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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 4 of 4 (0.071 seconds)Spelling suggestions: "subject:"dew zealand theatre"" "subject:"dew sealand theatre""
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Foreskin's legacy : Gender, Sex and Violence in Contemporary New Zealand TheatreStachurski, Christina Anna January 1993 (has links)
In the early 1980s Foreskin's Lament swept the country as a major artistic and commercial success. In this play dramatist Greg McGee challenges the traditional New Zealand male role and associated behaviour. Foreskin ends the play searching for a new male identity: "[c]an't play the game or any more wear the one-dimensional mask .... Whaddarya?"¹ Has the massive economic and social change occuring in New Zealand since the early 1980s been responsible for answering Foreskin's question and redefining the male role? Similarly, has feminism resulted in women achieving real freedom from the constraints of traditional expectations? Or, rather, has the uncertainty caused by the constant change and financial insecurity influenced New Zealanders to reactivate or reinforce gender roles from earlier times? It is possible to answer the above questions through a close study of contemporary New Zealand theatre: theatre is influenced and produced by the social and cultural context in which it exists. Within the social context, gender is inextricably linked with sex and violence. As the meeting between society and theatre occurs during the performance of play texts, the performance situation is the dominant concern of this thesis. ¹Greg McGee. Foreskin's Lament. Wellington: Victoria University Press, 1985. 96.
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Metamorphosis at 'the margin' : Bruce Mason, James K. Baxter, Mervyn Thompson, Renée and Robert Lord, five playwrights who have helped to change the face of New Zealand drama : a thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy in English at Massey University, Palmerston North, New ZealandWilliams, Susan Lillian January 2006 (has links)
Drama has been the slowest of the arts to develop an authentic New Zealand 'voice.' This thesis focuses on the work of five playwrights: Bruce Mason, James K. Baxter, Mervyn Thompson, Renée and Robert Lord, all of whom have set out to identify such a 'voice' and in so doing have brought about a metamorphosis in the nature of New Zealand drama. New Zealand has traditionally been regarded as being on 'the margin' in relation to the dominant culture of the colonizer (the Eurocentre). Before Bruce Mason began to challenge this 'centre' of power in the early 1950s, New Zealand playwrights were so intimidated by the Eurocentre that they usually set their plays in Europe, particularly in England, in order to make them acceptable to their audiences. Mason proposed that 'the margin' of New Zealand, rather than being seen as inferior, should be redefined as a fertile place capable of nurturing a new individual dramatic form quite distinct from colonial norms. All of my chosen playwrights have insisted upon the intrinsic value of a two-tiered concept of 'the margin.' By setting their plays (wherever possible) in the country of their birth, highlighting New Zealand social issues and in the process persuading theatre-going audiences that plays about this country are worth watching, they have given new life to 'the margin' (the culture of New Zealand as a whole). At the same time all of these five playwrights have recognized that minority groups - 'voices' from 'the outer margin' in relation to the Pakeha 'inner margin' of power - have been largely unrepresented or misrepresented in New Zealand plays. They have advocated the vital importance of women's 'voices,' Māori 'voices' and gay 'voices,' for example, in their exploration of a more sophisticated and inclusive understanding of what constitutes our national identity. Moreover, in a period of less than forty years, they have helped to facilitate the transition of New Zealand theatre from amateur to professional status and have been instrumental in providing the practical framework whereby future New Zealand playwrights may find an outlet for their work.
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Actor Alone: Solo Performance in New ZealandParker, George January 2008 (has links)
This thesis explores solo performance in New Zealand. That solo performance has been widely used in New Zealand's relatively brief theatre history is usually ascribed to the economy, manoeuvrability and adaptability of the form - common reasons for the popularity of solo performance elsewhere as well. But this thesis considers solo performance as a kind of theatre that has been suited to New Zealand in a distinctive way. In particular, I argue that solo performance has emerged on the margins of mainstream theatre in New Zealand as a means of actively engaging with a sense of isolation that typifies the post-colonial New Zealand experience. The ability of the solo performance to move between remote rural settlements and urban centres has connected these New Zealand communities in a way that is unusual for theatre in New Zealand. Furthermore, a solo performer speaking directly to an audience about the experience of living in New Zealand allows for an intimate interaction with a traditionally stoic and laconic masculine society. In this thesis, I make a case for three solo performances where it is possible to see, in the representation of a search for what it means to be a New Zealander, a theatrical contribution to nation-building: The End of the Golden Weather (1959), Coaltown Blues (1984) and Michael James Manaia (1991). However, in a subsequent chapter, I look at solo performances in New Zealand that might better be understood within global movements such as feminism and multiculturalism. I argue that this shift has depleted the power that the form once held to comment upon New Zealand identity and to assist in the search for national identity. I conclude the thesis by considering how ongoing theatre practice may be informed by the experience of solo performance in New Zealand.
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The Rebellious Mirror,Before and after 1984:Community-based theatre in AotearoaMaunder, Paul Allan January 2010 (has links)
In this thesis I outline the contribution Community-based theatre has made to New Zealand theatre. This involves a defining of theatre production as a material practice. Community-based theatre was a tendency from the 1930s, a promise of the left theatre movement and, I argue, was being searched for as a form of practice by the avant-garde, experimental practitioners of the 1970s. At the same time, early Māori theatre began as a Community-based practice before moving into the mainstream.
With the arrival of neo-liberalism to Aotearoa in 1984, community groups and Community-based theatre could become official providers within the political system. This led to a flowering of practices, which I describe, together with the tensions that arise from being a part of that system. However, neo-liberalism introduced managerial practices into state contracting and patronage policy, which effectively denied this flowering the sustenance deserved. At the same time, these policies commodified mainstream theatre production.
In conclusion, I argue that in the current situation of global crisis, Community-based theatre practice has a continuing role to play in giving voice to the multitude and by being a practice of the Common.
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