Thesis (M.A.)--University of Wisconsin--Madison, 1937. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 311-316).

Thesis (M.A.)--Si li Zhongguo wen hua xue yuan. / Cover title.

Thesis (Ph. D.)--Stanford University, 1982. / Includes bibliographical references (p. 209-220).

Thesis (Ph. D.)--Ohio State University, 1973. / Includes vita. Includes bibliographical references (leaves 159-164). Available online via OhioLINK's ETD Center.

Inaugural-Dissertation zur Erlangung der Doktorwürde genehmigt von der Philosophishen Fakultät der Friedrich-Wiehelms-Universität zu Berlin.

Thesis (Ph.D.)--Boston University

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. / 2031-01-02

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. / 2031-01-02

The wars in the Balkans in the 1990s inspired great interest in the historical, socioeconomic and political aspects of the disintegration of the former Yugoslavia. These accounts often referred to the actual events as the ‘Yugoslav tragedy’. Yugoslav theatre, meanwhile, received comparatively negligible attention. An overview of Yugoslav drama in translation points to an interesting trend. The plays which made it to Western Europe, particularly in the 1980s, were plays with a definite metatheatrical dimension. At the same time in Yugoslavia, metatheatre spontaneously became the most effective means of socio-political re-examination. The metatheatrical trend re-occurred with a very different function in the 1990s when the everyday Yugoslav reality was highly theatricalised in the media controlled by the Milosevic regime. In both 1980s and 1990s Yugoslavia, metatheatre essentially sought to examine the collective audience preconceptions. Yugoslavia’s most renowned contemporary playwright, Dušan Kovadevic, is the author of four metaplays studied in this thesis. Other internationally acclaimed Yugoslav metaplays of the period 1980-1999 studied here include Slobodan Snajder’s The Croatian Faust. Ljubomir Simovid’s The Travelling Theatre Sopalovic. Nenad Prokid’s The Metastable Grail. Biljana Srbljanovic’s Family Tales as well as Goran Markovic’s A Tour and Nebojša Romcevic’s Caroline Neuber. Contextually, the thesis also features analyses of older Yugoslav metaplays such as Ivo Brešan’s The Stage Play of Hamlet in the Village of Lower Jerkwater and Dušan Jovanovic’s Act a Brain Tumour or Air Pollution. The thesis is by no means a definitive overview of Yugoslav theatre and its contexts but primarily an exploration of the metatheatrical device, its political significance and its features in Yugoslavia of the 1980s and the rump-state of Yugoslavia in the 1990s.

Greta Bourke and Henry Fowler, co-founders of the Little Theatre Movement of Jamaica, initiated the L TM Pantomime tradition in 1941 to raise funds for an experimental theatre, which would both house contemporary trends from Europe and America and carve out a creative space for the indigenous culture of an emergent New Jamaica. The LTM actively developed the Pantomime audience at the Ward Theatre to reflect a cross-section of society. Coachloads of adults and children from country districts joined the established middle-class theatregoers as well as representatives of the inner city 'people of the yard'. Gradually, the original English-pantomime style production metamorphosed into a different entity. Topical reference, proverbial wisdom, song, dance and vibrant colour were mixed and expressed in language, which zigzagged along the continuum between Jamaican Standard English and Patwa. Over six decades, Jamaican Pantomime has created a prestigious performative space for the retelling of many episodes from the life story of an old island. Intrinsic to this context is a system of shared beliefs which operates on a number of levels: the value of received wisdom, the redemptive nature of Christian faith, Anancyism as a strategy of survival, and national aspirations for unity based on the principle of mutual respect. The Little Theatre complex, which opened in 1961, housed the national schools of drama and dance before they became part of an integrated Visual and Performing Arts College for the island. Furthermore, a catalogue of the thousands of people who have been involved in LTM productions over six decades reads as a Who's Who of Jamaican cultural development in the twentieth century. Instead of merely mimicking the English model. the L TM Pantomime evolved into a distinct form of indigenous theatre and rekindled the folk tradition as an expression of national identity within the context of contemporary popular culture.