Thesis (Ph. D.)--University of Wisconsin--Madison, 1984. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 249-254).

Thesis (M.A.)--University of Wisconsin--Madison, 1982. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 130-134).

Thesis (M.A.)--Zhongguo wen hua xue yuan, 1976. / Cover title. Reproduced from ms. copy. Includes bibliographical references (p. 99-100).

Thesis (Ph. D.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 292-299). Available also in a digital version from Dissertation Abstracts.

Thesis (M.A.)--Zhongguo wen hua xue yuan, 1976. / Cover title. Reproduced from ms. copy. Bibliography: p. 99-100.

This thesis is intended to be the first detailed account of the craftsmanship, iconography and background of the Balinese shadow play. The theatre has an important place in Balinese culture both as it is seen to be the original art form and also as it is an essential part of religious rites. The stories upon which the plays are based are taken mainly from the Hindu epics, the Mahabharats and Ramayana. The characters, most of who are derived from the epics, are first introduced. This is a relevant background for understanding the iconography. The thesis then turns to look at the making of the puppets. From this it emerges that complex cultural and ritual regulations underpin the craft. This leads into the largest section of the work which deals with an examination of the principles underlying the depiction of the mythical characters and their significance in terms of both the texts and the oral tradition. It is evident that the puppets are composed of standard parts which carry a more or less defined meaning. There is one important class of figures which stand out by the uniqueness of their depiction, but do not exist in the epics at all. These are the servants who are studied in some detail. It is useful further to stand back and survey a collection of puppets as a whole. This reveals complex forms of connections with social institutions and cultural beliefs. A study of the Iconography is incomplete however without an examination of the performance itself in which the puppets are seen as part of a more elaborate system including other dramatic elements. This provides the means by which cultural ideas are portrayed both through the visual form and the spoken word to the Balinese.

Thesis (doctoral)--Universität Köln, 1979. / Added t.p. with thesis statement and vita (3 p.) inserted into v. 1. Includes song texts in Javanese, with German translation. Bibliography: v. 1, p. 238-244.

Thesis (Ph. D.)--University of Michigan, 1980. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 581-585).

M.A.(Greek) / Please refer to full text to view abstract

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-31T18:32:10Z No. of bitstreams: 1 Texto completo_28_2_14_Ed_28_03_2014.pdf: 6894931 bytes, checksum: 5cc533a586af75f8297528e031545cfa (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-09-03T17:17:17Z (GMT) No. of bitstreams: 1 Texto completo_28_2_14_Ed_28_03_2014.pdf: 6894931 bytes, checksum: 5cc533a586af75f8297528e031545cfa (MD5) / Made available in DSpace on 2018-09-03T17:17:18Z (GMT). No. of bitstreams: 1 Texto completo_28_2_14_Ed_28_03_2014.pdf: 6894931 bytes, checksum: 5cc533a586af75f8297528e031545cfa (MD5) / Esta pesquisa se refere a um estudo prático-teórico, na linha de Poéticas e Processos de Encenação em Artes Cênicas e foi conduzida pelo desejo da pesquisadora de ampliar os conhecimentos de sua formação como artista e professora de teatro. Trata-se da produção de um contexto poético-reflexivo, no qual se cruzam três grandes campos: Processos Criativos, Imaginário e Teatro de Animação. Teve como objeto disparador a prática da atriz que construiu e animou seu próprio personagem-boneco no espetáculo Protocolo Lunar. Neste considerou-se as interfaces do Teatro de Animação como encenação contemporânea com estratégias metodológicas colaborativas. No referido contexto, foram compreendidos, interpretados e tornados visíveis Princípios e Procedimentos criativos de concepção, construção e atuação do personagem-boneco para cena a partir do ponto de vista de quem constrói e anima. Trata-se de metodologia adequada a processos de criação artística, que opera com a Abordagem Compreensiva apresentada por Sonia Rangel, a qual, entre outros autores, se apoia na Teoria da Formatividade de Luigi Pareyson. Igualmente, foram considerados os pensamentos de outros autores para fundamentar a pesquisa, tais como Ana Maria Amaral, Valmor Beltrame, Henryk Jurkowski, Gaston Bachelard, Cecília Almeida Salles, Ítalo Calvino, Klauss Vianna, Marco Souza. A pesquisa de campo foi desenvolvida a partir de Laboratórios Criativos com o Grupo Os Imaginários, além de incluir o diálogo com três outros artistas, Gil Teixeira, de Salvador, Bahia; Anibal Pacha, de Belém do Pará e Marcelo Lafontana, de Vila do Conde, Portugal, por meio de entrevistas. Eles foram selecionados pelo critério de também partilharem prática cênica semelhante. A perspectiva, além de registrar a memória de processos criativos em Teatro de Animação, é poder articular com outras pesquisas realizadas, colaborar com a discussão, o aprofundamento, os desdobramentos e a ampliação das reflexões que já existem neste campo. / This research refers to a practical-theoretical study, in the Poetics and Processes Staging Performing Arts in line and was driven by the desire of the researcher to broaden the knowledge of his training as an artist and teacher of theater. It is the production of a poetic-reflexive context in which intersect three major fields: Creative Processes, Imaginary and Animation Theater. Object was to trigger the practice of the actress who has built his own character and animated puppet-show in Lunar Protocol. This was considered the interfaces of the Animation Theater as contemporary staging with collaborative methodological strategies. In that context, were understood, interpreted and made visible Principles and Procedures of creative design, construction and performance character-puppet to the scene from the point of view of who builds and animates. It is suitable for artistic creation processes, which operates the Comprehensive Approach by Sonia Rangel, which, among others, rests on the theory formativeness Luigi Pareyson methodology. Also, we considered the thoughts of other authors to support research, such as Ana Maria Amaral, Valmor Beltrame, Henryk Jurkowski, Gaston Bachelard, Cecilia Almeida Salles, Italo Calvino, Klauss Vianna, Marco Souza. The field research was developed from Creative Labs with Imaginary Group and includes dialogue with three other artists, Gil Teixeira, Salvador, Bahia; Anibal Pacha, of Belém do Pará and Marcelo Lafontana, Vila do Conde, Portugal, through interviews. They were selected by the criterion also share similar stagecraft. The prospect, and to record the memory of creative processes in Animation Theater is able to articulate with other surveys conducted, supporting the discussion, deepening, the unfolding and expansion of reflections that already exist in this field.