The combination of two trends in modern Canadian society, the trend to increasingly rapid urbanization and the trend to increasing leisure, points to a pressing problem for the future in our cities: the provision of the amenities of urban life which will be needed for leisure use. The general planning concern in this study is thus the provision of community services and resources for leisure. The performing arts are taken to be one facet of the cultural opportunities which should be included in planning for leisure. Although the performing arts have traditionally been linked to urban, centres, the present situation in Canada seems to indicate that the cities have not acknowledged their full responsibility in supporting cultural activities. The need for increased local government support of the major performing arts organizations to ensure their continued existence is examined. The technological and economic problems inherent in the nature of performance make it impossible for productivity to keep pace with costs so that the gap between box office revenue and expenditure is inevitable. In addition, the performing arts may be considered as a public good, for which there are collective benefits. The gains to the urban community indicate that increased local government support of the performing arts should be expected. This study includes a comparison of the financial situation for the major theatre and symphonic organizations in five Canadian cities and a projection to 1975 of the minimum local government support that should be provided to ensure the maintenance of the major performing arts organizations in Vancouver. Local government officials show a great reluctance to provide financial support for cultural activities. The suggestion that this situation stems from a lack of knowledge of the gains associated with their presence lead to the development of a framework to display the returns to the urban community as a means of providing a more informed basis for local government support of cultural activities. To develop such a framework, several concepts associated with the PPB systems approach, and its underlying analysis, have been used in approaching the problem of providing information to the decisionmaker. A framework called the "matrix of returns" is proposed. The application of this framework to the Vancouver situation suggests that its success cannot yet be judged. There is a lack of information about the urban community that would be necessary to complete the measurement of returns. The collection of such information was considered beyond the scope of this study. The preliminary matrix of returns does suggest, however, that while the gains are enjoyed by all the urban communities in the metropolitan region of Vancouver, these communities have not been providing a reasonable share of the necessary support. A metropolitan basis for support of cultural activities seems to be needed. / Applied Science, Faculty of / Community and Regional Planning (SCARP), School of / Graduate

Perception, particularly in the case of dance spectatorship, is a kind of performance. This study considers how spectators' perception of a dance performance is shaped by a combination of the material conditions of the space, spectators' kinetic and psychological histories, as well as their previous encounters with dance and the individual performers. In particular, whether we have experience performing the kind of movement enacted by the dancers can greatly alter how we perceive the movement. Kinesthetic empathy, or the ability to intuit what others are experiencing based upon their bodily behavior, is particularly shaped by our movement histories. As understood by phenomenological theory, kinesthetic empathy is a socially informed, intentional perception of others' experiences, such as physical pain, as being distinct from one's own. Phenomenological accounts then differ from neurological approaches, such as those put forth by mirror neuron theorists, holding that we unconsciously simulate others' behavior and then project our sensation of that simulation onto them. It is suggested that phenomenological accounts of dance performances, replete with idiosyncratic, visceral responses to the performances spaces and performers alike serve as a complement and/or corrective to disembodied, non-embedded neurological studies and abstracted theoretical treatments of dance. A phenomenological approach to discussing kinesthetic empathy will be performed upon works by contemporary choreographers, including: Rosie Kay, Anne Teresa de Keersmaeker, Nir de Vollf , and Sasha Waltz.

In this dissertation, "Transgressing Space and Subverting Hierarchies: A Comparative Analysis of Street Theater Groups in Sri Lanka, India, and the United States," I explore how street theater artists in three different national contexts make innovative use of space, performance traditions, language, and audience in order to question economic, political, and cultural power structures. My study involves a comparative analysis of the work of The Wayside and Open Theater in Sri Lanka, People's Theater Forum (Janam) in India, and Bread and Puppet Theater in the United States. I study the ways in which these groups appropriate spaces and, through their performances, transform them into transgressive sites where existing power hierarchies are questioned and subverted. I examine their use of hybridized forms of aesthetics - a combination of traditional formal performance methods and western performance traditions - as well as language to create a dialogic relationship with diverse audiences. While the study of Sri Lankan and Indian street theater groups interrogates the dynamics of space as it manifests itself in postcolonial contexts, my analysis of Bread and Puppet Theater provides material for comparison and contrast by examining the workings of space and power in a "first world" context. My investigation is informed by Ngugi wa Thiong'o's and Safdar Hashmi's work on space, performance, and power as well as theories of national culture and identity elaborated by Frantz Fanon and Homi Bhabha. I will likewise refer to Jacques Derrida's arguments about language and play and André Lefevere's ideas concerning translation and rewriting in order to examine the language used in the plays. While prior studies of street theater focus primarily on its status as a political or cultural event, I propose to engage in an in depth analysis of the performance texts - both written and visual - and examine the nuances in language and the particular performance techniques used by the groups in specific locations.

This survey of orchestral excerpt books is a resource for flutists auditioning, studying, or teaching orchestral excerpts. An orchestral excerpt is a short, difficult passage or solo from an individual part of a symphonic work. There are many resources but few explanations of where to locate excerpts for flutists. Because the audition process is not yet uniform, it is challenging for flutists to find the necessary music. Included are books that the author has come across through experiences teaching and taking auditions. They are: the Paul Taffanel and Philippe Gaubert Méthod Complète de Flûte, the Karlheinz Zöller Moderne Orchesterstudien für Flöte Volumes 1 and 2, the Trevor Wye A Piccolo Practice Book and The Orchestral Practice Books Volumes 1 and 2, the Jeanne Baxtresser Orchestral Excerpts for Flute and Great Flute Duos from the Orchestral Repertoire, the Walfrid Kujala Complete Original Flute Parts- The Flute Audition Book and Orchestral Techniques for Flute and Piccolo, the Michael Parloff Opera Excerpts for Flute, the Jack Wellbaum Orchestral Excerpts for Piccolo, the John Wion Opera Excerpts for Flute Volumes 1 through 9, the John Wummer Orchestral Studies Volumes 1 through 9, the Orchestra Musician's CD-ROM Library Volumes 1 through 12, The Modern Flutist, and the Little Piper. It is hoped that this treatie will provide a useful tool for all flutists to efficiently locate any passage they need. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester, 2015. / March 25, 2015. / Audition, Excerpt, Excerpts, Flute, Orchestra, Orchestral / Includes bibliographical references. / Eva Amsler, Professor Directing Treatise; Alice-Ann Darrow, University Representative; Eric Ohlsson, Committee Member; Alexander Jiménez, Committee Member.

Contemporary Ambulatory Theatre and Audience Agency explores recent productions that encourage individual audience members to move through large, public spaces in new ways, developing a sense of ambulatory agency as they explore their theatrical environments. It focuses on four objects of study: Punchdrunk’s Sleep No More, a version of Shakespeare’s Macbeth wrapped in the aesthetic of Alfred Hitchcock films and staged for mask-wearing audiences inside three New York warehouse spaces; Blast Theory’s A Machine To See With, which guides audiences through a neighborhood on a supposed bank heist using their mobile phones and has been restaged in nine different cities; Street Corner Society’s Subway Orpheus, a loose adaptation of Ovid’s mythic story in which audience members travel between stations on Boston’s MBTA system; and David Levine’s Private Moment, a series of eight scenes from films shot in Central Park performed by live actors on continuous loops in the exact locations where they were filmed. Contemporary Ambulatory Theatre and Audience Agency uses performance theory, the author’s own experiences of the works, and interviews and statements by practitioners and audience members to determine why artists and audiences are so attracted to new forms of ambulatory agency and how these pieces and others produce them. It argues that, recently, performances like Private Moment have inverted prior understandings of audience agency, treating the individual audience member as the protagonist of their own theatrical event and utilizing performers and other inhabitants of public space to help them exercise this newfound agency. / A Dissertation submitted to the School of Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2018. / April 10, 2018. / Includes bibliographical references. / Mary Karen Dahl, Professor Co-Directing Dissertation; Daniel Aaron Sack, Professor Co-Directing Dissertation; Karen L. Laughlin, University Representative; Elizabeth A. Osborne, Committee Member; Patrick Timothy McKelvey, Committee Member.

The following thesis is an in-depth actor analysis chronicling my approach to the role of Iago in TheatreUNO’s 2019 production of Othello by William Shakespeare. This thesis will include analysis of the text, character objectives, techniques used, observations about the application of contemporary realistic acting technique to classical verse text, self-evaluation and personal reflection. This thesis will be supported by production materials including a fully scored script. This play was directed by David W. Hoover, and performed April 25- May 4, 2019,as part of the TheatreUNO 2018-2019 academic season, presented by the Department of Film and Theatre in the School of the Arts, at the University of New Orleans, New Orleans, Louisiana. Scenic Design was by Kevin Griffith, Lighting design was by Diane Baas, Costume design was by Anthony French, Vocal coaching was by L. Kalo Gow, and Alexandra Marie Rainey served as the Stage Manager.

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Har den västerländska människan förlorat sitt spirituella väsen? Och på vilket sätt kan teatern vara en plats för att få kontakt med hela vår gestalt? För att undersöka denna frågeställning valde jag att arbeta multidisciplinärt och gjorde en dansföreställning för två dansare. Det undersökande arbetet på scenen ledde sedan fram till ett seminarium där detta diskuterades.

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Erwin, Tennessee is a small town located just outside of Johnson City. The town is beautiful and the people are kind, but it lacks one thing - a community theatre. In an effort to increase student interest in the local high school drama department, allow community members of all ages a chance to perform, and to provide entertainment to the small town, I have worked to form a community theatre named Second Story. Founding a nonprofit community theatre comes with many challenges. In this presentation I will walk through my efforts and what all went into this labor of love. I will speak on how I have worked alongside a few other community members to found this community theatre. To found a community theatre one must learn about nonprofit organizations and how to achieve that status, legality that goes along with hosting an event, financial responsibilities, and gauging and intriguing community interest. The work to found Second Story began in 2018 and in August of 2021 the community theatre produced its first production.