徐渭《四聲猿》由《狂鼓史漁陽三弄》、《玉禪師翠鄉一夢》、《雌木蘭替父從軍》和《女狀元辭凰得鳳》四個雜劇組成，對明清雜劇的影響深遠。《四聲猿》從問世到清代，文人雅士通過序跋、評點、刊刻和擬作紛紛顯示出對《四聲猿》的關注。究竟《四聲猿》有甚麼獨特之處吸引著明清二代的文人？他們所關注的又是甚麼呢？又明清文人對其接受有何不同？雖然關於《四聲猿》的研究已經非常豐富，但卻集中文本內部的討論，加上資料的缺乏，對《四聲猿》在明清的接受概況缺乏全面的分析。因此，筆者致力於搜集《四聲猿》在明清時期的評點本及與《四聲猿》聯繫的雜劇創作，欲勾勒出明清文人對《四聲猿》接受的情況；且有幸發現一些未被學界引用的評點善本及戲曲創作，尤其是當中新發現上海圖書館所藏的明天放道人評點善本，展示了《四聲猿》更多元化的接受方向。 / 本文主要從兩方面分析《四聲猿》在明清的接受概況，第一，從《四聲猿》的版本流傳及演出紀錄、傳播者、戲曲批評、戲曲創作四方面分析明清文人對《四聲猿》的接受；第二，則以時間為軸線，從明中葉、晚明清初、清中期及清末四個階段分析文人對其接受重心的轉變。本文共分七章，第一章為緒論部分，首先簡介徐渭的生平及《四聲猿》、研究概況、本文的研究動機及方法；第二章為《四聲猿》與民間文化、文人文化的關係，分析作品對民間文化的吸收及當中所體現的文人對自身及社會的關注；第三章介紹《四聲猿》的明清版本流傳及演出紀錄；第四章為《四聲猿》的明清評點與批評，從對《四聲猿》起傳播作用的重要人物袁宏道、澂道人及其他戲曲批評家分析《四聲猿》在明清接受的面貌，當中更會引用新發現的天放道人評點本如何將《四聲猿》擴展至社會功用的價值；第五章為晚明至清中葉戲曲家對《四聲猿》的仿寫與續作，通過對沈自徵《漁陽三弄》、張韜《續四聲猿》、桂馥《後四聲猿》的擬作分析探討明清不同時期對《四聲猿》接受的重心轉變；第六章為猿啼五聲──清末戲曲家洪炳文《懸嶴猿》研究，分析在時局動盪、國家危難之時，劇作家如何深化《四聲猿》猿啼之悲的意象，以此鼓勵人心，圖以救國；最後第七章則總結明清以來，《四聲猿》在戲曲批評、戲曲作品以致詮釋上方面的轉變。 / Xu Wei（徐渭） sisheng yuan（《四聲猿》） is very important in the Ming and Qing Dynasty. It includes four short plays, they are Kuang gushi yuyang san nong（《狂鼓史漁陽三弄》）, Yu chanshi cuixiang yimeng（《玉禪師翠鄉一夢》）, Ci Mulan tifu congjun（《雌木蘭替父從軍》）and Nu zhuangyuan cihuang defeng（《女狀元辭鳳得凰》）. During the Ming and Qing Dynasty, literti paid a lot of attention on sishengyuan accroding to the criticism, preface, ed his works and simulated drama creation（擬作）, why did they attach great importance to sishengyuan? What were their concern? Also, what is the difference of reception between the Ming and Qing Dynasties? The research on the sishengyuan has already got many achievement, but most of them were based on the textual study. The previous research lack of a comprehensive analysis of sishengyuan reception. Therefore, this paper is aim to sketched out the image of recognition process of Xuwei ’s Sishengyuan in the Ming and Qing Dynasty. / This paper is divided into seven chapters. The first chapter is the introduction of xuwei sishengyuan, research review and method. In the second chapter, we will analysis sishengyuan’s vulgar culture and xuwei’s concern about the society. The third chapter is sishengyuan’s versions and performance record in the Ming and Qing Dynasty. In the chapter four, we will analysis sishengyuan’s criticism in the Ming and Qing Dynasty. It included Yuan hongdao（袁宏道）, Daoist Cheng（澂道人） and other important literati, Also we will use the new discovered details of Daoist Tianfang’s(天放道人) criticism, to find how did he extened the sishengyuan’s value to the social function. The chapter five is the simulated zaju（擬作）during the late Ming the the early Qing. They are Shen zizheng’s（沈自徵） yuyang sannong（《漁陽三弄》） Zhan Tao’s（張韜） xu sishengyuan（《續四聲猿》）, Gui Fu’s（桂馥） hou sishengyuan（《後四聲猿》）. In this chapter we will find the difference of sishengyuan’s reception between them. The chapter six is a study on the Hong bingwen’s（洪炳文） yuan aoyuan（《懸嶴猿》） in the late Qing. It will focus on how did he deepen the imagery of sisheng yuan to encourage people to save their country. The last chapter is an summary of the sishengyuan’s reception in the Ming and Qing Dynasty. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 楊培紅. / "2013年1月". / "2013 nian 1 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 212-219). / Abstract in Chinese and English. / Yang Peihong. / Chapter 第一章 --- 緒論 / Chapter 第一節： --- 明清雜劇發展史視野下的徐渭《四聲猿》 --- p.P.1 / Chapter 第二節： --- 研究述評 --- p.P.4 / Chapter 第三節： --- 研究動機 --- p.P.10 / Chapter 第四節： --- 研究方法及範圍 --- p.P.11 / Chapter 第二章 --- 《四聲猿》與民間文化、人的關係 / Chapter 第一節： --- 徐渭的戲曲觀 --- p.P.14 / Chapter 第二節： --- 《四聲猿》的民間文化 --- p.P.16 / Chapter 第三節： --- 文人的抒情與寄託 --- p.P.24 / Chapter 第三章 --- 《四聲猿》的明清版本與演出紀錄 / Chapter 第一節： --- 版本介紹 --- p.P.36 / Chapter 第二節： --- 選本及演出紀錄 --- p.P.38 / Chapter 第三節： --- 結語 --- p.P.45 / Chapter 第四章 --- 《聲猿》的明清評點與批評 / Chapter 第一節： --- 袁宏道傳記與評點對《四聲猿》的播作用 --- p.P.46 / Chapter 第二節： --- 孟稱舜對《狂鼓史》與雌木蘭的改評 --- p.P.62 / Chapter 第三節： --- 新發現的天放道人評《四聲猿》及其教化旨趣 --- p.P.68 / Chapter 第四節： --- 澂道人的評點及其生平考證 --- p.P.82 / Chapter 第五節： --- 結語 --- p.P.98 / Chapter 第五章 --- 晚明至清中葉戲曲家對《四聲猿》的仿寫與續作 / Chapter 第一節： --- 沈自徵《漁陽三弄》 --- p.P.99 / Chapter 第二節： --- 張韜《續四聲猿》 --- p.P.121 / Chapter 第三節： --- 桂馥《後四聲猿》 --- p.P.138 / Chapter 第四節： --- 結語 --- p.P.162 / Chapter 第六章 --- 猿啼五聲－－清末戲曲家洪炳文《懸嶴猿》研究 / Chapter 第一節： --- 猿啼五聲的創作結構 --- p.P.166 / Chapter 第二節： --- 忠臣護主之鳴 --- p.P.171 / Chapter 第三節： --- 孤臣抗之鳴 --- p.P.176 / Chapter 第四節： --- 懲兇儆奸之鳴 --- p.P.178 / Chapter 第五節： --- 救亡圖存之鳴 --- p.P.181 / Chapter 第六節： --- 女史展墓之鳴 --- p.P.188 / Chapter 第七節： --- 結語 --- p.P.197 / Chapter 第七章 --- 總結 / 附錄

張惠玲. / "二〇〇八年十一月". / "2008 nian 11 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 97-105). / Abstracts in Chinese and English. / Zhang Huiling. / Chapter 第一章 --- 引言 --- p.1 / Chapter 第一節 --- 選題意義 --- p.1 / Chapter 第二節 --- 前人硏究成果 --- p.2 / Chapter 第三節 --- 本文硏究範圍及方法 --- p.2 / Chapter 第二章 --- 現存元明清李白戲作品敘錄 --- p.4 / Chapter 第一節 --- 王伯成《李太白眨夜郎》 --- p.8 / Chapter 第二節 --- 屠隆《綵毫記》 --- p.9 / Chapter 第三節 --- 尤侗《清平調》 --- p.10 / Chapter 第四節 --- 張韜《李翰林醉草清平調》 --- p.11 / Chapter 第五節 --- 楊潮觀《賀蘭山謫仙贈帶》 --- p.12 / Chapter 第六節 --- 蔣士銓《采石磯》 --- p.13 / Chapter 第三章 --- 元明清李白戲中相同關目之源流及發展梳理 --- p.15 / Chapter 第一節 --- 生應長庚 --- p.16 / Chapter 第二節 --- 謫仙人 --- p.18 / Chapter 第三節 --- 醉草〈清平調〉 --- p.24 / Chapter 第四節 --- 力士脫靴 --- p.26 / Chapter 第五節 --- 貴妃捧硯 --- p.28 / Chapter 第六節 --- 起草「嚇蠻書」 --- p.34 / Chapter 第七節 --- 賞識郭子儀 --- p.36 / Chapter 第八節 --- 逝世 --- p.38 / Chapter 第九節 --- 小結 --- p.39 / Chapter 第四章 --- 元明清李白戲中李白形象硏究 --- p.40 / Chapter 第一節 --- 李白戲中李白形象之共性分析 --- p.40 / Chapter 甲、 --- 歷劫紅塵的仙人形象 --- p.40 / Chapter 乙、 --- 傲岸疏狂的才子形象 --- p.42 / Chapter 丙、 --- 深識遠慮的忠臣形象 --- p.46 / Chapter 丁、 --- 飄然出世的隱士形象 --- p.49 / Chapter 第二節 --- 李白戲中李白形象之殊性分析 --- p.52 / Chapter 甲、 --- 元代李白戲 --- p.52 / Chapter 乙、 --- 明代李白戲 --- p.54 / Chapter 丙、 --- 清代李白戲 --- p.55 / Chapter 丁、 --- 小結 --- p.62 / Chapter 第五章 --- 元明清李白戲之鋪演與作家、時代之關係 --- p.64 / Chapter 第一節 --- 高壓政治下的王伯成 --- p.64 / Chapter 第二節 --- 自況雪冤的屠隆 --- p.66 / Chapter 第三節 --- 蹭蹬場屋的尤侗 --- p.71 / Chapter 第四節 --- 無限牢騷的張韜 --- p.79 / Chapter 第五節 --- 以古賢自期的楊潮觀 --- p.80 / Chapter 第六節 --- 以曲爲教化的蔣士銓 --- p.83 / Chapter 第七節 --- 小結 --- p.88 / Chapter 第六章 --- 餘論：現存唯一能演出之崑劇李白戲´ؤ´ؤ〈太白醉寫〉 --- p.91 / Chapter 第七章 --- 結論 --- p.96 / 參考書目 --- p.97

Thesis (MDram (Drama))—University of Stellenbosch, 2006. / The spoken language usually consists of the formal and standardised component and an informal colloquial language. The colloquial language may include some language variants. These variants are forms of the language that show deviations when compared to the standardised form of the language and are usually spoken by a specific group of people. Sometimes these colloquial variants are used in writing. This study looks at the use of these colloquial variants in theatre scripts. The variants are implemented for various functions in these scripts, which include the metaphoric, the comic, the realistic, the poetical and the political uses as well as the documentation of specific variants. In this research project I discuss the use and functions of a few Afrikaans variants in plays. Other areas of interest include sociolinguistics, the influence of English on Afrikaans and its impact on the future of Afrikaans, as well as a brief discussion of the problematic term Standard Afrikaans.

Since the turn of the century Scottish drama has struggled to create drama distinct from England's. The four century dearth in playwriting is attributed to the antipathy of the Scottish Kirk holding sway in Scotland after King James moved his court to London in 1603. Inspired by Dublin's Abbey Theatre, the Scots' dream of a national theatre is traced through three major periods: Rebirth, Inter-war and Postwar. Analysis reveals organismic development where spurts of growth are followed by plateaus of consolidation. An early stage of Kailyard drama was followed by a return to the Scots dialect. Thus they created their own pseudo-indigenous drama. The national theatre torch first carried by the Glasgow Repertory Company in 1909 passed to the Scottish national Players in the 1920s before settling with the Citizens' Theatre in the 1940s. The Post-war Edinburgh Festival has acted like a pressure-cooker to drama. Two Scottish historical studies point to talented writers and theatrical craft in abundance. Nevertheless, first magnitude writers failed to emerge. Scholars identified major weaknesses as: writers poorly based in dramatic theory; bridging the gap between the parochial and universal; historical themes lacking cognizance of the present; and a reliance on derogatory comic stereotypes. This study of three recent Scottish plays, Chinchilla by David Robert MacDonald, Animal by Tom McGrath and The Jesuit, by Donald Campbell concludes that Scottish drama has overcome its weaknesses. It now passes the test of universality without loss of Scottish ethnicity. Dealing with man's relationship to art, his fellowman and God, all three proclaim their Celtic origins through the imaginative use of space, time and consciousness. The authors' sophisticated, poetic use of language indicates that Scottish drama has arrived at last on the threshold of maturity.

本文回顧香港政府治理戲劇活動的歷史，分析三個歷史時期的治理策略，從而探討調節戲劇活動與殖民管治兩者的關條。香港政府在三個時期以不同方式介入戲劇領域，從戰後至六十年代的戲劇審查，後至六十年代後期至七十年代的文化服務，直到八十年代至九七年提倡戲劇的私營部門增長，三者並不連貫。三個時期的治理特色共同之處在於，政府僅僅為了排除危害社會穩定的麻煩，特別是制衡現代中國政權對香港(戲劇)的影響，並不志在正面地建立成果;因此，本文提出香港政府的文化治理是一種否定式治理策略。 / I examine the history of Hong Kong government governing theatrical activities and then analyze the governing strategy in three historical periods; thus, I investigate the relation between regulations of theatrical activities and colonial governance. Hong Kong government employed different ways of intervention in three periods, including censorship from 1945 to 1960s, providing cultural service from late 1960s to 1970s and advocating growth of private sector of theatre from 1980s to 1997. These three strategies are not consistent in terms of achieving goals. Rather, the common character of governing strategies is to get rid of dangerous factor which may harm stability of Hong Kong society, especially the undesirable impact of modern China politics on Hong Kong (theatre ). / Detailed summary in vernacular field only. / 張翠瑜. / "2013年7月". / "2013 nian 7 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 111-118). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Zhang Cuiyu. / 中文摘要 --- p.ii / 英文摘要 --- p.iii / 致謝 --- p.iv / Chapter 第一章 --- 香港戲劇與文化治理 --- p.1 / Chapter 第二章 --- 文化冷戰與戲劇審查 --- p.25 / Chapter 第三章 --- 青年問題與文化服務 --- p.48 / Chapter 第四章 --- 積極不干預、自由市場與創作 --- p.76 / Chapter 第五章 --- 結語 --- p.103 / 參考書目 --- p.111

Shaw, Yomei. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 146-152). / Abstracts in English and Chinese. / Chapter Introduction: --- Definitions and Dimensions of Key Issues --- p.5-14 / Chapter Chapter One: --- An Analytical Review of Translated Drama in Hong Kong --- p.15-26 / Chapter Chapter Two: --- Authenticity and Text-based Theatre in Hong Kong --- p.27-78 / Chapter Chapter Three: --- The Global Stage: the Performance of Other Modernities --- p.79-104 / Chapter Chapter Four: --- Code-switching in Performance Contexts --- p.105-38 / Chapter Conclusion: --- "Adaptation, Transformation and Future Directions" --- p.139-45 / Bibliography --- p.146-51 / Appendix I --- p.152-54 / Appendix II --- p.155-72

Thesis (M. A. (English)) --University of the North, 1989 / Refer to the document

Thesis (MA. (African Languages)) --University of Limpopo, 2014 / Ṱhoḓisiso iyi yo sengulusa u tambudzwa ha vhanna nga vhafumakadzi kha ḓirama dza Mahamba (1989), Ṋetshiranḓo na Munyai (2007) na Ṋetshivhuyu (1989). U tambudzwa ha vhanna nga vhafumakadzi hu khou bvelela fhedzi a hu dzhielwi nṱha. Muvhuso na Madzangano a si a Muvhuso a simesa u amba nga ha u tambudzwa ha vhana na vhafumakadzi ngeno vha sa iti zwo linganaho kha u lwa na u tambudzwa ha vhanna nga vhafumakadzi.

This study examines the foundation of contemporary Cree performance, tracing its existence to traditional Cree narratives. Contained within traditional Cree stories is the trickster, Wasakaychak. These oral stories are shared collectively, providing the community with relevant cultural knowledge. The thesis concludes that contemporary Cree playwrights and performers such as Shirley Cheechoo and Margo Kane maintain the roles of traditional storytellers because their work informs its audience about the history of the land and also comments on the state of the community. This study further demonstrates how the mythological character, Wasakaychak, remains an active part of Cree society by examining his significance within Tomson Highway's plays, The Rez Sisters and Dry Lips Oughta Move to kapuskasing. / v, 107 leaves ; 28 cm.

This thesis investigates the appropriateness and the accuracy of Mbhele's artistry in writing his one-act plays from Izivunguvungu Zempilo, Ishashalazi and Ezemihla Nayizolo. It considers the formal literary elements which include characterisation, themes, setting, plot, dialogue and style of the writer inclusive of the language that has been used. It also involves different kinds of themes that are revealed by this dramatist in his work. His themes cover all the aspects of life. This includes the exploration of the previous political situation and its effect on the lives of the people, the effect of the Western influences on black South Africans and the people's perspectives on education and religion. The theoretical framework that has been used in this study is the historical-biographical approach. The interview with the author has been very helpful in this regard. The purpose of the interview has been to develop some kind of understanding of the author's own ideas, his early life experiences, his educational background, and the sense of the situation the author writes about. This study consists of six chapters; the first chapter serves as the general introduction for the whole thesis. The author's biographical notes, the identification and the discussion of the research methodology and the definition of some important terms, form part of chapter one. In each chapter, there is an explicit explanation of each formal literary element in relation to Mbhele's one-act plays. Chapter two deals with both characterisation and plot, because plot deals with all the events in a story and the way in which these events are connected. All the events in a story involve the characters. Chapter three investigates the themes that are found in Mbhele's one-act plays, and the ways in which they are revealed. Chapter four consists of the dialogue and style of the writer, which includes his use of the language and the form of address used by the characters to address each other. Chapter five discusses the social background of the characters in relation to what they do in the plays. This includes their given social circumstances, the time and the place which the writer has created for them. Chapter six is the general conclusion for the whole study. It includes the summary, observation and some implications for further research. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.