This thesis is concerned with the relationship between the street theatre practices in Delhi and the spaces of their performance. Writings on theatre practices within the boundaries of Delhi have overlooked the role cultural capital affords practitioners owing to their geographical, ideological and social affiliations understood as spatial networks. This research project undertakes to identify spatial structures that frame the reading of street theatre in Delhi to open up questions of privilege and access through an analysis of its performance sites. I focus on five case studies across three categories of performance – feminist performers Maya Rao and Mallika Taneja, street theatre company Jana Natya Manch (Janam) and the Ramlila as performed in New Delhi and Old Delhi. In order to do this, the research has drawn extensively on Henri Lefebvre’s two sets of trialectics as outlined in The Production of Space (1991), which are adapted in order to provide an approach to identifying the spatial frameworks within which performances are situated. My three categories, 'geographical', 'affective' and 'discursive' space are applied to each of the three sets of case studies, and my conclusion assesses the usefulness of such a methodology for prompting consideration of previously-ignored contexts for Indian performance. I propose that my thesis provides a prompt to engage with the spatiality of Indian theatrical performance, while also demonstrating the extent to which an understanding of the politics of performance relies on the understanding of spatial practice, both contemporary and historical.

Este estudo tem como objetivo fazer uma reflexão sobre o trabalho de coletivos de teatro de rua, pensando-os como um meio de comunicação radical, e buscando analisar que discursos e ações são produzidos por esses grupos e quais os efeitos políticos dessa prática. A ideia de político se refere à origem da palavra polis (cidade), e Ithka, (aquilo que se refere a ...), ou seja, político no sentido de tudo aquilo que se refere a cidade, entendendo-a como convívio social; sendo o ser humano construído por esse meio e, com ele, em constante relação. O trabalho tem por foco a análise de grupos que visam o fazer artístico com uma função de debate social, colocando-se ao lado de práticas e discursos contra hegemônicos. Esse universo estudado relaciona-se com a teoria da Mídia Radical. A metodologia usada foi a cartografia e os materiais utilizados foram entrevistas realizadas com o público, entrevista com integrantes dos grupos, materiais fornecidos pelos grupos e materiais coletados a partir da observação das apresentações, além do diário de campo. Os coletivos pesquisados foram: A Tribo de Atuadores Ói Nóis Aqui Traveiz, Cambada de Teatro em Ação Direta Levanta Favela e o Grupo Trilho de Teatro Popular, todos situados na cidade de Porto Alegre, estado do Rio Grande do Sul. Por fim, esse estudo oportuniza a visibilidade de outras formas de comunicação e existências que existem em meio a uma cidade que é engendrada a partir de determinados discursos que criam exclusões e desigualdades. / This study aims to reflect about the work of the street theater groups, considering its as a means of radical communication, and to analyze what kind of discourse and actions are made by these groups and what the political effects of this practice. The idea of "political" concerns the origin of the word polis (city), and Ithka, (that which refers to ...), that is political in the sense of all that refers to the city, understood as a social life, and the human being constructed by such means and in constant relation with the same. The focus was the analysis of groups aimed at making art with a social debate function by placing alongside practices and discourses against hegemonic. This study universe, relates to the theory of Radical Media. The methodology used was cartography, and the materials used were: interviews with the public, interviews with group members, materials provided by groups and materials collected from observation of the presentations, in addition to the field diary. The groups of theather analyzed: A Tribo de Atuadores Ói Nóis Aqui Traveiz, Cambada de Teatro em Ação Direta Levanta Favela and the Grupo Trilho de Teatro Popular, all situated in the city of Porto Alegre in the state of Rio Grande do Sul. Finally, this study gives opportunity to visualize other forms of communication and stocks amid a city that is engendered from certain discourse that create exclusions and inequalities.

A disassembling of the Virginia Theatre Machine (VTM), LLC and its annual restaging of an adaption of Charles Dickens’ novella, A Christmas Carol. The VTM is a custom-built trailer theater that combines the performance energy of street theater with the magic and wonder of a fully designed theatrical production. I provide a historical context for this 21st century revising of mobile theater that switches the paradigm of the traditional theater experience by bringing the stage to audiences, for free. I draw from critical social and cultural theory to make sense of the audience impact in public and private outdoor spaces. I examine how each new performance environment brings its own resonance to bear on the wonder of the presentation at hand. I present the VTM as an alternative business model and form of theater outreach to inspire a new generation of theater-makers to rethink the traditional constraints of producing theatre.

Este estudo tem como objetivo fazer uma reflexão sobre o trabalho de coletivos de teatro de rua, pensando-os como um meio de comunicação radical, e buscando analisar que discursos e ações são produzidos por esses grupos e quais os efeitos políticos dessa prática. A ideia de político se refere à origem da palavra polis (cidade), e Ithka, (aquilo que se refere a ...), ou seja, político no sentido de tudo aquilo que se refere a cidade, entendendo-a como convívio social; sendo o ser humano construído por esse meio e, com ele, em constante relação. O trabalho tem por foco a análise de grupos que visam o fazer artístico com uma função de debate social, colocando-se ao lado de práticas e discursos contra hegemônicos. Esse universo estudado relaciona-se com a teoria da Mídia Radical. A metodologia usada foi a cartografia e os materiais utilizados foram entrevistas realizadas com o público, entrevista com integrantes dos grupos, materiais fornecidos pelos grupos e materiais coletados a partir da observação das apresentações, além do diário de campo. Os coletivos pesquisados foram: A Tribo de Atuadores Ói Nóis Aqui Traveiz, Cambada de Teatro em Ação Direta Levanta Favela e o Grupo Trilho de Teatro Popular, todos situados na cidade de Porto Alegre, estado do Rio Grande do Sul. Por fim, esse estudo oportuniza a visibilidade de outras formas de comunicação e existências que existem em meio a uma cidade que é engendrada a partir de determinados discursos que criam exclusões e desigualdades. / This study aims to reflect about the work of the street theater groups, considering its as a means of radical communication, and to analyze what kind of discourse and actions are made by these groups and what the political effects of this practice. The idea of "political" concerns the origin of the word polis (city), and Ithka, (that which refers to ...), that is political in the sense of all that refers to the city, understood as a social life, and the human being constructed by such means and in constant relation with the same. The focus was the analysis of groups aimed at making art with a social debate function by placing alongside practices and discourses against hegemonic. This study universe, relates to the theory of Radical Media. The methodology used was cartography, and the materials used were: interviews with the public, interviews with group members, materials provided by groups and materials collected from observation of the presentations, in addition to the field diary. The groups of theather analyzed: A Tribo de Atuadores Ói Nóis Aqui Traveiz, Cambada de Teatro em Ação Direta Levanta Favela and the Grupo Trilho de Teatro Popular, all situated in the city of Porto Alegre in the state of Rio Grande do Sul. Finally, this study gives opportunity to visualize other forms of communication and stocks amid a city that is engendered from certain discourse that create exclusions and inequalities.

Este estudo tem como objetivo fazer uma reflexão sobre o trabalho de coletivos de teatro de rua, pensando-os como um meio de comunicação radical, e buscando analisar que discursos e ações são produzidos por esses grupos e quais os efeitos políticos dessa prática. A ideia de político se refere à origem da palavra polis (cidade), e Ithka, (aquilo que se refere a ...), ou seja, político no sentido de tudo aquilo que se refere a cidade, entendendo-a como convívio social; sendo o ser humano construído por esse meio e, com ele, em constante relação. O trabalho tem por foco a análise de grupos que visam o fazer artístico com uma função de debate social, colocando-se ao lado de práticas e discursos contra hegemônicos. Esse universo estudado relaciona-se com a teoria da Mídia Radical. A metodologia usada foi a cartografia e os materiais utilizados foram entrevistas realizadas com o público, entrevista com integrantes dos grupos, materiais fornecidos pelos grupos e materiais coletados a partir da observação das apresentações, além do diário de campo. Os coletivos pesquisados foram: A Tribo de Atuadores Ói Nóis Aqui Traveiz, Cambada de Teatro em Ação Direta Levanta Favela e o Grupo Trilho de Teatro Popular, todos situados na cidade de Porto Alegre, estado do Rio Grande do Sul. Por fim, esse estudo oportuniza a visibilidade de outras formas de comunicação e existências que existem em meio a uma cidade que é engendrada a partir de determinados discursos que criam exclusões e desigualdades. / This study aims to reflect about the work of the street theater groups, considering its as a means of radical communication, and to analyze what kind of discourse and actions are made by these groups and what the political effects of this practice. The idea of "political" concerns the origin of the word polis (city), and Ithka, (that which refers to ...), that is political in the sense of all that refers to the city, understood as a social life, and the human being constructed by such means and in constant relation with the same. The focus was the analysis of groups aimed at making art with a social debate function by placing alongside practices and discourses against hegemonic. This study universe, relates to the theory of Radical Media. The methodology used was cartography, and the materials used were: interviews with the public, interviews with group members, materials provided by groups and materials collected from observation of the presentations, in addition to the field diary. The groups of theather analyzed: A Tribo de Atuadores Ói Nóis Aqui Traveiz, Cambada de Teatro em Ação Direta Levanta Favela and the Grupo Trilho de Teatro Popular, all situated in the city of Porto Alegre in the state of Rio Grande do Sul. Finally, this study gives opportunity to visualize other forms of communication and stocks amid a city that is engendered from certain discourse that create exclusions and inequalities.

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 237-268). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 237-268). Also available on the Internet.

Made available in DSpace on 2014-12-17T14:00:14Z (GMT). No. of bitstreams: 1 RaimundoNSC_DISSERT_capa_ate_pag119.pdf: 4594367 bytes, checksum: 75a4c51575c6e783de6a1d0738bac5cd (MD5) Previous issue date: 2011-08-19 / Universidade Federal do Rio Grande do Norte / This research is a result of the theatrical Street show named A ?rvore dos Mamulengos, an appropriation of the drama text by Vital Santos, this presentation was done from 1989 to 2001, with the Companhia Escarc?u de Teatro, in the city of Mossor?/RN, Brazil. The intention here is to mapping the voices and memories of actors and actresses who have experienced the performance, the developments and achievements which resulted from twelve years of the season. In our study, we consider the importance of the choice for the open space such as streets and squares as the main local for representation considering it as a catalyst factor of aesthetic choice. However, we`ve consider the option for the collaborative process as the methodology staging by interpreters, as well as, the social and cultural determinants that were taking place deeming the realization of the spectacle / A pesquisa que ora apresentamos ? resultado da an?lise da montagem do espet?culo teatral de rua intitulado A ?rvore dos Mamulengos, decorrente da apropria??o do texto dramat?rgico de autoria de Vital Santos, mantido em temporada durante os anos de 1989 e 2001, pela Companhia Escarc?u de Teatro, na cidade de Mossor?/RN. Mapeamos a partir das vozes e mem?rias dos atores e atrizes que vivenciaram a experi?ncia da encena??o, os desdobramentos e conquistas decorrentes dos doze anos da temporada. Em nosso estudo consideramos a import?ncia da op??o pelo espa?o aberto de ruas e pra?as, local da representa??o do espet?culo, como fator catalisador das escolhas est?ticas do grupo e da ado??o do processo colaborativo como metodologia de trabalho pelos realizadores da encena??o, bem como, os determinantes s?cios culturais locais em que o espet?culo foi realizado

Language itself is a technology, and the advent of each major technology of language transmission (from the alphabet to the printing press to the Internet) has changed the range of speaker-audience dynamics which are the starting point for all creative writing. In this thesis, a writer, armed only with his blog archives and a smattering of John Tenniel illustrations, guides the curious reader through various issues raised by creative writing in the blog form. Topics discussed include self-presentation, the juxtaposed brevity and expansiveness of online texts, nonlinear reading, alternative models for revision, the literary possibilities of the hyperlink, speaker-audience-time relationships in online settings, the future of ephemerality, the possibility of digital street theatre, and croquet with live balls and sticks. Also discussed are: the end of the world, the Partition of India, the political ramifications of labels replacing folders, my great-aunt's death, Wynton Marsalis, Jewish Vikings, democracy in Kahanistan, Saparmurat Niyazov, Elvis Costello, Sheikh Hasina, and the virtues of walking to church. This thesis also contains several introductions, an acknowledgements page, and more chapters than I care to count. A five-dollar bill may or may not be hidden between the digital pages of this thesis.

This dissertation constructs a cultural history of women's performances in Boston from 1762-1823, using materialist feminism and ethnohistory. I look at how "woman" was historically understood at that time, and how women used those discourses to their advantage when constructing performances that allowed them to intervene in political culture. I examine a broad range of performance activities from white, black, and Native American women of all classes. Chapter two discusses three of Boston's elite female intellectuals: Mercy Otis Warren, Judith Sargent Murray, and Sarah Wentworth Apthorp Morton. Though each woman's writings have been examined individually, I examine them as a community. With the connections and public recognition they built, they helped found the Federal Street Theatre where they could have a ventrioloquized embodied performance for their ideas on women's rights, abolition, and political parties. Chapter three looks at the construction of three solo performances: Phillis Wheatley performing her poetry in 1772; the 1802 theatre tour of Deborah Sampson Gannett, who fought as a man in the revolution; and the monologues and wax effigy creations of Patience Lovell Wright circa 1772. These women depended on their performances for sustenance, and in Wheatley's case, to secure her freedom from bondage. I look at the way these women created a mythology about themselves and crafted a marketable image, both on and off the stage. In particular, I examine the ways each grappled with a charged discourse surrounding their bodies. In chapter four I look at fashion as performance. I explore homespun dresses as political propaganda, Native American and black women's use of clothing to express cultural pride that white Anglo society had attempted to erase, and the way that women used mourning costumes to perform and create nationalism at the mock funerals held for Washington after he died in 1799. In my conclusion I contrast the 2008 miniseries John Adams with a solo performance of Phillis Wheatley. I briefly trace the trajectory of the history of women during this time. I argue that focusing on performance identifies and legitimizes other sources of evidence and locates examples of women's agency in shaping popular culture. / text