The aim of the present work is to extract as much information as possible from the early quartos of George Chapman's twelve plays by the various methods which analytical bibliography has recently developed, and to present the results in such a way as to be useful to a prospective editor of the plays. The present work, which has involved an entirely fresh examination of all the quartos, is an original contribution to Chapman studies, but it should also make a general contribution to analytical bibliography with special reference to Elizabethan and Jacobean printed plays. The main body of the present thesis comprises an introduction with a bibliographical description of the play studied; four chapters on, respectively, the nature of the printer's copy, variants, compositorial analyses, and on the characteristics of compositors; and a brief general conclusion. Appendices include bibliographical notes on the Chapman quartos. A bibliography has been provided at the end of the thesis.

This thesis is an examination of the ways in which competing discourses of love and sexuality, ranging from the literary and philosophical to the religious, have influenced the portrayal of men and women in the drama of the late sixteenth and early seventeenth centuries. The structure of the thesis is in two parts: the first concerns what might be termed normative relationships, underlying which is the ideal of mutual affection in marriage, and the second, relationships which undermine, or challenge that ideal. My central proposition is that the conflict between the demands of the body and the spirit, rooted in the ascetic heritage of the Middle Ages, lies at the heart of all discourse on love and sexuality. This is demonstrated in the tension between the Petrarchan idealisation of love and women, and their denigration; between sublimation and sexual fulfilment. Underlying the idealism associated with love is the fear of disillusionment and betrayal, arising out of a deep-rooted association of sexuality with sin, which finds expression in anxiety about female sexuality. The playwrights dramatise these tensions, placing them in a context of changing values in which traditional views of morality come into conflict with a cynical acceptance of human frailty.

This thesis contributes to the broader academic debate on the understanding of organisational learning from a situated learning perspective. It focuses on the situated characteristics of learning and the relationship between learning and social engagements in organisational contexts. The thesis notes the focus of many existent studies on conceptualising the situated characteristics of learning at a general level, rather than exploring the specific situated learning patterns involved in a given organisational context. As a consequence, there is a shortage in the research field of in-depth investigations into how such situated learning patterns arise in given organisational contexts. Moreover, the current debate on power in relation to the topic of organizational learning appears to have a negative connotation. This limitation may undermine our understanding of potentially different faces of power. In particular, there is a relative lack of systematic investigation into the influence of management-attempted intervention on learning as well as the power relations mobilised around such influence. To fill these research gaps, this study explores potential situated learning activities in their immediate contexts using two in-depth case studies of theatre producing companies in the UK. Discussed are the ways these learning activities become possible, and how management intervention impacts on the learning possibilities. The main conclusions drawn are that situated learning activities in the organisation context under scrutiny are driven by work needs and opportunities for engagement in work practices. Rather than shaping learning directly, management intervention produces multifaceted yet double-edged consequences; both constraining with respect to some learning possibilities and encouraging with regard to others. Alongside the power of management surrounding the issue of learning in these organisations coexists the ‘power of engaging’, which is an emergent form of power derived from the very process of participating in local work practice from a practitioner’s point of view. There is an on-going pull in the interplay between the power of management and the power of engaging around learning. The power relations involved surrounding learning is more of an ongoing movement in achieving a dynamic balance between the forces that support learning and those that challenge learning.

The thesis is divided into two main parts. The first part deals with the theatre in general, the second with the Comedie-Francaise in particular. The first chapters explain the reasons for the immense popularity of the theatre in Paris during the years of occupation, how the theatre was organised and how racial policies and material difficulties affected productions. Relations between the theatre and the press are examined in some detail as are those plays which either supported the ideals of the ''Revolution Nationale" or attacked them; reference is also made to the important part that the theatre played in prisoner-of- war camps, the effect that censorship had on certain plays, and how popular Joan of Arc was with both the Germans and the French as a theatrical heroine. The second part opens with a brief history of the Comedie-Francaise during other wars, an explanation of the role that the public expected of their national theatre up to the time of invasion, details of changes in the theatre's repertoire as a result of the declaration of war and an examination of the attitudes of two administrators, Copeau and Vaudoyer, to the invaders. The following chapters deal with the more important productions which were put on at the theatre during the occupation, and in Particular with plays by Montherlant, Cocteau and Claudel. The conclusions drawn are that although the theatre was important to Parisians during the years 1940 - 1944, there is no real case to be made for a theatre of resistance or collaboration, and that the Comedie-Francaise was not significantly affected by the German invasion.

In Singapore, there is an increasing presence of theatre artists as educators across varied sectors of the educational institutions. However despite their active engagement with education, research on what and how they do their teaching is limited. This thesis sets out to investigate the theatre artists’ teaching practices in education settings. The literature reviewed as part of this inquiry point to an identifiable system of pedagogy in the theatre artists’ teaching practices. As such, one of the key strands of this research is to identify and name what is distinctive about theatre artists’ teaching practices. But more than just identifying characteristics, I am interested in understanding if there is an overarching philosophy that guides these practices. To that end, I conceptualised a framework, which examines the theatre artists’ teaching practices as inhabiting a nested nexus of two distinguishably separate fields: Theatre and Education. Each with its own variegated influences and systems of knowledge and values that govern practices. Working with an overarching Bourdieusean theoretical framework, in particular habitus and field, as well as invoking Lyotard’s notion of differend, the study relies on interdisciplinary theories to aid explication of key concepts related to the study. The study also employs a melding of ethnographic case study and reflective practitioner as its methodology. Additionally, it works with “critiquing across difference” (Lather 2008) as a means to challenge and destabilise the reflective practitioner lens. This is achieved by structuring the research into two phases. Phase I involves researching in England. Working with four theatre artists, I examine how each assumes their position as educators in various education settings both within and beyond the school environment. The opportunity gained from this experience informed Phase II research in Singapore, the main focus of this inquiry. The findings suggest that to understand theatre artists’ teaching practices require an examination of contexts influencing their teaching acts. This includes their layered histories of both artistic and teaching experiences as well as the relationship they have with the school culture and the objectives and needs of their teaching projects. Additionally, in examining their teaching moments, the study discovers a pattern of doing the same approaches or strategies, differently. Working from the data, an overarching world view guiding the construction of their teaching practices is eventually proposed.

This thesis closely examines the representation of theatre in film, using insights derived from an ever-growing literature dedicated to the notion of intermediality, in order to understand film’s temporary disguise as another medium. With the realization that theatre is not just another object of representation in film, it becomes increasingly apparent that an analysis of theatre-in-film has the potential of serving as a catalyst for a complex reflection on the nature of mediation. The present dissertation studies the conditions under which this potential is realized. Throughout the thesis, I am integrating textual analysis with theoretical considerations, in an attempt to offer new readings of the chosen films and show how they cohere around four distinct problems pertaining to the issue of theatre-in-film. These problems can be spelled out as follows: the length and embedment of the theatrical inserts, the dual address of the represented performances, the relation between quoted theatre and theatricality and the problem of showing versus telling in the representation of theatre. The case studies were selected from a period spanning forty years; they range from Jacques Rivette’s 1968 L’Amour fou to Charlie Kaufman’s 2008 Synecdoche, New York. Through an in-depth analysis of these case studies, the chapters demonstrate that film is extremely versatile in the handling of theatre references, and that it is precisely this versatility that throws in crisis the existent intermedial discourse. I am arguing that staging a theatre event in film comes with its own set of challenges that need to be accounted for with the assistance of a suitable methodology. In a sense, I have devised my own methodology, by using intermediality studies in conjunction with concepts borrowed from narrative and drama theory, as well as with the analytical tools of film studies.

In this thesis, I examine the roles of household servants in five early modern English domestic tragedies. Concerned with non-elite households and invariably set in the domestic interior of English houses, the genre had a short life span—between the 1590s and the 1620s. The playwrights who produced the six plays that survive of an all-but-vanished canon foreground household servants, positioning them in the centre of the action, giving them faces and voices, and constructing plots around their agencies and individuated personalities. In conducting this research, I participate in the critical efforts exerted for writing history from below, for recovering the stories of the marginalized, the voiceless and the vanished, particularly of the domestic servant. In early modern England, the practice of household service was a distinctive cultural feature that, nonetheless, has only recently started attracting critical attention. Analyzing the parts of household servants in the anonymous Arden of Faversham (1592), A Warning for Fair Women (1599), A Yorkshire Tragedy (1608), Thomas Heywood’s A Woman Killed with Kindness (1607) and William Rowley, Thomas Dekker and John Ford’s The Witch of Edmonton (1621), I investigate how playwrights, in staging those servants’ subjectivities, their points of view, interrogate cultural stereotypes reproduced in contemporary conduct books and household manuals, thus participating in re-shaping early modern culture and popular views as much as having their plays shaped by them. I conduct this research by exploring early modern theorizing on the domestic and by examining contemporary ideologies of the institution of domestic service, then reading the scenarios involving servants staged in domestic tragedies in their light. Throughout this thesis, I argue that the theatrical representation of the world of the household servant is important on two levels. First, just as archives, as has been recently argued, could be approached as fiction, fiction can be used as an archive. Hence, the plays serve as a resource for recuperating the voice of the early modern English servant, silenced and marginalized elsewhere in contemporary cultural output. Second, in a culture where the household/state analogy was commonplace, analysis of the staging of the domestic is particularly significant: what takes place in domestic spaces is shaped by and, in turn shapes, debates of political nature. Hence, exploring the domestic situations in those plays through the household servants’ eyes offers insights into attitudes towards contemporary political concerns.

While it is widely held that Ben Jonson uses emblem tradition in the development of imagery in his court masques and entertainments, how or why Jonson employs this genre of word-image combinations is rarely addressed. This thesis offers an explanation for what is often assumed in studies of Jonson’s masques and entertainments. Rather than identifying particularly emblematic scenes or characters and analysing their construction, however, this investigation of the emblematic in Jonson begins with analysis of his theory of masque creation. The evidence he leaves in the introductions to masque publications and his notes in Discoveries (1641) points to a conscious decision to incorporate not emblems themselves but an emblematic method in his new literary masque form, especially between 1605 and 1618. Once Jonson’s familiarity with emblematic methods is realized, what is considered ‘emblematic’ in his imagery can be reassessed. The reason why Jonson’s masques appear to retain emblematic qualities but contain few true emblems can thus be explained. In order to explicate Jonson’s use of emblem tradition in his creation of masque imagery, this thesis is divided into three parts. The first part outlines Jonson’s theory of masque writing within three contexts. It initially looks at how Jonson’s literary methods compare to contemporary emblem and symbol theories, and thus works out a methodology for analysing the emblematic in his masques. Then, it considers the awareness of emblems in the early modern British court, both in material and intellectual culture. In so doing, these two sections on emblems in sixteenth- and seventeenth-century British culture highlight the prevalence of the emblematic mindset in Jonson and his aristocratic audience. This argues for the relevance of Jonson’s emblematic development of imagery for performances in the Stuart court. The second and third parts of this thesis then turn to the masques and entertainments themselves. Part II looks at how Jonson uses emblematic techniques to design characters. Recognizing Jonson’s different approaches to abstract personifications and mythological figures, it is split into two sections. The first section looks at key personifications in The Masque of Beautie (1608) and The Masque of Queenes (1609). It considers how Jonson changes the characters Januarius and Fama bona from personifications in Ripa’s Iconologia to emblematically-rendered figures. The second section then analyses Jonson’s reinvention of stock characters Cupid and Hercules. Discussion covers Cupid’s appearance in many of Jonson’s entertainments, and then concentrates on his appearance with Anteros in A Challenge at Tilt (1613) and Loves Welcome at Bolsover (1634). Hercules’ pointedly emblematic role in Pleasure reconcild to Vertue (1618) finally crowns study of Jonson’s characters. Part III extends investigation into Jonson’s development of themes and arguments in the masques. By identifying Jonson’s processes in the expression of certain themes, this part gives a full picture of Jonson’s use of emblematic techniques and material. The first section realizes their use in the moulding of Platonic themes of love into celebration of King and State. The second section then scrutinizes the invention of the Masques of Blacknesse (1605) and Beautie, Love Freed (1611), and The Golden Age Restor’d (1615). This is followed by analysis of the changes Jonson makes to emblematic constructions between Pleasure reconcild and its rewrite For the Honour of Wales (1618). The alterations highlight Jonson’s reliance on emblematic interpretation of his entertainments. At the same time, it marks his decision to subvert his techniques after 1618 in order to cater to court tastes following the failure of Pleasure reconcild. A conclusion to this thesis is thus derived from the comparison, which illustrates Jonson’s methods up to 1618.

The stage dramatisation of fiction is a common and increasingly popular practice. Normally, a dramatist will take a novelist's work and adapt it, but there are cases dating back to at least the sixteenth century where novelists themselves have attempted to dramatise their own fiction. In the context of British theatre, it was not until the 1911 Copyright Act that novelists had copyright over the dramatisation of their original work. For this reason, novelists were obliged to adapt their own fiction to protect it against unauthorised dramatisation. Several authors, however, adapted their novels for more than reasons of copyright. The glamour of the West End and the potential for financial reward lured the novelists into adaptation. In the numerous adaptations of Henry James the language of the fictional narrator invades his scripts, in the form of stage directions or forced into the mouths of the characters. James is fascinated by the technical aspect of drama and he did make a substantial effort to rewrite Daisy Miller to make it suitable for the dramatic genre, but this includes a disappointing use of stage clichés as part of the mechanics of stagecraft (such as melodramatic techniques and the "happy ending"). Thomas Hardy was enthusiastic about the stage in his youth and had some innovative ideas for the stage but never fully realised his concepts. The adaptation of Tess of the D'Urbervilles has some evocative imagery but is more like a medley of dramatic highlights separated by major ellipses than the panoramic and inexorable vision of the novel. In the adaptation of The Secret Agent, Conrad sustains a loyalty to the novel which mars the play with too many characters and an excess of exposition. Conrad's decision to be chronological in the adaptation strips the story of its sophistication and creates an uncompromising, even shocking, play. This could be seen as a merit as are Conrad's expressionistic touches and his treatment of heroism and insanity. Indeed, the play is a compulsive experience and claims that it is ahead of its time are perhaps justified.

This dissertation is an investigation into the representation of the sexed and gendered body on the English stage between the years 1570 and 1635. The parameters of the study are fully set out in the introduction, however, a summary that might prove useful to the general reader is as follows: The thesis commences with an account of the 'one-sex' anatomical model - as recently set out by Thomas Laqueur in Making Sex: Body and Gender from the Greeks to Freud (Cambridge. Mass.: Harvard University Press, 1990). It then proceeds to question the dominance of such an anatomical paradigm throughout the entire Renaissance - and, in its first chapter, sets out evidence from various medical treatises in order to outline the emergence of a contrasting 'two-sex' model of human reproductive biology. Chapter two then uses evidence from a 'two-sex' model in order to re-examine the homo-erotic implications of theatrical narratives that present (or imply) spontaneous sex changes (by means of an analysis of John Lyly's Gallathea and Shakespeare's Falstaff plays). In chapter three, attention turns to the female body in early modern English society and attempts to assess the implications of an emergent 'two-sex' model on female cultural and social agency in the period (by means of an analysis of actual female-to-male cross-dressers and the anatomical representations of the female body that were undertaken in elite cultural forms such as the Court Masque). Chapter four then turns back to the professional English transvestite stage in order to examine the strategies of recuperation of the female body that were employed in a production environment that was exclusively controlled by men (and this is undertaken by means of an analysis of Middleton and Dekker's The Roaring Girl and Beaumont and Fletcher's The Maid's Tradedy). Chapter five turns its attention to an analysis of theatre and anatomy hall architecture in order to examine the ways in which one exclusive private theatre (Christopher Beeston's Phoenix, in Drury Lane) sought to exploit an architectural accident in order to provide elite audiences with a staged representation of the processes of anatomical dissection. Finally, chapter six examines four plays by John Ford: The Witch of Edmonton, The Broken Heart, Love's Sacrifice and 'Tis Pity She's A Whore in order to examine the anatomical emblazonment of the female body in two specific Private theatres. The dissertation also contains four appendices: I) Selections from the Published Debate Between Jean Riolan and Jacques Duval Concerning the Case of Marie Le Marcis, the Hermaphrodite of Rouen II) The List of Sex Changes from Johann Schenck von Graffenberg's Observationum Medicarum Rarum (Frankfurt, 1600) III) Selections From Thomas Artus' L'Isle des Hermaphrodites IV) Selections From The Boke of Duke Huon ofBurdeux, translated by Sir John Bourchier (Lord Berners] (Wynkyn de Worde, 1534) V) Anthony Wood, Athena Oxonienses. An Exact history of all the Writers and Bishops who have had their Education in the most Ancient and Famous University ofOxford(a Biography of William Petty)