and their advocates, but rather to consider more summarily - in outline rather than in detail - the manner in which these ideas have set out to explain how allusion functions in texts. This project suggests its own theory on the way (particularly literary) allusion works. Transtextuality, although itself only a partial and incomplete means of explaining the allusive transaction, refers to the movement of language between texts. Allusion offers a mechanism by which authors of a new text may underscore intended meaning by reference to established texts based on the assumption that the meaning of the quoted text is already understood (or can easily be accessed), and that therefore that meaning is transferable to the new text and can be absorbed into the different context into which it has been placed. The purpose of this study is in part to examine the way allusion works as a practice of intertextuality, transtextuality and the influence of one or more texts upon another. It concludes that allusion to and quotation from one text by another operate as acts of authorship, literary devices employed by the writer as mechanisms for the attempted communication of intended meaning. In doing so, it is hoped that the project may articulate ways in which allusion and quotation can be used by playwrights in the composition of their dramaturgy.