The purpose of this thesis is to make an intensive study of the dramatic works of Max Aub in order to determine his significance as a playwright.

Festivals, including arts festivals, have a long history of acting as special slices of space and time to commemorate or celebrate cultural occasions (Getz, 2007, p. 11). Getz’ views events and festivals as ‘special places’ and ‘other spaces’ that exist in a ‘time out of time’. Despite the proliferation of arts festivals across the globe over the past few decades, there is a lack of articulated and documented approaches with regard to sets of general principles to guide the way in which arts festivals can be structured so as to best activate the special place of a ‘heterotopia’, which can be also be described as an ‘other’ place, similar to Getz’s notion. This dissertation proposes a framework for organising arts festivals that enhances the idea of festivals being special slices of space and time by using the EMBOK Design Domain. It provides a theoretical toolkit for future festival coordinators to be able to theoretically activate heterotopic principles of space and time. In particular, this dissertation considers the 2013-2015 Krêkvars-Kopanong Student Arts Festivals hosted by the Drama Department of University of Pretoria, South Africa. To create this framework, the dissertation first considers the notion of the festival as heterotopia – supporting Getz’s idea that festivals are special places and spaces. The dissertation uses Michel Foucault's six principles of heterotopia to explore the relationship between festivals, space, and time. The dissertation extends Foucault’s theorisation of heterotopia by introducing the concept of ‘splace’. ‘Splace’ is an important concept in order to understand the complexity of, and conceptual interface between, space and place. Secondly, the dissertation considers the Event Management Book of Knowledge (EMBOK), a formal methodology for event coordination that consists of varied spheres of management, known as domains, such as administration, marketing, operations, risk and design. This dissertation argues that the strategic use of the EMBOK Design Domain may activate heterotopic principles when used as part of the process of planning and organising the Krêkvars-Kopanong Student Arts Festival. The Design Domain largely relates to decisions around the creative content of an event. The two main components of this framework, heterotopia and EMBOK, could together form an approach for the Krêkvars-Kopanong Student Arts Festival organiser to enhance the special slice of time and space that the festival occupies – creating heterotopia. The findings of the research can be extrapolated to a broader context by applying the framework to the way design decisions are made in other festivals. / Dissertation (MA)--University of Pretoria, 2018. / Drama / MA Drama / Unrestricted

This thesis explores the characters, themes, and comic devices used in the drama of George Farquhar.

This thesis proposes theatre and performance as tools for understanding the relational emergence of city spaces. It responds to two related urban studies calls. The first is for fine-grained ethnographies of the everyday to learn what city spaces might be becoming in order to strategise how to support these becomings. The second falls under the ‘cultural turn’ in urban thinking: what artistic projects might offer an everyday urbanism. Through an everyday urban lens, the work asserts the performativity of daily actions in constructing space, but also the affectual qualities that daily city life produces. These affectually charged, spatial constructions through the interrelation of daily activity are what make spaces become places, places that are temporary and always evolving. This thesis draws a link between everyday placemaking practices and the artistic practice of playmaking to propose theatre and performance as a way of learning about city spaces, actively engaging with this knowledge and broadcasting it. It argues that theatre and performance staged in the sites it seeks to know and in concert with city dwellers has the capacity to facilitate an embodied, but reflective experience of what it is to be continually implicated as a city dweller in spatial – and therefore place – construction through daily actions. The work takes as its primary focus a year-long participatory theatre and performance project run in the Johannesburg inner city suburbs of Bertrams, Lorentzville and Judith’s Paarl, resulting in a ‘site-specific’ play performed in the streets of the area. The practical component to the study is contextualized within the broader landscape of Johannesburg public art interventions over the last 15 years and specifically in relation to two other Johannesburg-based participatory public art projects: Terry Kurgan’s Hotel Yeoville and a series of public art commissions managed by The Trinity Session. The research uses Tim Ingold’s notion of corresponding with materiality in order to know as a methodology in service of understanding cities through their relational construction. This phronetic approach – knowing through doing – is applied to interpreting Kurgan’s and The Trinity Session’s work and to both the making of the theatre project in Bertrams, Lorentzville and Judith’s Paarl and the writing of this thesis. The study takes place at the intersection between urban studies, theatre and performance studies and public art. It draws together the socially-engaged concerns and considerations of all three fields to propose theatre and performance as a public art form offering a mode of productive, robust engagement with the contemporary urban moment.

Bibliography: leaves 192-196. / This study analyses Role Play teaching techniques employed in Educational Drama and examines the possibility that the current practice of Role Play may actually obstruct the personal and collective empowerment of students, thereby limiting the educative potential of drama.

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Thesis (B.A.)--Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2999-01-02