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This multi-media art project investigates the notion of Cook Islands humour, and subsequently place, through the context of the religious pageant Nuku. This pageant has been practiced annually in the Cook Islands for over one hundred and sixty years. While it is not a pageant based on humour, I suggest, through experience and research, that many of the characteristics of Cook Islands humour are revealed in Nuku. The aim of this project is not to recreate the narrative set out in the Nuku pageant but to use this event to explore ways to visually express the humour of the Cook Islands. After researching and experimenting in two dimensional mediums, my emphasis changed to experimenting with three dimensional mediums, incorporating materials that have connotative meanings in Cook Islands society.

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This dissertation explores the impact of the permanent chautauqua movement in American culture, especially in the period from 1874 to 1935. It argues that chautauquas served as sites for the production of middle-class culture and the renegotiation of relationships among class, gender, race, and religion. Permanent chautauquas were popular vacation resorts throughout the United States, beginning with the founding of the Chautauqua Sunday School Assembly in upstate New York and increasing in number to about two hundred in 1900. They were associations of cottages offering community programs that were educational, religious, and entertaining. This dissertation examines the programs that the chautauquas planned, arguing that they espoused a burgeoning form of culture, one that supported a perceived morality and middle-class values like dedication to family, temperance, education, patriotism, piety, and fighting against temptation to sin. Particular emphasis is placed on how performance at permanent chautauquas led to new expectations of gender, class, race, and religion. Women had opportunities for leadership, were able to blur lines between public and private spheres, and could act out different expectations of their gender while on the grounds. While most chautauquans were middle class, attending a chautauqua meant that one's class was not important and all could enjoy a middle-class vacation. While the line between whites and non-whites remained stable, non-whites were granted performance opportunities at chautauquas that they might not have had; other non-whites participated as members of the work force that allowed white chautauquans the leisure they expected. Because chautauquas were Protestant communities, religion underlaid all activities on the grounds, redefining expectations of how religion and entertainment could be combined. Taken together, these renegotiations of identity at chautauquas impacted a broader American culture. This dissertation examines the performances at chautauqua, in particular the Chautauqua Literary and Scientific Circle and their Recognition Day graduation ceremony; historical pageantry; professional performers who visited as part of the circuit chautauquas; and early film exhibition. It places them in a broader American performance context and argues that permanent chautauquas played a role in their development and popularity. It draws upon archival records from the chautauquas to outline the kinds of programming presented. Additionally, the research is supported by anecdotal evidence from a series of oral history interviews conducted with individuals who recall their childhoods at permanent chautauquas.

This dissertation explores embodiments of citizenship in three historical pageants of 1913. As historical pageantry reached the height of its popularity in the early twentieth century, the form was criticized by those who felt it represented a limited understanding of community and citizenship. Historical pageants came to prominence at a time in the nation’s history when lynching plagued the south, women agitated for the right to vote, and labor unions organized to demand better working conditions. Popular historical pageants presented a history which ignored these pressing social issues and supported the status quo. As a result, while pageants gained popularity the form was taken up by groups seeking to use pageants for different political purposes. My dissertation interrogates embodiments of citizenship in Progressive Era pageantry through three case studies: W.E.B. Du Bois wrote and staged Star of Ethiopia, devoted to re-telling African-American history; John Reed organized members of the Industrial Workers of the World (IWW) for a performance of The Paterson Strike Pageant to aid laborers on strike; and Hazel MacKaye staged Allegory in support of women’s suffrage. While each pageant aimed to promote diversity, once each pageant’s historiography landed on live bodies, the gaps between what the pageant argued for and who the pageant simultaneously excluded were made visible. Allegory crafted an argument for white women’s suffrage by excluding recent immigrant and women of color; Du Bois sought to promote the African American middle class by denigrating the working classes; John Reed painted an image of the IWW as a fully united working class while ignoring the racial and ethnic differences that had led to tensions among the group. Despite their progressive intentions, once each pageant moved its political arguments on stage, the choices they made in performance belied their inclusive aspirations. / text

Miss America Pageant contestants (MAPCs) have been negatively stereotyped socially for their perceived lack of intelligence and nonconformance to feminist gender stereotypes of women. Stereotypes could affect an individual's social psyche and establish stigma, which could prevent a group from achieving their full potential. Stereotypes could also result in women having mental health disorders, low self-esteem, a decrease in self-efficacy, body image dissatisfaction, and eating disorders. The problem this study addressed was that women who participate in the Miss America Organization (MAO) preliminary pageants risk social stigma for taking part in a seemingly nonfeminist activity. Intercultural communication research (ICR) was the theoretical framework utilized to understand the role of cultural stereotypes, prejudice in communication, and self-perception among MAPCs. The main research question examined how local preliminary MAPC's decide to participate in pageantry in relation to their beliefs about stereotypes of MAPCs. For this multiple case study, a sample of MAPCs (n =5) from a Southeastern state was recruited to participate in interviews and provided narrative data that was coded and analyzed for themes of stereotypes, self-esteem, and self-efficacy. The key findings from this study revealed that the participants believed that societal stereotypes of MAPCs still exist, but the stereotypes did not influence participants' self-esteem, self-efficacy, and their decisions to compete and represent their social platform. The results also revealed a need for societal education about MAO pageant system's mission. Positive social change can come from understanding the MAPC subculture to dispel societal stereotypes and through presenting MAPCs' goals as social change agents.

Joanna Murray-Smith and Daniel Keene are both successful mid-career Melbourne playwrights. Taking them as a starting point and re-tracing an Australian theatrical lineage, this project explores new Melbourne narratives in which two branches of the Australian theatrical idiom converge in a single creative work, my play Friday Night, In Town. An analysis of the writing of Friday Night, In Town, authored by myself and presented for examination herein, demonstrates its narratives are structured with deliberate reference to Murray-Smith and Keene revealing a new form of contemporary urban playwriting. The play's originality, it will be shown, and its contribution to new knowledge, lie in its engagement with these playwrights and their Australian predecessors. These elements combine with a redeployment of the medieval pageant-play, which is thus reinvigorated as a mode of contemporary playwriting practice. The play text presented herein (Friday Night, In Town) represents 75 per cent of the weighting for this M.A. (by Research) with the exegetical component weighted at 25 per cent.

Depuis le Pageant du tricentenaire de la ville de Québec, qui a eu lieu en 1908, plusieurs spectacles historiques à grand déploiement ont été créés au Canada français, et particulièrement au Québec, et ce, jusqu’aux années 1960. Ces spectacles populaires et amateurs, souvent créés dans le cadre de festivités célébrant des anniversaires de fondation de localités ou d’établissements scolaires ou religieux, connurent ensuite un déclin, pour revenir en force à partir de la fin des années 1980. Présenté de 2004 à 2008 dans la ville de Casselman, en Ontario, le spectacle L'écho d'un peuple est l’un des plus importants représentants contemporains de ce genre théâtral et s’avère, par sa forme et son contenu, différent des autres productions de ce genre. Ce mémoire vise à démontrer que L’écho d’un peuple véhicule un discours identitaire fondé sur la grandeur des origines par le biais d'une forme spectaculaire particulièrement apte à la transmission d’un discours épique. Le premier chapitre présente l’historique du spectacle, de sa création jusqu’à sa dissolution, alors que le deuxième chapitre démontre son appartenance au genre du « pageant scénique », une forme théâtrale très utilisée dans les spectacles historiques à grand déploiement produits durant la première moitié du XXe siècle. Les troisième et quatrième chapitres, qui proposent une analyse des composantes temporelles et spatiales du spectacle, démontrent que les événements historiques privilégiés par la trame narrative contribuent à construire un discours historique fondé sur la grandeur des origines de l’Ontario français, ponctué d’exploits accomplis par des héros évoluant sur un territoire spécifiquement franco-ontarien.

In der Einleitung werden das Thema, Ziele, Struktur der Arbeit bekannt gemacht. Die Arbeit besteht aus zwei Teilen, einem theoretischen und einem praktischen. In dem theoretischen Teil der Arbeit werden zuerst zwei Brgriffe Aufführung und Inszenierung, die zu dem Theaterwissenschaft gehören, im Bezug auf die Begriffs- und Analyseaspekten, Beziehung zwischen den Begriffen analysiert. Dabei wird die semiotische Methode der Analyse der aufgeführten Inszenierung untersucht.In demzweitem Kapitel des theoretischen Teils beschäftigt man mit der Entstehung des Stoffes. Dabei werden literarische, inhaltliche Nuancen, historischer Kontext überblicht, auch erforsch, wie das Nibelungenlied zu dem Nationalepos wurde, die Rolle des Nibelungeliedes in eigenen historischen Ereignissen, Literatur, Malerei, Kino. Dabei werden die Variationen der Form und des Inhalts des Nibelungenliedes überblickt. / Įvade supažindinama su darbo tema, tikslais struktūra. Darnas susideda iš teorinės ir praktinės dalies. Pirmiausia teorinėje darbo dalyje aptariamos dvi su teatro mokslu susijusios sąvokos - spektaklis ir inscenizacija, apžvelgiant jų apibrėžimo ir analizės aspektus, šių sąvokų tarpusavio ryšį. Taip pat aptariamas semiotinis metodas, kuris taikomas ant scenos pateiktai teatrinei inscenizacijai analizuoti. Antrame teorinės dalies skyriuje tirimas Nibelungų giesmės atsiradimas. Todėl analizuojami literatūriniai, turinio niuansai, istorinis kontekstas, taip pat Nibelungų giesmės tapimas nacionaliniu epu bei Nibelungų giesmėje vyraujančių temų ir motyvų svarba istoriniams įvykiams, literatūrai, dailei, kinui. Todėl apžvelgiamos Nibelungų giesmės turinio ir formos variacijos. / The introduction presents the thesis, the objective structure. The work consists of both theoretical and practical part First, the theoretical part deals with two related concepts in science theater – theatrical pageant and spectacle, reviewing the definition and analysis of aspects of the relationship between these concepts. It also discusses the semiotic approach, wich is used to analysed of the theatrical pageant. The second chapter of the theoretical part studied song of the Nibelungs appearance. Therefore, analysis of literary content of nuance, historical context, as well as becoming a national hymn and importance of the dominant themes and motives of the song of the Nibelungs to historical events, literature, visual arts, cinema. Therefore variations and form of the song of the Nibelungs are reviewed.