This research is motivated by the proposition of the legitimacy of applying ¡§little theatre¡¨ as the mode of theatre management. The core context and the judgment of value of theater management today are founded basically on a ¡§large-scare theatre¡¨ paradigm; this causes, for most of the time, prejudice and insufficient result in managing theatrical affairs. To analyze the details of this problem, I started from rediscovering the ideological conflicts between Modernity and Post-Modernity, and tried to solve this dualistic misunderstanding by using ¡§Post-Modern Turn¡¨ as the mode of transcending. Since the term ¡§Post-Modern¡¨ is generally associated with social aspects as post-industry society, information society, organizational behaviors and consumption theory, etc. it is necessary to redefine theatre management as the issue of discussion in the realm of sociology. In order to approach my ideal strategy for today¡¦s theatre management, I developed three major parts as the frameworks of study: 1. the Post-Modern Turn of sociology of art, 2. five faces of modernization of Taiwan¡¦s modern theatre, 3. the Post-Modern Turn of organizational management and Taiwan modern theatre. I believe the difficulty of theatre management today lies not in the issue itself, but in the way we look at it. By relocating this problem in a social context, we can have a rethinking of how art management is possible, of exploring the updated and proper solutions for today¡¦s theatre management.

The image of the prison looms large in early modern literature. By the sixteenth century, the prison was as much a part of everyday life as the public theatre. Although scholars have recently focused on the prison as a cite of cultural production, the depictions of fictionalized prison have not received much attention. Early modern drama in particular frequently resorts to prison as the setting for political struggle, inviting further discourse on authority and its sources. In this thesis, I argue that the prison's liminality allows early modern playwrights to explore the nature of royal privilege. I analyze Marlowe's Edward II, Shakespeare's Richard II, Shakespeare's The Tempest, and Fletcher's The Island Princess through the cultural and historical lens of imprisonment, determining that the prison is a space where relations and power dynamics between the king and his subjects can be questioned and subsequently condemned, upheld, or transformed. / Master of Arts / Much like modern art and popular culture, sixteenth-century English drama comments on both everyday life and political climate of its time. One image that appears frequently in the works of Shakespeare and his contemporaries is the prison. In many plays, the prison appears as a crucial backdrop for political struggle. Setting the action within a prison allows the playwright to ask a series of questions regarding the nature of authority and privilege. In this thesis, I analyze Marlowe's Edward II, Shakespeare's Richard II, Shakespeare's The Tempest, and Fletcher's The Island Princess, focusing on the figure of the royal prisoner.

The temptation to meddle with Shakespeare has proven irresistible to playwrights since the Restoration and has inspired some of the most reviled and most respected works of theatre. Nahum Tate’s tragic-comic King Lear (1681) was described as an execrable piece of dementation, but played on London stages for one hundred and fifty years. David Garrick was equally tempted to adapt King Lear in the eighteenth century, as were the burlesque playwrights of the nineteenth. In the twentieth century, the meddling continued with works like King Lear’s Wife (1913) by Gordon Bottomley and Dead Letters (1910) by Maurice Baring. But many of these twentieth-century works display a complexity and ambivalence quite at odds with their theatrical predecessors. Plays like Lear (1971) by Edward Bond and Seven Lears (1989) by Howard Barker use elements from Shakespeare’s play to write critically about contemporary politics and literature, while Lear’s Daughters (1987) by the Women’s Theatre Group expands the role of female characters as a way to challenge restrictive representations of femininity. These plays express more varied and problematic positions toward literature and society than Tate and Garrick, suggesting not only that the nature of adaptation has changed but that the playwright’s relationship to Shakespeare has changed as well. To understand how adaptation has changed and why, chapter one examines the differences in works by Tate, Garrick, and the burlesque writers, locating traditional critical models – which characterize adaptation as either collaborative or repudiative – within a more historicized framework. Chapter two considers how changes in early twentieth-century Shakespeare criticism impacted adaptations by playwrights like Bottomley, and how traditional models of adaptation begin to break down when applied to more ironic works by Baring and Stoppard. Chapter three evaluates a new model of adaptation in regard to plays by Bond and Barker which articulate a more problematic relationship to Shakespeare, a model that is further tested in chapter four against feminist adaptations by Paula Vogel, Ann-Marie MacDonald, and the Women’s Theatre Group. This new model conceives of adaptation as a complex double gesture that collaborates with Shakespeare and rejects him at the same time; it allows playwrights to acknowledge their debt to Shakespeare while commenting on contemporary issues and expressing modern beliefs. It allows playwrights to express more modern subject positions with regard to their literary heritage and to themselves, and to engage with broader debates about how art, society, and the self interact.

O presente trabalho consiste em uma análise aproximativa entre a trajetória do grupo teatral paulista Folias DArte e a realização, em 2007, do espetáculo Oresteia o canto do bode. Partindo dos termos utilizados pelo próprio grupo estudado sobre o sentido do empreendimento artístico, buscamos esclarecer uma leitura sobre os juízos e vozes intrusivas estabelecidas pelos artifícios épicos da narrativa sobre o material cênico concebido na adaptação. O conteúdo deste empreendimento enquanto ofício de realizadores no campo teatral, bem como a maneira pela qual este conteúdo se traduz em uma atividade consciente, dirigida e produzida em termos programáticos pelo coletivo, é confrontada com paradigmas organizativos da formação do teatro moderno brasileiro. Retomando leituras históricas sobre a oposição entre a ideia de Teatro moderno (compreendido como atualização de gêneros e dramaturgias associados a uma ideia de profissionalização do ofício do artista teatral brasileiro na década de 1940) e alguns dos principais debates sobre a consolidação do teatro moderno brasileiro na década de 1950 e 1960, pautamos o legado destes debates não como uma disputa por maior influência estética, mas como projetos de modernização teatral em conflito. A partir deste debate, expomos a compreensão e posicionamento do grupo Folias DArte seguindo as analogias e aproximações concebidas para encenar a trilogia de Ésquilo / This paper consists in an approximative analysis between the formative path of Folias DArte Theatre Group from São Paulo and the execution, in 2007, of the spectacle Oresteia o canto do bode. Starting from the terminology utilized by the studied group on the meaning of this artistic endeavour, we seek to clarify a reading on the senses and intrusive voices established by the narratives epic artifices on the scenic material conceived in the adaptation. This endeavours content understood as a craft from the operatives in the theatrical field and the way by which this content is translated into a conscious activity directed and produced by the group in programmatic terms is confronted with organizative paradigms from the formation of modern Brazilian theatre. Retaking historical readings on the opposition between the idea of Modern Theatre (understood as an actualization of genres and dramaturgies associated with a notion of professionalization of the theatrical artist in the decade of 1940) and some of the major debates on the consolidation of modern Brazilian theatre in the decades of 1950 and 1960, we base the legacy of these debates not as a dispute over aesthetic influence, rather as projects of theatrical modernization in conflict. From this debate, we expose Folias DArte Theatre Groups understanding and positioning following its analogies and approximations conceived in order to stage Aeschylus trilogy

O presente trabalho consiste em uma análise aproximativa entre a trajetória do grupo teatral paulista Folias DArte e a realização, em 2007, do espetáculo Oresteia o canto do bode. Partindo dos termos utilizados pelo próprio grupo estudado sobre o sentido do empreendimento artístico, buscamos esclarecer uma leitura sobre os juízos e vozes intrusivas estabelecidas pelos artifícios épicos da narrativa sobre o material cênico concebido na adaptação. O conteúdo deste empreendimento enquanto ofício de realizadores no campo teatral, bem como a maneira pela qual este conteúdo se traduz em uma atividade consciente, dirigida e produzida em termos programáticos pelo coletivo, é confrontada com paradigmas organizativos da formação do teatro moderno brasileiro. Retomando leituras históricas sobre a oposição entre a ideia de Teatro moderno (compreendido como atualização de gêneros e dramaturgias associados a uma ideia de profissionalização do ofício do artista teatral brasileiro na década de 1940) e alguns dos principais debates sobre a consolidação do teatro moderno brasileiro na década de 1950 e 1960, pautamos o legado destes debates não como uma disputa por maior influência estética, mas como projetos de modernização teatral em conflito. A partir deste debate, expomos a compreensão e posicionamento do grupo Folias DArte seguindo as analogias e aproximações concebidas para encenar a trilogia de Ésquilo / This paper consists in an approximative analysis between the formative path of Folias DArte Theatre Group from São Paulo and the execution, in 2007, of the spectacle Oresteia o canto do bode. Starting from the terminology utilized by the studied group on the meaning of this artistic endeavour, we seek to clarify a reading on the senses and intrusive voices established by the narratives epic artifices on the scenic material conceived in the adaptation. This endeavours content understood as a craft from the operatives in the theatrical field and the way by which this content is translated into a conscious activity directed and produced by the group in programmatic terms is confronted with organizative paradigms from the formation of modern Brazilian theatre. Retaking historical readings on the opposition between the idea of Modern Theatre (understood as an actualization of genres and dramaturgies associated with a notion of professionalization of the theatrical artist in the decade of 1940) and some of the major debates on the consolidation of modern Brazilian theatre in the decades of 1950 and 1960, we base the legacy of these debates not as a dispute over aesthetic influence, rather as projects of theatrical modernization in conflict. From this debate, we expose Folias DArte Theatre Groups understanding and positioning following its analogies and approximations conceived in order to stage Aeschylus trilogy

This study addresses the problem critics have faced in identifying contemporary perceptions of the barber, surgeon and barber-surgeon in early modernity by examining the literature, predominantly the drama, from the period. The name ‘barber-surgeon’ is not given formally to any character in extant early modern plays; only within the dialogue or during stage business is a character labelled the barber-surgeon. Barbers and surgeons are simultaneously separate and doubled-up characters. The differences and cross-pollinations between their practices play out across the literature and tell us not just about their cultural, civic and occupational histories but also about how we interpret patterns in language, onomastics, dramaturgy, materiality, acoustics and semiology. Accordingly, the argument in this study is structured thematically and focuses on the elements of performance, moving from discussions of names to discussions of settings and props, disguises, stage directions and semiotics, and from sound effects and music, to voices and rhetorical turns. In doing so, it questions what it means in early modernity to have a developed literary identity, or be deprived of one. The barber-surgeon is a trope in early modern literature because he has a tangible social impact and an historical meaning derived from his barbery and surgery roots, and consequently a richly allusive idiom which exerted attraction for audiences. But the figure of the barber-surgeon can also be a trope in investigating how representation works. An aesthetic of doubleness, which this study finds to be diversely constructed, prevails in barbers’, surgeons’ and barber-surgeons’ literary conception, and the barber-surgeon in the popular imagination is created from opposing cultural stereotypes. The literature from the period demonstrates why a guild union of barbers and surgeons was never harmonious: they are opposing dramaturgical as well as medical figures. This study has a wide-ranging literary corpus, including early modern play texts, ballads, pamphlets, guild records, dictionaries, inventories, medical treatises and archaeological material, and contributes to the critical endeavours of the medical humanities, cultural materialists, theatre historians and linguists.

Young characters throughout the history of Australian theatre have traditionally been represented as tragic, transient, and dangerous; discourses which have defined and limited their construction. 'Youth' itself is a concept which has been invented and perpetuated within Western Art and Media for much of the twentieth century and beyond, creating an exclusive 'space' for young people: a space between childhood and a standard human being. This thesis seeks to explore the implications of this space, as well as contextualise a new creative work - the stage play like, dead - within the canon of Australian theatre texts which portray young characters. like, dead will be shown to be a work which reappropriates clichéd youthful discourses through the use of irony, humour, and a sense of postmodern 'performativity' among its characters. In so doing it will demonstrate an alternative approach to representing young people on the Australian stage, by enhancing the constructedness of traditional images of 'youth' and pursuing the creation of young characters which are not solely defined by the term.

This thesis argues that there is an enigma at the heart of Webster's The Duchess of Malfi; a disjunction between the critical history of the play and its reception in performance. Historical disquiet about the status of the play among academics and cultural commentators has not prevented its popularity with audiences. It has, however, affected some of the staging decisions made by theatre companies mounting productions. Allied to other practical factors, these have impacted significantly – and occasionally disastrously – upon performances. It is argued that Webster conceived the play as a meditation on degree and, in aiming to draw out the maximum relevance from the social satire, deliberately created the multi-faceted performative role of Bosola to work his audience in a complex and subversive manner. The role's purpose was determined in response to the structural discontinuity imposed upon the play by the physical realities of staging within the Blackfriars' auditorium. But Webster also needed an agent to serve the plot's development and, in creating the role he also invented a character, developed way beyond the material of his sources. This character proved as trapped as any other in the play by the consequences of his own moral choices. Hovering between role and character, Webster's creation remains liminally poised on ‘the dangerous edge of things.' Part One explores the contexts in which Webster created one of the most ambiguous figures in early modern drama - subverting stock malcontent, villain and revenger - and speculates on the importance of the actor, John Lowin in its genesis. It includes a subsequent performance history of the role. Part Two presents the detailed analysis of a range of professional performances from the past four decades, attempting to demonstrate how the meaning of the play has been altered by decisions made regarding the part of Bosola.

SLOVENE NATIONAL THEATRE IN LJUBLJANA Author Report Of The Diploma Work Author: Bc. Petr Hýl Supervisor: doc. ing. arch. Zdeněk Makovský