Thesis (MDram)--University of Stellenbosch, 2011. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die verkenning, skepping en oordrag van geslagskodes in toneelpoppe. Die studie ondersoek die gebruik van geslagskodes in die skepping van manlike en vroulike identiteite. Die navorsing word baseer op Judith Butler (1999) se teorieë met betrekking tot geslagsgedrag waarvolgens geslag uit herhaalde gestyleerde aksies bestaan waaruit manlike en vroulike identiteite geskep word. Geslag word dus deur spesifieke geslagskodes weergegee wat in kleding, optrede en kommunikasie gevind word. In die studie word daar gekyk na die drie kenmerkende tekens van kommunikasie wat betrokke is by 'n toneelpop, naamlik ontwerp, beweging en spraak. Verder ondersoek die studie ook die kreatiewe prosesse soos gevind in die verhoogproduksie Cleansed (2009) wat as praktiese verkenning gedoen is om die oordrag van geslagskodes (ontwerp, beweging en spraak) by die toneelpop te illustreer. / ENGLISH ABSTRACT: This study investigates the exploration, creation and transmission of gender codes in puppetry. It investigates the gender codes used to construct masculine and feminine identities; this is done through the exploration of Judith Butler's (1999) theories on gender performativity. According to Butler (1999) gender consists of a stylized repetition of acts and through these socially constructed acts, a gendered self is constructed. Gender is thus communicated through gender codes and these codes are found in the way we dress, act and speak. This study also investigates the semiotics of the puppet, with specific reference to design, movement and speech as significant signs. This study also investigates the creative processes of Cleansed (2009). It is through this process that the gender codes (found in the design, movement and speech of the puppet) are explored, created and ultimately transmitted.

Thesis (MDram)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: In the field of choreography, there are many different emerging theories and methodologies. One such theory uses the individual and unique performers to create and generate movement vocabulary. For the student-choreographer, who is still developing their artistic voice, certain markers need to be put in place in order to evaluate a creative process. The aim of this study is to critically reflect on a particular practical process, develop a language with which to structure improvisations, create the appropriate environment in which effective exploration can take place and finally deliver criticism on the process. This research study has a strong empirical component, focusing on my personal practice as a choreographer. This study also makes use of secondary source material that discusses the choreographic process in general, and more specifically the use of improvisation in choreography, with particular reference to the he theories and definitions of Michael Klien (2007) and Lavender and Predock-Linnell (2001), as and the choreographic innovations and methods of Merce Cunningham. Finally, this study makes use of primary source material, in the form of first-hand observations and personal interviews with a modern Physical Theatre Company, PUSH Physical Theatre Company in Rochester, NY, USA. Through the combination of the theories of Michael Klien (2007) and Lavender and Predock- Linnell (2001) both a philosophical and practical methodology develops and emerges. The results will show how the choreographic environment is engaged to not only simplify and shorten the choreographic process, but also to enhance it. The intangible energetic rapport between people, space and ideas can be harnessed as part of the process of choreography. / AFRIKAANSE OPSOMMING: Verskeie teorieë en metodologieë word tans binne die veld van choreografie ontwikkel. Onder andere gebruik een so ‘n teorie die individu en unieke deelnemers om beweging en bewegingsfrases te genereer. Vir die studente-choreograaf, wie tans nog in die proses is om ‘n kunstige stem te ontwikkel, is sekere merkers nodig om ‘n kreatiewe proses ten einde te evalueer. Die doel van hierdie studie is om krities oor ‘n spesifieke praktiese proses te reflekteer. Die proses behels die ontwikkeling van ‘n taal waarmee improvisasies gestruktureer kan word; om die gepaste omgewing te skep waarin effektiewe eksplorasie kan plaasvind en eindelik om kritiek oor die proses te lewer. Die navorsingstuk het ‘n sterk empiriese komponent wat meestal op ‘n persoonlike praktyk as choreograaf fokus. Hierdie studie maak van sekondêre material gebruik wat die choreografiese proses in die algemeen, en meer spesifiek, die gebruik van improvisasie in choreografie, bespreek. Daar word van die teorieë en definisies van Michael Klien (2007) en Lavender en Predock-Linnel (2001), sowel as die choreografiese inovasies en metodes van Merce Cunningham, melding gemaak. Derdens maak hierdie studie gebruik van primêre bronne in die vorm van eerste-handse observasies en persoonlike onderhoude met ‘n moderne Fisiese Teater geselskap, PUSH "Physical Theatre Company" in Rochester, New York, VSA. Deur die kombinasie van die teorieë van Klien en Predock-Linnell, word beide ‘n filosofiese en praktiese metodologie ontwikkel. Die resultate wys hoe die choreografiese omgewing aangewend word om beide die choreografiese proses te verkort en te versterk. Die verweefde energieke dinamiek tussen mense, spasie en idees kan gebruik word as deel van die proses van choreografie.

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.

This research investigates the drama eduction form of playbuilding, and particularly the phenomenon of kinaesthetic teaching and learning which is aimed at enhancing group imagination and creativity. Playbuilding is a process whereby groups of students devise and act in their own plays using a variety of dramatic elements and theatrical conventions. This research explores the playbuilding learning experiences of two secondary school drama classes and the playbuilding teaching experiences of four drama teachers. The research underpins current drama and theatre education praxis that relates to learning through embodiment, symbolic creativity, and the purpose and function of metaxis in a secondary drama classroom. The study relied on qualitative research grounded theory techniques, focus groups, student workbooks, classrooms practices, closed questionnaires, face to face interviews and videotaped materials. Central to this research are the phenomena of imagining and creating that occur in secondary drama playbuilding groups learning through a group kinaesthetic paradigm. This study concludes that there is a paradigm which identifies secondary drama students as group kinaesthetic learners, and that kinaesthetic teaching and learning practices open up pedagogic spaces in playbuilding that significantly improve the effectiveness of group embodied learning in drama education / Doctor of Philosophy (PhD)

Master of Arts (Research) / An account of the critical reception of Ford's plays in the Romantic Period, in which the influence of Longinus's notions of the sublime is emphasized.

Thesis (doctoral)--Rijksuniversiteit te Utrecht, 1937. / "Stellingen:" [1] leaf inserted. Bibliography: p. 212-216.

My goal in this study was to research how teachers with education in pedagogical drama think about drama and how to use it as an educational tool. The method I used to acquire the results was by interviews. In total I interviewed six different teachers which had some kind of education in pedagogical drama. This study revealed that all the teachers in some way used educational drama in preschool. The purpose with educational drama is to improve the children's fantasy, creativity, empathy, self-awareness and also their ability to co-operate with other children. The result also points out that some teachers use drama as a practical way to teach. The teachers believe that the children enjoy drama very much, especially children from other countries because they can't speak Swedish very good and the practical drama gives them a chance to play with the other children. My conclusion is that pedagogical drama is both among the interviewed teachers and the literature a good tool to use and implement in the daily preschool planning. But there are some important things to have in mind. Those things are the need of enough time for drama in preschool, to have the right competence among the teachers and include influence from the children's own interests. The lack of competence in any of these things can result in a negative outcome for the children.

Literature and theatre have traditionally used exempla based on historical or classical models as a fundamentally conservative rhetorical technique which aimed to reinforce pre-existing values. However, in the early modern period the reproduction of exemplary figures on stage also created the possibility that the authority of the dominant culture could be used to reinterpret exempla and the tradition they represented. In Troilus and Cressida, instead of presenting an internally consistent alternative version of the Troy story, Shakespeare presents a deconstructed narrative in which nothing is definitive or authoritative. Many of Troilus and Cressidas characters were traditionally presented as exempla, but in Shakespeares story they are divided between the exemplary self and the actual. Shakespeare reproduces and enhances the contradictions of earlier versions of the Troy story, so that the exempla which are supposed to signify a singular virtue instead point to a confusing variety of possible motives and interpretations. Their behaviour is indefinitely open to reinterpretation and resists a singular meaning. Cressidas inherently divided and contradictory nature undermines her traditional position as a negative exemplum with a clear, singular meaning. The contradiction she embodies also applies to the play as a whole. The limited viewpoint the audience is given in Troilus and Cressida and the ambiguity of the characters undermine both specific examples of exemplarity and broader ideas about the value of exempla. The play works to create confusion and multiplicity of meaning, posing questions for the audience to consider rather than providing definitive answers.

Literature and theatre have traditionally used exempla based on historical or classical models as a fundamentally conservative rhetorical technique which aimed to reinforce pre-existing values. However, in the early modern period the reproduction of exemplary figures on stage also created the possibility that the authority of the dominant culture could be used to reinterpret exempla and the tradition they represented. In Troilus and Cressida, instead of presenting an internally consistent alternative version of the Troy story, Shakespeare presents a deconstructed narrative in which nothing is definitive or authoritative. Many of Troilus and Cressidas characters were traditionally presented as exempla, but in Shakespeares story they are divided between the exemplary self and the actual. Shakespeare reproduces and enhances the contradictions of earlier versions of the Troy story, so that the exempla which are supposed to signify a singular virtue instead point to a confusing variety of possible motives and interpretations. Their behaviour is indefinitely open to reinterpretation and resists a singular meaning. Cressidas inherently divided and contradictory nature undermines her traditional position as a negative exemplum with a clear, singular meaning. The contradiction she embodies also applies to the play as a whole. The limited viewpoint the audience is given in Troilus and Cressida and the ambiguity of the characters undermine both specific examples of exemplarity and broader ideas about the value of exempla. The play works to create confusion and multiplicity of meaning, posing questions for the audience to consider rather than providing definitive answers.

Finns det skillnader i hur vi upplever auditiva dramer gentemot hur vi upplever film? Med hjälp av transporteringsteori och radiodramats historia undersöker detta examensarbete hur vi upplever auditiva dramer gentemot film. En historia har framställts som ett auditivt drama och som ett audiovisuellt drama och ett tidigare känt verk även det skapat både som auditivt drama och audiovisuellt drama har använts för att låta 26 respondenter uppleva två historier i två olika medier. Detta för att se om det finns skillnader i hur transporterade åhörare/åskådare blir av berättelser berättade genom olika medier.Undersökningens resultat pekar mot att skillnader i transport är små.En slutsats man kan dra av detta är att auditiva dramer kan användas mer i marknadsföringssyften, ”hype”-skapande och franchising av spel, film och serier. För vidare forskning finns intressanta aspekter i vilka berättelser mediet lämpar sig bäst för och skillnader mellan transporteringsteorin och dataspelsbranschens immersion.