In this dissertation, I approach the interpretation of a classical text in performance by examining the practical elements (directorial and design choices: set, costumes, lighting, music, etc.) and promotional materials (programmes, press releases, photographs, etc.) for a selection of significant test cases in order to determine how these production decisions engage with external factors of political, intellectual, and cultural import. Trojan Women is a particularly useful case study to explore within the parameters of this method because the dynamism and immediacy of the play is most powerfully articulated when production choices allow for it to be wielded as a weapon of protest or reaction against contemporary policy, especially the waging of war. Using a chronological approach, this analysis of Trojan Women as a text for performance provides a broad and in-depth discussion of the reception of the play in the twentieth century, the period in which the ancient text was most frequently performed. Through the investigation of several influential productions on the international stage, and through an examination of the roles of key players (particularly Gilbert Murray and Jean-Paul Sartre), Trojan Women emerges as a play that offers theatre artists a unique and effective forum for debating issues of human responsibility in times of war a central theme in the play and a considerable preoccupation during a century of armed conflict. Chapter One discusses how the play was used to criticize imperial activity and promote ideological causes in the first half of the century. Chapters Two and Three draw attention to a major cluster of performances reflecting the spirit of international war protest in the 1960s and 1970s. Chapter Four addresses productions of the play affected by delayed responses to the Holocaust. Chapter Five features performances in the 1990s that respond to crises of civil conflict and genocide.

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The aim of this thesis is to present a comprehensive view--a survey--of plays by William Shakespeare that have been produced for the New York stage from 1935 through 1955 in order to ascertain not only the quantity of Shakespearean drama that has been presented during this twenty-one-year period, but also to appraise the quality of the productions as seen by the critics. A related aim of this study will be the analysis of the televised Shakespearean plays by presenting the works and their merits through the eyes of the critics of that medium.

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Orientador: Maria Lucia Levy Candeias / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T08:49:02Z (GMT). No. of bitstreams: 1 Scandolara_Camilo_M.pdf: 4509987 bytes, checksum: c903d905692b040e95b375d9e3a3a31d (MD5) Previous issue date: 2006 / Resumo: Este trabalho aborda a experiência dos estúdios do Teatro de Arte de Moscou (T.A.M.) como um dos pilares da formação da tradição teatral ocidental do século XX. Os estúdios do T.A.M. inserem-se em um movimento característico do processo de renovação teatral do início do século passado: o afastamento em relação aos centros da produção com o objetivo de reconstruir o ofício do ator e do diretor desde as suas bases. Partindo da constatação de que renovar o teatro implicava, antes de tudo, em criar uma pedagogia teatral sólida, Leopold Sulerjítski, Evguiêni Vakhtângov e Konstantin Stanislávski geraram espaços de experimentação nos quais a pedagogia era concebida como ato criativo, como atividade de invenção de possibilidades de teatro. Utiliza-se nesta pesquisa a análise das trajetórias de Sulerjítski e de Vakhtângov junto aos estúdios como referência para a compreensão do estabelecimento de um entendimento do fazer teatral que antecede e transcende a dimensão do espetáculo / Abstract: This dissertation approaches the experience of the Moscow Art Theatre studios, as one of the pillars of the formation of theatrical tradition in the West, in the Twentieth Century. The studios of the Moscow Art Theatre are part of a movement which characterizes the theatre renovation process of the beginning of the Twentieth Century, that is, the detachment from the main stream production, in order to re-build both acting and directing from their basis. Based on the notion that any theatre renewing would imply in the creation of a solid theatrical pedagogy, Leopold Sulerjítski, Evguiêni Vakhtângov and Konstantin Stanislávski created spaces for experimentation, in which such a pedagogy was conceived as acts of creation, as the invention of possibilities in theatre. Thus, this research presents the analysis of Sulerjítski's and Vakhtângov's trajectory in the MAT studios and offers new elements for the understanding of theatre practices which precede and transcend theatrical performances / Mestrado / Mestre em Artes