Thesis (Ph.D.)--Indiana University, Dept. of Theatre and Drama, 2008. / Title from PDF t.p. (viewed on Jul 28, 2009). Source: Dissertation Abstracts International, Volume: 69-12, Section: A, page: 4569. Adviser: Roger W. Herzel.

<p>In my dissertation, <i>De la pen&iacute;nsula Ib&eacute;rica a Italia: concepci&oacute;n y pr&aacute;ctica teatral de las primeras comedias castellanas </i>, I analyze the formation of early modern Spanish comedia, in the context of Italo-Iberian cultural exchanges. My aim is to incorporate the most popular Spanish plays of the first half of the sixteenth century into the larger scenario in which they belong: one that we could name the "formation of the genre of comedy". Works such as Juan del Encina's<i> Eclogues </i>, <i>La Celestina</i> (<i>The Spanish Bawd</i>), and Torres Naharro's <i>Tinellaria</i> and <i>Soldadesca</i> are seen in this light as milestones in a complex thread of contributions leading to the development in the seventeenth century of a Spanish Golden Age "national theater", and specifically in Lope de Vega comedia nueva, as well as to the Italian <i>commedia erudita</i>. Such a reconstruction has long been neglected due to the constitution of the Hispanic and the Italian literary studies, and the asymmetry between the Spanish and the Italian literary traditions, especially regarding the primacy of Italian "comedies" and "authors" in the constitution of a history of "western comedy". </p><p> The formation of the genre of comedy it is seen in a new light within a textual and bibliographical history, grounded in the relationships among authors, printers, and readers. Cultural and merchant networks established between the Iberian and Italian Peninsulas helped to widespread not only books as commodities, but ideas and forms (genres) contained within them that would appeal to new audiences and readers. In my second chapter, I have reconstructed the possible ways in which these plays could have been represented, in contexts such as Alba de Tormes and Rome, by means of the analysis of internal text evidence (prompts, or configuration of the different scenes) and the extant records, both about its actual performances, and other contemporary spectacles. In order to make sense of the scarce available data, I have delved into architectural treatises (Vitruvio, Alberti, Peruzzi, Serlio), woodcuts, and extant Roman documents on contemporary theatrical performances. As a result of this reconstruction, Encina's latest plays, as well as Naharro's <i>Soldadesca</i> and <i> Tinellaria</i>, appear as deeply rooted in the avant-garde conception of the urban Roman scene, they share both techniques, and scene conceptions with avant-garde Italian authors. In my third chapter, I studied the function that comedies, such as Naharro's <i>Tinellaria</i> and <i> Soldadesca</i>, had at the time, insisting on the religious and political denunciations contained in them, as well as in their relationship with some discourses originating in the Lateran council. As a result of that, I have been able to delimit the circles, critical with the papacy of Julius II, in which these ideas originated, together with the political interests of those that voiced them. </p>

<p> Gretchen Cryer and Nancy Ford, along with most other female creators of musicals, remain in the shadows, in spite of an increased focus by the media on women&rsquo;s contributions to society. The messages of Cryer and Ford&rsquo;s dramatic themes and songs have not been fully understood by many critics and audience members. Scholarly and popular writings on women in theater remain scarce, and literature on Cryer and Ford contains errors and promotes misunderstandings. </p><p> In this thesis, I argue that Gretchen Cryer and Nancy Ford, a writer and composer of musical theater respectively, tackled contemporary issues in their Broadway and off Broadway musicals, introduced new theatrical forms and musical genres to the stage, and have built a distinguished collaborative career and earned a meritorious position in musical theater heritage by incorporating these issues, in particular, those which pertain to women or those which affect women, into their works. I seek to correct and build upon extant writings and information from media resources. My thesis is the first monograph to detail the lives and works of Cryer and Ford, and to assess their contributions to the musical theater genre. My detailed case studies dissect several Cryer and Ford musicals, which speak directly to prominent images and ideas of the time, and reveal how their works emphasize the importance of interpersonal communication, and endorse humanism and, in particular, feminism. Cryer and Ford are trailblazers for other female musical writers, for whom they have advocated, and for whom I provide a comprehensive overview.</p><p>

<p>Jill Hemming Austin PERFORMING THE PAST: TWO PAGEANT TRADITIONS IN NAUVOO, ILLINOIS The founders of American historical pageantry were keenly interested in the social effect of pageant performance on audience and participants. Their vision for social transformation through performance endures into the present day with those who continue to promulgate the form. Examining two enduring pageant traditions in Nauvoo, Illinois affords a better understanding of how the formal features of outdoor historical pageant production and the social relations that underlie them are still potentially powerful for those who participate in their production and performance. This dissertation encourages serious study of pageants as a unique performance form particularly attuned to the tasks of building continuities and tradition, the reinforcement of group sentiment, and the propitiation of group myth. Nauvoo, Illinois is a historically contested site boasting two historical pageants dedicated to the portrayal of the Nauvoo story: The Grape Festival Pageant and The Nauvoo Pageant. Christened ?Nauvoo? by Mormon [LDS] refugees in the mid-19th century, the thriving city?s overwhelming social discord drove the Mormons west, and the town was resettled and reclaimed by new seekers and settlers. The legendary quality of Nauvoo continued to grow in the Mormon imagination, eventually leading to a reclamation process including heritage development. Competing claims on local history has led to a heightened historical consciousness among townsfolk and ongoing public presentation from multiple perspectives. The two pageants are cultural displays that influence this ongoing social process. Both derive from distinct traditions--the local drama squarely planted in American historical pageantry and the Mormon-sponsored pageant deriving from LDS social and religious culture. Historical pageants have some unique formal features that make them particularly interesting to folklorists. They depend heavily on sacred localities, tradition, legend, and large-group participation for their success. The story told gains power from familiarity and reinforcement of cherished group values. However, changing tastes and sensibilities have challenged the survival of pageants as a relevant cultural form into the present. Drawing on interviews, field observation, and historical research, the contemporary context of the town and its two performances is fleshed out in the voices of four individuals who have participated in the pageants.

Until the time of Lope de Vega and the Golden Age of Spanish literature, women had always had secondary roles in the Spanish drama. There were two reasons for this: 1) Women were not fully appreciated in the society of the times. 2) Women were prohibited from appearing on the stage for many years, and boys usually took their parts. With the advent of Lope de Vega and his arte nuevo de hacer comedies, the situation was changed. The great genius, Lope de Vega, set the pattern for the drama of the Golden Age.

A presente dissertação é parte da pesquisa que se propõe investigar o discurso da materialidade cênica do grupo italiano Socìetas Raffaello Sanzio. O foco central neste primeiro momento é sua trajetória e as experiências daí decorrentes. Através da analise de seu percurso, procura-se estabelecer nesta pesquisa uma reflexão sobre as práticas contemporâneas do espetáculo que marcam uma ruptura com o modelo dramático tradicional ao propor novos paradigmas na construção da escritura cênica. / This dissertation is part of the research that aims to investigate the discourse of materiality scenic of the Italian group Socìetas Raffaello Sanzio. The central focus in this first time is its history and experiences resulting. Through analysis of its trajectory, it aims to establish this research a study of the contemporary practice of the show that marks a dramatic break with the traditional model to propose new paradigms in the construction of the writing stage.

A presente dissertação é parte da pesquisa que se propõe investigar o discurso da materialidade cênica do grupo italiano Socìetas Raffaello Sanzio. O foco central neste primeiro momento é sua trajetória e as experiências daí decorrentes. Através da analise de seu percurso, procura-se estabelecer nesta pesquisa uma reflexão sobre as práticas contemporâneas do espetáculo que marcam uma ruptura com o modelo dramático tradicional ao propor novos paradigmas na construção da escritura cênica. / This dissertation is part of the research that aims to investigate the discourse of materiality scenic of the Italian group Socìetas Raffaello Sanzio. The central focus in this first time is its history and experiences resulting. Through analysis of its trajectory, it aims to establish this research a study of the contemporary practice of the show that marks a dramatic break with the traditional model to propose new paradigms in the construction of the writing stage.

Orientador: Hermes Renato Hildebrand / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T11:27:42Z (GMT). No. of bitstreams: 1 GonzalezRodriguez_PaulaAndrea_M.pdf: 2330637 bytes, checksum: 1dd676a8b9453bc8fc7c78065a44d31f (MD5) Previous issue date: 2011 / Resumo: Esta dissertação apresenta uma retrospectiva dos primeiros 10 anos de trajetória da companhia teatral chilena "Teatro Imagen" (CTI). O principal objetivo da pesquisa é reconstruir historiograficamente os processos criativos da CTI, considerando questões relativas aos contextos políticos, econômicos, sociais e culturais envolvidos em sua produção artística. Para tanto, analisaremos os "documentos de processo" que são os registros dos processos criativos, as matérias publicadas em jornais e revistas e os depoimentos de diversas pessoas envolvidas na CTI ao longo de sua trajetória. A pesquisa abrange desde o período da fundação do CTI, em 1974, até o ano de 1984, momentos nos quais várias mudanças estéticas e estilísticas foram consolidando-se, até a conformação de uma estética própria do grupo, que, posteriormente, permitiu a fundação da "Escola de Teatro Imagen". Nossa hipótese é que a sustentação da CTI e a consolidação de sua metodologia criativa aconteceram, concomitantemente, com a capacidade de articulação de seus criadores e produtores através das redes sociais e das habilidades que eles tiveram em se adaptar aos diversos contextos sociais vigentes. Essa metodologia de criação, desenvolvida com base nos próprios espectadores e "público-alvo dos espetáculos", acontece em um período de grande convulsão política, econômica, social e cultural, em conseqüência da ditadura militar que aconteceu no Chile e em toda a América do Sul, inclusive no Brasil / Abstract: This dissertation presents a retrospective of the first 10 years of the chilean theater company "Teatro Imagen" (CTI). The main objective of this investigation is to reconstruct historiographically the creative processes of the CTI, considering political, economic and cultural issues envolved in its artistic production. For this, we analyzed records of creative processes, press materials and testimonies of several people involved in the CTI. The investigation covers its creation in 1974, and follows the group until 1984, at which time several aesthetic and stylistic changes resulted in the formation of a particular aesthetic, which then allowed the foundation of the School of Teatro Imagen. Our hypothesis is that the continuance of the CTI and the consolidation of its creative methods (that surround the work with their own viewers "objectives") in a period of great social upheaval as a result of the military dictatorship, is directly related to the capacity of articulating social networks and the abilities of its creators, which constantly adapted to various social, economic and cultural scenarios / Mestrado / Artes Cenicas / Mestre em Artes

O trabalho aqui apresentado é a concretização de um jornada que transitou entre a história, a didática e a teoria teatral. Por isso há seis volumes com grande parte do trabalho realizado durante essa jornada. Na multiplicidade da contemporaneidade um amplo leque de ferramentas é solicitado para navegar nas análises e criações cênicas. Quanto mais instrumentais para essa navegação maior a chance de uma viagem potente. Há uma lacuna na teoria dos gêneros quando pensada na área das artes cênicas: a forma lírica do teatro. Essa ausência tem uma proposta de efetivação nas páginas que se seguem e a partir dessa proposta desenvolve-se algumas possibilidades didáticas de adentrar numa cena que apontamos como liricizada. No primeiro volume dessa pesquisa encontramos o relato dessa viagem; no primeiro capítulo temos a história como núcleo que acomoda e organiza o lugar de onde viemos e para onde a pesquisa deseja ir, o contexto da pesquisa e as linhas do tempo que nela foram desenvolvidas; no segundo capítulo a teoria teatral é revisitada sob a ótica da forma lírica do teatro e desenvolve-se uma proposta para contribuir para a análise e criação cênicas com um instrumental que pode ser utilizado para olhar obras do passado, da atualidade e do porvir; no terceiro capítulo desenvolve-se algumas possibilidades de como adentrar nessa cena liricizada na prática docente. Os volumes dois, três, quatro e cinco trazem fontes consideradas primarias para uma projeção dessa cena liricizada que foram traduzidas e incorporadas nessa história. O volume seis permite o acesso a outras fontes, na forma de uma listagem com acesso ao banco de dados numa relação peer-to-peer, para que estudantes possam acessar esse conhecimento acumulado. / The work presented here is the concretization of a journey that transited between history, didactics and theatrical theory. Therefore, there are six volumes with much of the work done during that journey. In the multiplicity of contemporary, a wide range of tools is required to navigate the analysis and scenic creations. The more instrumental the navigation, the greater the chance of a powerful trip. There is a gap in the theory of genres when it comes to the area of performing arts: the lyrical form of theater. This absence has a proposal of effectiveness in the pages that follow and from this proposal; it develops some didactics possibilities to enter a scene that we point like \"liricizada\". In the first volume of this research we find the account of this trip; In the first chapter we have history as the nucleus that accommodates and organizes the place from which we came and to where the research wants to go, the context of the research and the timelines that were developed in it; In the second chapter the theatrical theory is revisited under the optics of the lyrical form of the theater and a proposal is developed to contribute to the scenic analysis and creation with an instrument that can be used to look at works of the past, the present and the future; In the third chapter we develop some possibilities of how to enter into this scene enlivened in the teaching practice. Volumes two, three, four e five bring sources considered primary to a projection of this scene \"liricizada\" that have been translated and incorporated into this story. Volume six allows access to other sources in the form of a list with access to the database in a peer-to-peer relationship, so that students can access that accumulated knowledge.

O trabalho aqui apresentado é a concretização de um jornada que transitou entre a história, a didática e a teoria teatral. Por isso há seis volumes com grande parte do trabalho realizado durante essa jornada. Na multiplicidade da contemporaneidade um amplo leque de ferramentas é solicitado para navegar nas análises e criações cênicas. Quanto mais instrumentais para essa navegação maior a chance de uma viagem potente. Há uma lacuna na teoria dos gêneros quando pensada na área das artes cênicas: a forma lírica do teatro. Essa ausência tem uma proposta de efetivação nas páginas que se seguem e a partir dessa proposta desenvolve-se algumas possibilidades didáticas de adentrar numa cena que apontamos como liricizada. No primeiro volume dessa pesquisa encontramos o relato dessa viagem; no primeiro capítulo temos a história como núcleo que acomoda e organiza o lugar de onde viemos e para onde a pesquisa deseja ir, o contexto da pesquisa e as linhas do tempo que nela foram desenvolvidas; no segundo capítulo a teoria teatral é revisitada sob a ótica da forma lírica do teatro e desenvolve-se uma proposta para contribuir para a análise e criação cênicas com um instrumental que pode ser utilizado para olhar obras do passado, da atualidade e do porvir; no terceiro capítulo desenvolve-se algumas possibilidades de como adentrar nessa cena liricizada na prática docente. Os volumes dois, três, quatro e cinco trazem fontes consideradas primarias para uma projeção dessa cena liricizada que foram traduzidas e incorporadas nessa história. O volume seis permite o acesso a outras fontes, na forma de uma listagem com acesso ao banco de dados numa relação peer-to-peer, para que estudantes possam acessar esse conhecimento acumulado. / The work presented here is the concretization of a journey that transited between history, didactics and theatrical theory. Therefore, there are six volumes with much of the work done during that journey. In the multiplicity of contemporary, a wide range of tools is required to navigate the analysis and scenic creations. The more instrumental the navigation, the greater the chance of a powerful trip. There is a gap in the theory of genres when it comes to the area of performing arts: the lyrical form of theater. This absence has a proposal of effectiveness in the pages that follow and from this proposal; it develops some didactics possibilities to enter a scene that we point like \"liricizada\". In the first volume of this research we find the account of this trip; In the first chapter we have history as the nucleus that accommodates and organizes the place from which we came and to where the research wants to go, the context of the research and the timelines that were developed in it; In the second chapter the theatrical theory is revisited under the optics of the lyrical form of the theater and a proposal is developed to contribute to the scenic analysis and creation with an instrument that can be used to look at works of the past, the present and the future; In the third chapter we develop some possibilities of how to enter into this scene enlivened in the teaching practice. Volumes two, three, four e five bring sources considered primary to a projection of this scene \"liricizada\" that have been translated and incorporated into this story. Volume six allows access to other sources in the form of a list with access to the database in a peer-to-peer relationship, so that students can access that accumulated knowledge.