The exegesis and accompanying playscript 3606202 is concerned with how the structural framework of a play might be manipulated to help deliver a writer's response to global events. The exegesis looks at examples of writers who have responded to global events over the last several decades and examines as a case study the structure of Caryl Churchill's play Far Away. The writer then applies a similar structural blueprint to the writing of his play 3606202 and reflects on the outcomes such a structure achieved. As part of this reflection, the exegesis explores how the writer's desire to respond to global events led him to consider the impacts of structure on the sub-textual articulation of themes within a playscript. The exegesis concludes by detailing the findings of an experiment conducted at the reading of his play and its professional presentation within the Wharf2Loud season at the Sydney Theatre Company.

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Everywhere You Look documents the genesis, production process, performance history, and rewrites of a script informed by a concern for social justice issues in contemporary America. In the quest to generate believable, naturalistic dialogue and behavior informed by important questions of religious conviction, civil liberties, and the viability of violence as a political solution, the script is cast as social realism. After a discussion of the critical context in which the play exists, the lessons and pitfalls of collaboration in the production process are charted. A rewritten script is generated from a process of performance, talk-backs sessions, and committee recommendations. The thesis document includes Appendices containing pre-production and post-production versions of the script, as well as images from the program and color photos of the original thesis production.

This thesis presents the written documentation and evaluation of the development of the original play Bananapocalypse from conception to realized production at Southern Illinois University Carbondale. I wrote this play to exist as a unique, live theatrical experience that utilizes the theatre audience in ways that other media, such as television and film, simply cannot, but doing so in a potent and purposeful way connected to the play's plot and ideas. In doing so, I wrote a play that existed to primarily be a comedy, using its humor to reflect on our society and satirically to poke holes in our national identity. Chapter One is a detailed exploration of the play's origins, plot and character creation, goals of the production, and script development through its selection as part of the 2010-2011 Season. Chapter Two discusses the production process, following the play's continuing evolution as it was brought to the stage in collaboration with a director, actors, and designers. Chapter Three focuses entirely on the audience, detailing their reactions to the play in performance. Chapter Four serves as my evaluation of the process, the performance, and the audience reaction, discovering what these aspects and my journey says about the play and how it needs to further develop. The final chapter is the production draft of the full play script. Recording of original music is included in supplementary material.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-23T15:40:08Z No. of bitstreams: 1 DISSERTAÇÃO COMPLETA.pdf: 3658212 bytes, checksum: 5f111beb32259913b7a6263231e51844 (MD5) / Approved for entry into archive by Elane Valverde Madureira (elaneval@yahoo.com.br) on 2018-08-24T14:16:24Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO COMPLETA.pdf: 3658212 bytes, checksum: 5f111beb32259913b7a6263231e51844 (MD5) / Made available in DSpace on 2018-08-24T14:16:24Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO COMPLETA.pdf: 3658212 bytes, checksum: 5f111beb32259913b7a6263231e51844 (MD5) / RESUMO Em um trabalho integrado, o Grupo de Estudos de Artes Cênicas (Dramaturgia e Trabalho do Ator) do Projeto TelaTeatro da Fundação Joaquim Nabuco Recife – PE desenvolveu uma narrativa de ficção científica relatando que, em 1959, uma cidade de cristal, coberta por um domo e aço e vidro, construída no Centro-Oeste brasileiro, tinha o intuito de isolar os habitantes daquela cidade por cinquenta anos a fim de que descobrissem saídas para os problemas que a humanidade enfrentaria no terceiro milênio. Deste modo, é criado por cientistas o projeto PROBESH – Protótipo Prospectivo Biodomo Estufa Humana, mais conhecido como Stufana (2009-2012). A série escrita para a internet contém cinco episódios, desdobrado em nove para web, que narram a saída de nove habitantes da cidade para o mundo exterior. De modo a expandir o universo narrativo, houve um sexto episódio – não gravado, convertido em leitura dramática e radionovela, que conta o retorno dos personagens para casa. Para contextualizar a referida série, haverá um panorama sobre o surgimento do gênero no mundo e sua difusão no Brasil, bem com suas raízes históricas, períodos mais importantes, características literárias, estilos e as formas de expansão nos meios de comunicação como o rádio, o cinema, a televisão e a internet. Também haverá uma abordagem sobre a dramaturgia de Luiz Felipe Botelho e as atividades realizadas no Projeto TelaTeatro com o objetivo de introduzir o processo de criação de Stufana. Deste modo, a presente pesquisa tem por objetivo fazer um estudo de ficção científica na dramaturgia de Stufana, a partir da análise dos roteiros da websérie, através do modelo actancial proposto pela pesquisadora francesa Anne Ubersfeld em Para Ler o Teatro que servirá como guia as análises a fim de compreender melhor a estrutura textual dos roteiros e outros autores relacionados à narrativa audiovisual. Por se tratar de um estudo de ficção científica, a pesquisa pretende também aprofundar na análise dos roteiros de Stufana, a partir de um guia de leitura criado por David Allen em No Mundo da Ficção Científica e outros autores ligados ao gênero que ajudarão a nortear as principais temáticas características de uma narrativa de ficção científica. / ABSTRACT In an integrated work , the Study Group for the Performing Arts ( Drama and Working Actor ) Project TelaTeatro of Nabuco Foundation Recife - PE developed a science fiction narrative reporting that , in 1959 , a city of crystal, covered by a dome and steel and glass , built in the Brazilian Midwest , was intended to isolate the inhabitants of that city for fifty years to discover that solutions to the problems that face humanity in the third millennium . Thus is created by scientists PROBESH design - Prototype Prospective Biodomo Human Greenhouse, better known as Stufana (2009-2012) . Writing for the internet series contains five episodes unfolded in nine webs, portraying the departure nine inhabitants of the city to the outside world. In order to expand the narrative universe, there was a sixth episode - not recorded, converted into dramatic and soap opera, which features the return of characters for home reading. To contextualize the Stufana said series, there will be an overview of the emergence of the genre in the world and its distribution in Brazil, as well as its historical roots , the most important periods , literary characteristics , styles and forms of expansion in the media like radio, cinema, television and the internet . There will also be a discussion of the dramaturgy of Luiz Felipe Botelho and activities undertaken in TelaTeatro Project with the objective of introducing the process of creating. Thus, this research aims to make a study of the science fiction drama of Stufana, from the analysis of the roadmaps of webseries through actantial model proposed by French researcher Anne Ubersfeld to read in the theater that will serve as a guide analyzes order to better understand the textual structure of scripts and other related audiovisual narrative authors. Because it is a study of science fiction, the research also aims to deepen the analysis of scripts Stufana, from a reading guide created by David Allen in The World of Science Fiction and other authors related to gender that help to guide the main thematic characteristics of a narrative of science fiction.

AN ABSTRACT OF THE THESIS OFAustin Harrison, for the Master of Fine Arts degree in Theatre, presented on April 10, 2020, at Southern Illinois University Carbondale. TITLE: DIVING INTO ONE’S PAINFUL PAST AND DARKEST INTERNAL FEARS: THE DEVELOPMENTAL PROCESS OF THE THREAD THAT SNAPPEDMAJOR PROFESSOR: Dr. Jacob Juntunen This thesis details the development of my full-length play The Thread That Snapped from its early conception in 2019 to full production at Southern Illinois University Department of Theatre’s Christian H. Moe Theatre’s space in March 2020. In writing The Thread That Snapped, I was inspired by traumatic chapters within my life that shaped me as a human. This play, therefore, examines the unpredictable ways in which an individual is driven to insanity and the delicate thread that separates sanity and insanity. From this play comes a study into the human condition and how society and relationships shape who we become n life. Chapter One includes a statement of the project, the origin, and development of the script, initial structure and plot considerations for the script, research that impacted the creation of the script, character development, and tools for self-evaluation. Chapter Two covers the pre-writing process, feedback from my writing partner, notes from my advisor, Jacob Juntunen, and the director, Susan Patrick Benson, about the script’s development and an overall description of the play’s progression through drafts. Chapter Three describes the design meetings held in preparation for the production of The Thread That Snapped. Chapter Four details the audition and casting process as well as rehearsals for the piece. Chapter Five evaluates The Thread That Snapped’s production, describes ideas for future productions of the piece as well as possible revisions. Chapter Six concludes the thesis by tracking my progression in the playwriting program over the past three years. It includes my writing growth in terms of structure and developing my artistic voice. It also discusses my professional development over the time in the program, as well as the evolution of my teaching practice. I have also included in the thesis the production script of The Thread That Snapped.

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She sang beyond the genius of the sea.<div>—Wallace Stevens, "The Idea of Order at Key West"</div>

This selection seeks to explore rural West Virginia and the cycles that plague it. From addiction, abuse, and poverty, through the lens of three generations of women from the family, each aspect is touched on. The themes of longing, loving, hating, wondering, and leaving embrace each other through the lives of the women and their bonds with each other.