A presente monografia analisa influências do jornalismo na produção de dramaturgos que também trabalharam como jornalistas, no Brasil, em meados do século XX. A partir de pesquisas no Arquivo Miroel Silveira, formado por documentos da censura prévia ao teatro no Estado de São Paulo de 1930 a 1970, e em acervos de jornais como o Banco de Dados da Folha de S.Paulo e a Hemeroteca do Arquivo Público do Estado de São Paulo, foi identificado que alguns desses dramaturgos escreveram peças inspiradas em acontecimentos relatados pela imprensa, num procedimento que aproxima as duas formas de narrativa. Com base num referencial teórico unindo categorias do jornalismo e das artes, estudaremos cinco peças onde se observa essa influência - O poço, de Helena Silveira (1950); O beijo no asfalto, de Nelson Rodrigues (1961); Vereda da salvação, de Jorge Andrade (1964); Barrela, de Plínio Marcos (1959) e Liberdade, liberdade, de Millôr Fernandes (1965). Analisaremos as influências do jornalismo nestes textos e a forma como a censura teatral lidava com estas aproximações entre dramaturgia e jornalismo. / This monograph analyzes influences of journalism in the production of playwrights who also worked as journalists in Brazil in the mid-twentieth century. From research in the Archive Miroel Silveira, formed by theater censorship documents in the State of São Paulo from 1930 to 1970, and in archives of newspapers such as Folha de S.Paulo and O Estado de S. Paulo, it was identified that some of these playwrights wrote plays inspired by events previously reported by the press, a procedure which approximates both forms of narrative. Based on a theoretical framework linking categories of journalism and arts, we will study five pieces in which we can observe this procedure - O poço, by Helena Silveira (1950), O beijo no asfalto, by Nelson Rodrigues (1961); Vereda da salvação, by Jorge Andrade (1964), Barrela, by Plínio Marcos (1959) and Liberdade, liberdade, by Millôr Fernandes (1965). We will analyze the influences of journalism in these texts and how theatrical censorship dealt with these similarities between drama and journalism.

I expanded a ten-minute play that I had written in my sophomore year, Bob and Carson on a Couch, into six ten-minute plays. Each play can stand on it's own to be performed, or they can be done in order to tell one story.

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The Golden Door is a new musical created in answer to the question "how does one write a musical?" This short work is based on immigration through Ellis Island in the 1920s. The script focuses on three young adults immigrating from Sweden in 1922, exploring the reasons why each might choose to leave their homeland and attempt a new life in a completely foreign land. The script also details historical information such as how long the crossing was and the reception that awaited them in the "promised land", juxtaposing promises and actuality. The script and score examines themes such as bravery, homesickness and loss, and the perception of Americana and its processes dating back to a romanticized time. This document details the writing process, justification of the document, and historical research to support it, as well as the performance text itself (including both script and score).

Using the research methods from grounded theory and action research, the study examines a research method used for the development of a Group Devised Performance Piece. It details and analyses the process used in the transactional system of change and action/interaction resulting from the specific conditions that surrounded the Group Devised Performance, and examines the products of that process: the written script and the final performance. The study was conducted with a group of HSC 2 Unit Drama students at a non-government high school in March 1996. The performance formed part of an assessment program for these students and was student devised and student driven. The research methods included the collection of data in questionnaires, the maintaining of detailed daily records, video tapes, photographs and the compilation of the written script. Like any series of rehearsals, the process produced surprising and unplanned consequences (outcomes) and provided an environment that encouraged interaction and involvement, companionship and competition, / Master of Arts (Hons) (Performance)

Ragdoll is a play in two acts telling the story of Jeff Stiles and his children, Annie and Andy. Jeff’s wife is a life-sized rag doll, and Annie and Andy have both human and doll parts to their physiology. Much of the play revolves around Andy and Jeff’s debate over the nature of their family’s existence.

Ragdoll is a play in two acts telling the story of Jeff Stiles and his children, Annie and Andy. Jeff’s wife is a life-sized rag doll, and Annie and Andy have both human and doll parts to their physiology. Much of the play revolves around Andy and Jeff’s debate over the nature of their family’s existence.

Playwriting theory has, from its beginning, been concerned with the search for the essential nature of dramatic writing. Early playwriting treatises (poetics) defined the essential aspects of drama as being the plot (creation of sequences of fictional events), the moral character of its heroes, the idea of enactment, or the rhetorical and lyrical qualities of the text. These categories were kept through later treatises with different emphasis being put on each category. An understanding of drama as a sequence of fictional events (plot) has been central in acting theory. Modern theories and techniques centred on Stanislavsky’s ideas rely heavily on rehearsal methods that carefully establish the sequence of actions of the characters in a play as a result of psychological motivations. This method was described by Stanislavsky in An Actor’s Work on a Role, published in 1938, and is known as the Method of Physical Actions. This thesis reassesses the definition of playwriting as consisting essentially in the creation of a plot populated by suitable characters. Rather than discussing playwriting theory in isolation it attempts a bridge between acting theory and playwriting theory by using the Method of Physical Actions as an equivalent to plot. Acting theory is thus considered as a theoretical justification for the centrality of plot. The method used is hermeneutic — a systematic interpretation of poetics, unveiling in almost an archaeological manner the relevance of the essential definitions of drama, such as character, source, genre, and language to the concept of plot. The chronological path of development of dramatic theories is shown to be gradual: from the strict obedience to the narrative line imposed by the mythic sources, in classical treatises; through to an interest in the lyrical expression of the predicament of specific characters, in neoclassical theory; to an awareness of specific social types in the eighteenth century; and, finally, to the conception of the plot as a product of the mental life of individual characters in modern theory.

The creation of the performance work UKULELE MEKULELE is used as a site to uncover the interactions between the work of the sole author and group-devised processes. The increasing acceptance of the 'openness' in contemporary theatre practice has strong implications for the role of the sole author, who traditionally has been the provider of the 'closed' - known quantities that are subsequently 'realised' by a production. How can the sole author best write for the seemingly contradictory environment of the group-devised production? Critical incidents from the performance are selected for study. These 'moments that work' and their provenance are utilized as examples of the interaction of the various forces at play in the performance making process. The researcher's intimate contact with the artwork entails a unique vantage point from which to observe these forces at work. Their evocation and analysis will have relevance for the creators of live art in collaborative contexts.

This project examines the ways in which allusion and quotation may be used by playwrights in the composition of play scripts, principally through the writing of two full length stage plays, String and The Talent, accompanied by a supporting exegesis. This exegesis examines how quotation and allusion are used in these works to support particular meanings intended by the author. The project also looks at theories that consider the ways allusion functions, particularly focusing on the debate in the field between the advocates of the theories of influence and intertextuality. It does not attempt to provide an historical overview nor an exhaustive investigation of the development of the major theories and their advocates, but rather to consider more summarily - in outline rather than in detail - the manner in which these ideas have set out to explain how allusion functions in texts. This project suggests its own theory on the way (particularly literary) allusion works. Transtextuality, although itself only a partial and incomplete means of explaining the allusive transaction, refers to the movement of language between texts. Allusion offers a mechanism by which authors of a new text may underscore intended meaning by reference to established texts based on the assumption that the meaning of the quoted text is already understood (or can easily be accessed), and that therefore that meaning is transferable to the new text and can be absorbed into the different context into which it has been placed. The purpose of this study is in part to examine the way allusion works as a practice of intertextuality, transtextuality and the influence of one or more texts upon another. It concludes that allusion to and quotation from one text by another operate as acts of authorship, literary devices employed by the writer as mechanisms for the attempted communication of intended meaning. In doing so, it is hoped that the project may articulate ways in which allusion and quotation can be used by playwrights in the composition of their dramaturgy.