M.Tech. Drama. Tshwane University of Technology / The aim and purpose of this study was to determine how a director might approach the topic of intimacy on stage, using David Hare's The Blue Room, as a case study. In order to determine how intimacy might play out on stage, an understanding of intimacy was important. The literature review of intimacy posed a problem in the form of a lust/romantic love continuum. The question was then, what is intimacy and how does it play out in these two opposites of the continuum, namely a relationship as opposed to lust. This also needed a description of what love and lust might be. The literature review shows that there are three basic principles involved when establishing a relationship: nearness, similarity, and reward. It also became apparent that the characters in the play often used these principles to set up the idea of a relationship in order to fulfil a lustful desire or to gain a personal reward The sociopetal and sociofugal forces as explained by the study of proxemics became an ideal way of explaining how the characters use/abuse these principles of relationship to steer a situation towards their own personal goal. It also created a tool for establishing the actor system relationships as well as the character system relationships and the actor/character duality. The use of space in production became central to this study in various domains, such as the space between actor and actor, the space between the character system and audience, and the actual performance space. Fundamentally the way in which space is used in everyday life to convey meaning became a useful directing and analytical tool. To understand the generation of meaning, the study of semiotics was used. Semiotics is concerned with the generation and understanding of meaning. This was an integral part of the study as it allowed one to understand how meaning is generated so that this process could be used to recreate the desired meaning on stage. It can be argued that the setting up of signifiers that could potentially convey certain meanings, such as that of intimacy through actions, speech, voice, décor and essentially the use of space was a very useful tool for the director in the pursuit of both the generation of intimacy meaning systems and in the process of understanding the acting and directing process more effectively.

Saved, a play by Edward Bond, was produced and directed by John Gray in partial fulfilment of the requirements for a Master of Arts degree, in the Department of Theatre at The University of British Columbia, at the Dorothy Somerset Studio Theatre, from October 21 to October 24, 1970. The following is a detailed record of that production, together with the director's analysis and interpretation of the script. Saved was performed by a predominantly student cast, in costumes and setting designed by Astrid Janson, and with the technical direction of Richard Spencer. This record is divided into three main sections. The first is a short section setting forth as simply as possible the specific directorial concept used for this production, together with a comment on the language of the play. The second section contains a unit-by-unit analysis of Saved, together with notes on the groundplan, design, and costumes for the play. The third section is made up of the prompt script of the production, showing blocking, division into units, notes on motivations, and lighting and scenery cues. The promptbook is preceded by a scale groundplan for the production, a props list, and pictures of the production with notes on the scenes depicted. / Arts, Faculty of / Theatre and Film, Department of / Graduate

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Call number: LD2668 .T4 1962 E92

Call number: LD2668 .T4 1955 J66 / Master of Science

There is no abstract available for this thesis.