Doctor of Philosophy / 'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."

M. Tech. Entertainment Technology / Adapting popular motion pictures to theatre stage productions has been very popular in recent years. Some of the best examples are the motion picture productions The Lord of the Rings, Billy Elliot and The Colour Purple that were adapted to stage musical productions. This was the case with the original Danish film Festen or The Celebration that was adapted and staged as a theatre play with English text in London in 2004. Pertaining to Festen, the film was originally produced according to the Dogma 95 Principles - a set of principles that were specifically aimed at the film industry and totally differed from any known and applied film practices of the time. The main problem that scenic designers of later stage productions had to deal with when the film was adapted to a stage production was that these principles had a very specific influence on the stage designs for this specific production. For the staging of the play Festen by the Drama Department of Tshwane University in Pretoria the director and the designer not only decided to oppose the Dogma 95 Principles totally, they also decided to design a set in a Film Noir style. They further decided to stage the play with a Caucasian cast using the English text and a black cast using a Zulu text. This resulted in having a major influence on the final outcome of the production. The research question that has to be answered in this research project is "whether it is possible to adapt the design of a very specific type of film production that was originally governed by a set of specific principles for a stage production of the same play".

This report outlines the process of creating and producing the documentary film “That Thing You Do” based on the TV series “1+1=Infinito” (1+1=Infinite). The series and the film provide a better understanding of the concept of Corporate Social Responsibility (CSR) and shows how people can incorporate CSR into their daily lives. The film production was financed by “PROhumana Foundation” (Chile) and shows how three Chilean people: Rodrigo Alonso, entrepreneur, Catalina Valdés, chef, and Javier del Río, architect, are trying to make a difference in their specific fields in terms of environmental impact, saving and using energy properly, and the importance of conscientious eating. The documentary film has taken the concept of CSR and attempted to present it to a massive audience in order to suggest the idea that all of our actions eventually come back to us. Any imbalance in the system that surrounds us and which we are a part of will affect us. In contrast, any improvement to the system will benefit us. The film thus attempts to showcase testimonials by the main characters suggesting small changes we can make in our daily lives in order to work toward this goal. / text

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The thesis is a record of the writing and rehearsal process which led to the British premiere of the full length Canadian play, Danceland, at The Old Red Lion Theatre, London, in November of 1994. The first chapter is a discussion of the dramatic theories and historical research which informed the initial creative writing process. The second chapter is the final draft of the play itself. The third chapter is a record of the rehearsal and production process, as well as an overview of the major dramaturgical problems which the actors, director and designers encountered during rehearsals of the play. A full cast and crew list and the reviews from the British press are contained in the appendices. The playwright's "experiment" which sits at the heart of this production record is that Aristotle's idea of "place" is essential to the creation of an indigenous, Canadian dramatic literature. The writing process, however, is only the beginning of the translation of drama from the page to the stage; and it is this final, rehearsal and production process which demands that all dramatic theory be placed within the context of believable characterization and dramatic action.

This thesis explores the National Film Board's Cultural Diversity in Action Initiatives (1997-- ) whose aim is to redress the under-representation of filmmakers of colour in the English Program's documentary film production streams. Focusing on how these strategies and objectives have broadly tried to promote racial diversity (for instance, one way is through the goal of having one of four filmmakers be a person of colour), this thesis proposes that these initiatives represent the NFB's most prominent and socially progressive raison d'etre for the late 1990s and the new millennium.