No description available.

<p> The actor's journey of self to character from the dressing room to the stage will be analyzed by way of Constantine Stanislavsky's Event Analysis and the Process of Evaluation, using Richard Schechner's Liminal Space as the foundation. Stanislavsky breaks down the mechanics of what happens to an actor as they go from one event to the next, and Dr. Schechner invites the actor's infinite imagination to live truthfully in the middle of that transition.</p><p> This process consists of constant practice, and the ability to dream. By crossing a threshold from one event to the next and by examining the space in between events, the actor learns the mechanics, the equations, and then, most importantly, to "un- think" them.</p>

<p> Abstract not available.</p>

No description available.

<p> Monody in musical dramatic presentations emanates from an early Baroque opera genesis and exists in multiple forms in the musical theater of today. By examining the Baroque characteristics of monody within the opera genre, a direct comparison between Monteverdi's opera <i>Orfeo</i> (1607) and Sch&ouml;nberg's musical <i>Les Miserables</i> (1985) can be established. This correlation becomes pronounced upon the exploration of four specific examples: through the implementation of recitative and aria, the interdependent use of duet and chorus with the solo voice, the innovative incorporation of atypical tonalities within the melodic line, and the inventive application of instrumentation to enhance vocal expression in each work. Just as Monteverdi designed his recitative to express the emotion of the libretto, so Sch&ouml;nberg composes dynamic, emotional songs to enhance the epic story of <i>Les Miserables.</i> Though composed centuries apart, both works employ similar melodic, rhythmic, harmonic and orchestral constructs, confirming a similar genesis.</p>

Thesis (M.A.)--University of Adelaide, Dept. of Classics, 1985. / Spine title: Athenian education and drama. Includes bibliographical references (leaves 112-118).

Thesis (Ph.D.)--George Mason University, 2008. / Vita: p. 244. Thesis director: Lorraine A. Brown. Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Studies. Title from PDF t.p. (viewed Jan. 11, 2009). Includes bibliographical references (p. 228-243). Also issued in print.

Thesis (Ph. D.)--University of Washington, 1996. / Vita. Includes bibliographical references (leaves [236]-248).

Thesis (Ed.D.)--Teachers College, Columbia University, 1967. / Typescript; issued also on microfilm. Sponsor: Paul Kozelka. Dissertation Committee: Frederick D. Kershner, Jr. Includes bibliographical references.

Thesis (Ph. D.)--University of Chicago, 1904. / "Theatrical terms in Plutarch": p. 23-59. Includes bibliographical references.