This thesis builds upon the existing scholarship of theatrical historians such as Robert D. Hume, Judith Milhous and Jocelyn Powell, and seeks to broaden the notion of the term spectacle in relation to Restoration theatrical performances, as defined by Milhous as scenery, machinery, large cast sizes and music. By arguing that we should not see spectacle in Restoration theatre merely in terms of machinery and scenery, as some have done, but that it properly includes a wider range of elements, such as puppetry and performers, the thesis contends that spectacle on the Restoration stage was more of an integral aspect of theatrical development than previously thought. Through drawing on the wide aspects of theatrical presentation, including setting, stage use, mechanics, costumes and properties, puppetry and performers, this thesis examines how the numerous aspects of the Restoration performance, both in their singularity and as a collective, provided a performance driven by spectacle in order to create an appealing entertainment for its audience. In order to navigate and appreciate the complexity of theatrical performance in this period, the thesis has been divided into key aspects of theatrical presentation, each of which are argued to offer a variant of spectacle. The early chapters of this thesis relate to the material, or non-human, attributes of the stage to consider how the developing nature of performance was shaped by the use of extensive scenery, machinery, puppetry, and elaborate set pieces to provide much of the period s visual, scenographic and theatrical wonder. These chapters build on the definition for spectacle which has previously been used to examine Restoration performance. For the latter chapters, this thesis will shift its focus to consider the role of actresses and actors, to understand how they contributed to the broader impact of the stage, and how they developed in line with the material and mechanical advances. Finally, to demonstrate the collective impact of these elements of performance, the thesis concludes with a detailed exploration of Aphra Behn s The Emperor of the Moon (1687), examining the performative impact of her use of spectacle. In order to identify and support the re-examination of the term spectacle in relation to Restoration theatre, evidence will be drawn from a wide range of play scripts, surviving diary records, accounts, illustrations and newspaper articles. Additionally, the thesis explores a range of different practices, developments and literary and dramatic types, drawn from the English theatre and those European traditions which influenced it in order to provide a more representative examination of spectacle in the period. Importantly, the thesis s core purpose will be to demonstrate that the notion of spectacle is more central to Restoration theatre than is often believed.

The theme chosen for the dissertation is based on the research which deals with the question how to transform a real perception into abstraction. In a free way, I am inspired by my abstract paintings created through all my master's degree study. For a long time, the subject matter of my paintings has been the blending of structure, light and landscape. By gradual simplyfication and penetration of scenery motives with arquitecture and living nature, I try to create a complex piece of work. This abstract composition exposes always with particular impression of landscape's mood. It also stylizes a question,what we are focusing on and where we are looking, while being fascinated by the scenery - when staring into space.

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This thesis is a study and description of the process of designing the scenic elements of Saying Grace by Robert Smythe, an adaptation and translation of the play Divinas Palabras by Ramón María del Valle-Inclán written for Temple University Theater. The body outlines the process the author took in researching and developing the concept for the play, finalizing the design with the director of the piece, and completing the actual drafting and artwork necessary to realize said design. It also details the actual construction of the scenery, properties, and puppet elements, discusses the final product and offers self-evaluation. Plates of the drawing and drafting, and photographs of the scale model and final production accompany this work. / Theater

This study provides an examination and application of heterotopic dérive, a concept that combines spatial theories originated by Foucault and psychogeographical methods advocated by the Situationists, as enacted within theatrical performance spaces. The first chapter reviews theories related to space, place, and heterotopias, as well as the psychogeographical methods of the Situationists, particularly the dérive. The literature review is augmented with accounts of my experiences of serendipitous heterotopic dérive over a period of several years as a cast member in, or a technical director for, theatrical productions in the Department of Communication Studies Black Box Theatre. Based on the review, I postulate that heterotopic dérive is a potentially valuable phenomenon that performance studies scholar/artists can utilize consciously in the rehearsal process for mounting theatrical performances. To test this proposition, I worked collaboratively with a theatrical cast to craft a devised performance, Desire Lines, with a conscious effort to engender heterotopic dérive in the process of creating the performance. This performance served as the basis for the second chapter of the study, which analyzes and discusses of the results of that investigation. This project enhances understanding of the significance of the places and spaces in which performers practice their craft, and argues for the potential of recognizing and utilizing the agency of heterotopic spaces such as the Black Box.

Directing texts are inadequate in their various approaches to teaching the concepts of stage-composition. The goal of this thesis was to show that, for an approach to stage composition to be judged adequate, it must systematically provide the student of directing with a firm grounding in design and compositional principles as they relate to the total stage picture. Nineteen texts were studied and their presentations of compositional principles were analyzed. Eight texts are included in an in-depth structural analysis. The texts analyzed are Fundamentals of Play Directing by Alexander Dean, The Art of Play Production by John Dolman, Play Direction by John Deitrich, Principles of Theatre Art by H. D. Albright, W. P. Halstead, and Lee Mitchell, Directing Methods by Albert and Bertha Johnson, Play Directing by Francis Hodge, Creating Theatre by August Staub and Creative Play Directing by Robert Cohen and John Harrop. The analysis of these texts includes a detailed comparison of terminology· and approaches to the presentation of compositional principles. Of the nineteen texts included in this investigation, only one, Creating Theatre by August Staub, presented a systematic approach to design fundamentals and compositional principals as they relate to the director's function. Also included in this thesis are the writer's criteria for judging the adequacy of approaches to composition in any directing text. The conclusion reached by the writer is that the authors of texts on directing, as well as the schools that offer programs in theatre arts, need to emphasize design fundamentals as an essential element in any theatre student's training.

Considered apart from the concrete; general; theoretical; hence, difficult; ideal. 2. A summary of epitome; a generality, in law, a compendium; in logic, an abstract idea or term; in grammer, an abstract noun, as virtue, goodness, etc.* / Department of Architecture