The aim of this paper is to prove that there is a pattern in Webster’s use of imagery, at least in the two great plays. / Thesis / Master of Arts (MA)

Lynn Riggs was an early to mid-20th century Native American playwright who wrote twenty-four full length plays, his sole enduring success being Green Grow the Lilacs, the play upon which the musical Oklahoma! is based. For much of the early part of Riggs’s career, he was considered a uniquely pioneering and promising playwright, cited in competition with Eugene O’Neill as vying for the position of best playwright of their age. But while O’Neill has gone on to be considered America’s Greatest Playwright, the life and works of Lynn Riggs, save for his contribution to Rodgers and Hammerstein, have gone largely forgotten and unexamined. It is the purpose of my paper to 1) provide a biographical sketch of the man, 2) give an overview of several major themes that run through his work, and 3) provide some theory and analysis as to why the promise of this young and distinctly Native American voice was never adequately fulfilled in his lifetime. I will attempt to argue that a combination of circumstances including Riggs’s poor home life, his at times misogynistic and racist points of view, America’s inability to see Native Americans as other than caricatures and, quite simply, bad luck put much of Riggs’s writing on a fast track to failure and contemporary obscurity.

Made available in DSpace on 2016-04-27T18:47:23Z (GMT). No. of bitstreams: 1 Ricardo.pdf: 1049330 bytes, checksum: a011a53110f6bc64a984dbe5a301d7b4 (MD5) Previous issue date: 2007-06-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This essay looks trough the process of how an actor deals with his own oldness, precisely in the city of São Paulo, in between 1948/49/50 by the time theater (TBC ), radio (Tupi / Diffused ), movie (Vera Cruz ) and television (TV Tupi) connection and the 2006. At the first chapter, the reasons take took the author to choose these theme will be exposed, followed by the purpose and the methodology used in the research. At the second chapter, this paper will presents the concepts of Social Gerontology, old age and the process trough an actor deals with his own oldness and performing arts, playwright and languages of performing arts. At the third chapter the chronology of the main artistic and politician facts related to the old actors in São Paulo during the period of the research will be presented. This period of 58 years will be separated in different phases: Performing Arts and the Modernity, Performing Arts as Social Engagement, Resistance at the Censorship and to the Military Regime, Fights for Amnesty and Redemocratization and Performing Arts by the time of early democracy. The purpose of this is to evidence the participation of who nowadays are the old actors focused in this paper and the role played by them in today's at the social questions. The fourth chapter that's a analysis of this chronology , apportioned well into motifs appurtenant to the performing arts and at the old age. At the considerations endings completes as the old actors today's did not can and must not be considered all of equal : than it is to there are several oldness among them. Considers as well than it is to they are not influential merely now and they always have been social acting. Another closure is, in the last 58 years, the old actor left of having chance to work well into the radio soup operas , but , on the other hand , he saw the opening the doors from the television and the one theater best organised in spite of that difficulties as of in case that hold at the occupation ( and as of age into it ) still they may be unlimited.. The labour contains still , as an addendum , a list of the main theatrical spectacles with old actors stars, as of 2001 the one 2006, and also a list of the more important movies played by old actors at the period between 2003 and 2006 with the names of your interpreters / Este trabalho investiga o processo de envelhecimento e a velhice do ator, na cidade de São Paulo, de 1948/49/50 - quando se estabelece a interação teatro, (TBC), rádio (Tupi/Difusora), cinema (Vera Cruz) e televisão (TV Tupi) - até o ano de 2006. No primeiro capítulo exponho a justificativa, os objetivos e a metodologia da pesquisa. No segundo capítulo conceituo Gerontologia Social, velhice e envelhescência, ator e artes cênicas, dramaturgia e linguagens de artes cênicas, e a cidade de São Paulo em 1948 e nos dias de hoje. No terceiro capítulo apresento a cronologia dos principais fatos artísticos e políticos envolvendo atores envelhescentes e idosos, ocorridos em São Paulo no período pesquisado. Para tanto divido este período de 58 anos em fases distintas: Artes Cênicas e a Modernidade, Artes Cênicas em Tempo de Engajamento Social, Resistência à Censura e ao Regime Militar, Luta pela Anistia e pela Redemocratização e Artes Cênicas em tempo de democracia. Busco evidenciar, com isso, a participação dos atores idosos de hoje nas questões sociais, desde o tempo em que eles estavam na idade madura. O quarto capítulo é uma análise desta cronologia, dividida em temas relacionados às artes cênicas, à velhice e ao envelhecimento. Nas considerações finais concluo que os atores idosos de hoje não podem e não devem ser considerados todos iguais; que há várias velhices entre eles. Considero também que eles não são influentes apenas agora e sim que sempre foram socialmente atuantes. Outra conclusão é que durante estes 58 anos o ator deixou de ter como possibilidade o trabalho em radionovelas, mas, por outro lado, viu abrirem-se as portas da televisão e de um teatro melhor organizado, embora as dificuldades de se manter na profissão (e de envelhecer nela) ainda sejam imensas. O trabalho contém ainda, como apêndice, uma lista dos principais espetáculos teatrais protagonizados por atores idosos, de 2001 a 2006, bem como uma lista dos filmes mais importantes protagonizados por atores idosos no período de 2003 a 2006, com os nomes de seus intérpretes

A presente dissertação tem por base estabelecer reflexões acerca do trabalho desenvolvido nas práticas de teatro na sala de aula com alunos do Programa EJA - Educação de Jovens e Adultos da Escola Municipal Arthur Ostermann, no Município de São Leopoldo, na região do Vale dos Sinos, Estado do Rio Grande do Sul. Procuro estabelecer conexões dessas práticas com a Pedagogia do Oprimido de Paulo Freire e o conceito de Tempos Líquidos, de Zygmunt Bauman. As atividades foram realizadas através de jogos espontâneos e protagonizados, visando o desenvolvimento dos potenciais criativos dos alunos, e a reflexão sobre os potenciais destrutivos da sociedade. As práticas são divididas em duas ramificações: o Teatro Jornal, de Augusto Boal e o exercício de escrita dramática a partir da contextualização das tragédias gregas. Uma tem ligação com a outra, tendo em vista que a partir das improvisações teatrais surgiram necessidades de discutir os fatos vigentes. Estes fatos, a maioria publicados em jornais, foram considerados pelos alunos como tragédias, o que despertou em alguns a pesquisa a partir dos textos trágicos do teatro grego, que consistiu na leitura em específico das peças Édipo Rei e Antígona, de Sófocles, desencadeando assim uma contextualização de determinadas obras. / This thesis is based on established ideas about the work practices of theater in the classroom with students of adult education program - Youth and Adult Education of the School of Arthur Ostermann, in São Leopoldo, in the Vale of Sinos, Rio Grande do Sul. Looking for connections of these practices with the Pedagogy of the Oppressed by Paulo Freire and the concept of Liquid Times of Zygmunt Bauman. The activities were conducted through games and spontaneous protagonists, to develop the creative potential of students, and reflection on the destructive potential of society. The practices are divided into two branches: the Newspaper theater of Augusto Boal and the pursuit of dramatic writing from the background of Greek tragedies. One is linked to another in order that emerged from the improvisational theater needs to discuss current events. These facts, most published in newspapers, were considered by students as tragedy, which sparked some research from the texts tragic of Greek drama, which consisted of reading in specific parts of Édipo Rei and Antigona by Sófocles. Thus triggering a contextualization of certain works.

A presente dissertação tem por base estabelecer reflexões acerca do trabalho desenvolvido nas práticas de teatro na sala de aula com alunos do Programa EJA - Educação de Jovens e Adultos da Escola Municipal Arthur Ostermann, no Município de São Leopoldo, na região do Vale dos Sinos, Estado do Rio Grande do Sul. Procuro estabelecer conexões dessas práticas com a Pedagogia do Oprimido de Paulo Freire e o conceito de Tempos Líquidos, de Zygmunt Bauman. As atividades foram realizadas através de jogos espontâneos e protagonizados, visando o desenvolvimento dos potenciais criativos dos alunos, e a reflexão sobre os potenciais destrutivos da sociedade. As práticas são divididas em duas ramificações: o Teatro Jornal, de Augusto Boal e o exercício de escrita dramática a partir da contextualização das tragédias gregas. Uma tem ligação com a outra, tendo em vista que a partir das improvisações teatrais surgiram necessidades de discutir os fatos vigentes. Estes fatos, a maioria publicados em jornais, foram considerados pelos alunos como tragédias, o que despertou em alguns a pesquisa a partir dos textos trágicos do teatro grego, que consistiu na leitura em específico das peças Édipo Rei e Antígona, de Sófocles, desencadeando assim uma contextualização de determinadas obras. / This thesis is based on established ideas about the work practices of theater in the classroom with students of adult education program - Youth and Adult Education of the School of Arthur Ostermann, in São Leopoldo, in the Vale of Sinos, Rio Grande do Sul. Looking for connections of these practices with the Pedagogy of the Oppressed by Paulo Freire and the concept of Liquid Times of Zygmunt Bauman. The activities were conducted through games and spontaneous protagonists, to develop the creative potential of students, and reflection on the destructive potential of society. The practices are divided into two branches: the Newspaper theater of Augusto Boal and the pursuit of dramatic writing from the background of Greek tragedies. One is linked to another in order that emerged from the improvisational theater needs to discuss current events. These facts, most published in newspapers, were considered by students as tragedy, which sparked some research from the texts tragic of Greek drama, which consisted of reading in specific parts of Édipo Rei and Antigona by Sófocles. Thus triggering a contextualization of certain works.

A presente dissertação tem por base estabelecer reflexões acerca do trabalho desenvolvido nas práticas de teatro na sala de aula com alunos do Programa EJA - Educação de Jovens e Adultos da Escola Municipal Arthur Ostermann, no Município de São Leopoldo, na região do Vale dos Sinos, Estado do Rio Grande do Sul. Procuro estabelecer conexões dessas práticas com a Pedagogia do Oprimido de Paulo Freire e o conceito de Tempos Líquidos, de Zygmunt Bauman. As atividades foram realizadas através de jogos espontâneos e protagonizados, visando o desenvolvimento dos potenciais criativos dos alunos, e a reflexão sobre os potenciais destrutivos da sociedade. As práticas são divididas em duas ramificações: o Teatro Jornal, de Augusto Boal e o exercício de escrita dramática a partir da contextualização das tragédias gregas. Uma tem ligação com a outra, tendo em vista que a partir das improvisações teatrais surgiram necessidades de discutir os fatos vigentes. Estes fatos, a maioria publicados em jornais, foram considerados pelos alunos como tragédias, o que despertou em alguns a pesquisa a partir dos textos trágicos do teatro grego, que consistiu na leitura em específico das peças Édipo Rei e Antígona, de Sófocles, desencadeando assim uma contextualização de determinadas obras. / This thesis is based on established ideas about the work practices of theater in the classroom with students of adult education program - Youth and Adult Education of the School of Arthur Ostermann, in São Leopoldo, in the Vale of Sinos, Rio Grande do Sul. Looking for connections of these practices with the Pedagogy of the Oppressed by Paulo Freire and the concept of Liquid Times of Zygmunt Bauman. The activities were conducted through games and spontaneous protagonists, to develop the creative potential of students, and reflection on the destructive potential of society. The practices are divided into two branches: the Newspaper theater of Augusto Boal and the pursuit of dramatic writing from the background of Greek tragedies. One is linked to another in order that emerged from the improvisational theater needs to discuss current events. These facts, most published in newspapers, were considered by students as tragedy, which sparked some research from the texts tragic of Greek drama, which consisted of reading in specific parts of Édipo Rei and Antigona by Sófocles. Thus triggering a contextualization of certain works.

Cette thèse trace et interroge le passage qui s’est opéré au cours des quarante dernières années dans la dramaturgie québécoise, soit le passage d’une écriture de l’identitaire à celle de l’individu. La lecture privilégiée sera de l’ordre de la sociocritique du texte dramatique et elle permettra d’identifier les stratégies discursives et poétiques autoréflexives d’une pratique théâtrale qui puise ses tropes aux littératures de l’intime. Ainsi, les pièces à caractère biographiques et les relectures historiques sont étudiées au même titre que celles qui se revendiquent de l’autobiographie, de l’autofiction et de l’autoreprésentation. Ces dernières caractérisent la production théâtrale québécoise récente. Après avoir été résolument politique et axée sur la langue, la dramaturgie québécoise, longtemps considérée écriture-miroir d’un peuple dont la nation est en perpétuel devenir, aujourd’hui s’intéresse d’abord à elle-même, à sa littérarisation, voire à ses praticiens préoccupés par la place qu’ils occupent dans un milieu plus exiguë, plus marginalisé dans l’ensemble de la société québécoise. Le devenir sociétal a-t-il été substitué par la préoccupation du devenir individuel, non pas comme exemplum, mais comme manifestation d’un sentiment d’unicité? La thèse examine l’émergence d’une dramaturgie tributaire des pratiques autographiques de ses praticiens. Le discours théâtral est à nouveau en accord avec le discours social, sauf que cette fois, le reflet que renvoie le miroir est celui d’une société d’individus préoccupés par leur propre devenir. / This thesis traces and investigates the transition in Quebec drama over the last forty years from writing driven by collective identity to writing driven by the individual. The reading of the dramatic texts draws on a socio-critical approach, identifying discursive strategies and the poetics of self-representation in a theatrical tradition seen to be borrowing its devices from intimate literature. Consequently, biographically inflected plays and epic plays reinterpreting history are studied alongside the more explicitly autobiographical, autofictional, and self-reflective works that have come to typify recent Quebec theatre production. After having been resolutely political and language-based, Quebec drama—long considered reflective of the national aspirations of a people in a state of ongoing redefinition—is now interested primarily in itself as a literary trope. Theatre practitioners have become preoccupied with the narrowing space they occupy in Quebec society. Has the social process of becoming [“le devenir” in the Deleuzian sense] been replaced by an overwhelming preoccupation with the individual sense of becoming, not as a stated exemplum, but rather as the manifestation of a sense of uniqueness? The thesis examines the emergence of a self-reflective dramaturgy celebrating the autobiographical practices its artists are engaged in. Thus theatrical discourse is again in step with social discourse in Quebec, except that the dramatic mirror is reflecting a society of individuals preoccupied with their own personal sense of accomplishment.

Without consciousness we become victim instead of actors- even if it is only a question of acting victims. And in the make belief of our lives, the audience is self (Fugard in Frank 2004: 53). The primary concern of this study is the comparison of video interpretations of Athol Fugard with their adaptations as visual texts. It has been argued that 'the playwright's creative labour ends with the completion of the script' (Kidnie 2009: 15).Therefore, amongst other issues this dissertation will explore the politics of production at play during adaptation from printed version to screenplays. My assumption is that a comparison between the printed texts and video versions will add to the understanding of the effectiveness of Fugard's dramatic techniques and comprehension of literary texts; images are easy to decipher by inexperienced interpreters if guided. For the purpose of my presentation I adapt the reader response theoretical position of Stanley Fish based on a comparison that will be explored in terms of my own response to both the written text and visual texts, and in line with other responsed to the play. / English Studies / M.A.

This is an exploration of the director's role in autobiographical theatre. The director is in a unique position when storytelling on a personal level is being executed theatrically. I explored this topic over the course of directing three plays, each of which contained a strong personal storytelling element, which broadened my perspective of the director's role. The three plays were Slashtipher Coleman’s The Neon Man and Me, Birth by Karen Brody, and Will Power to Youth Richmond presents: William Shakespeare’s Romeo and Juliet. Traditionally, the director’s role includes a myriad of tasks. These tasks can include and are not limited to creating pictures on stage that reflect the story being told, coaching actors in their craft specific to the production, vocal and movement coaching, viii creating a concept, interpreting and translating the action, and being the intermediary amongst the creative team in reaching the overall artistic vision. However, when the director is presented with personal stories to shape and mold, this role changes; no longer can the director wear a traditional hat and assume that the story will tell itself through a series of pictures, but now the director dons different hats and accesses other skills that more closely reflect those of mentor, spiritual leader, psychologist, teacher, and friend. This thesis is a narrative of the explorative process that one director experienced when staging these three prototypes of autobiographical theatre.

This exegesis interrogates the mental illness Pure Erotomania, the rare delusional disorder which presents with the sufferer having the delusional (and therefore unshakeable) belief that the person they objectify is in love with them. My play Yellow Roses in Fortitude Valley is about one woman's emotional journey as she is relentlessly stalked by a Pure Erotomanic male. It is a fascinating mental illness, which includes all the 'box office type' features, which make it an exciting and frightening subject to write a dramatic work about. It is confusing, illusory, surreal and frightening, but best of all for the writer and audience it is a real human condition. Yellow Roses in Fortitude Valley is written in a style that truthfully represents and portrays the journey and struggle for both the victim and the sufferer. The research undertaken for both the play and exegesis was a hybrid of many overlapping disciplines involved in the current discourse. As a recently diagnosed and recognized disorder, it is still new territory for professionals in the field and for audience members. I believe this makes it an opportune time for an academically researched creative project to enter into current discourse. Previous creative works on this topic, some of which I have interrogated, have approached the issue of stalking as a predator/victim scenario, an unrequited love or a domestic violence situation. I wished to portray the stalking as a mental illness in the form of the psychiatric disorder Erotomania, my approach undertaking to explain victim impact and the prolonged and chronic course of Erotomanic stalking. I also wished to illustrate the underlying themes which I uncovered during my research, being; female victims of sex crimes; dominant patriarchal ideology; and the current interventions in stalking by the legal and mental health systems.