Tina Landau's writing and directing work has gained increasing prominence over the last decade. She has made strides in both the experimental and the musical theater arenas, and her accomplishments in each are noteworthy independent of each other. However, her concurrent interest and success in both arenas, which are commonly viewed as quite disparate, make her work particularly interesting. These interests, which might seem incongruent, are actually interrelated; her work in one area influences her work in the other, a fact which is evident both in her rehearsal process and the end products. Her experimental work has a musical sensibility and her work in musical theater is quite experimental. This thesis examines works for which she was both writer and director as representative examples: 1969, Stonewall: Night Variations, Space, Floyd Collins and Dream True. Her amalgamated sensibility results in a directing style which serves contemporary musicals, particularly "smart musicals," well.

No description available.

<p> Daniel Cat&aacute;n's opera <i>Il Postino</i> was primarily inspired by Chilean author Antonio Skarmeta's 1985 novel <i> Ardiente Paciencia,</i> the 1994 Italian-language film <i>Il Postino </i>, and the poetry of the Chilean poet Pablo Neruda. The opera <i> Il Postino</i> was prepared and given its world premiere in Los Angeles in 2010. This initial premiere was followed by national premieres of the same production in Austria, France, Chile, and still to come, Spain in July 2013. Cat&aacute;n's sudden death in April2011 prior to the opera's opening in Paris stunned music lovers worldwide. Now recognized as his final complete opera, <i> Il Postino</i> represents the pinnacle of his effort to add Spanish-language opera to the international canon. This project report explores the reception of <i>Il Postino</i> both prior to and in the wake of Cat&aacute;n's death, introduces themes emphasized in the work, and offers observations on performance interpretation informed by the original production.</p>

<p> <i>One Hundred Forty-Six</i> is a music and dance theater production portraying an artistic memorial to the victims, tragedy, and progress of the historical Triangle Shirtwaist Factory Fire of March 25, 1911. The music, composed by Elizabeth L. Kowalski, was scored for string quartet with added electronics. Images and sounds of textile factory work and the events of the fire and memorial are communicated throughout the music. The score is accompanied here by a written document explaining the work. <i>One Hundred Forty-Six </i> has an approximate duration of 45 minutes. The premiere was held in the UNCG Dance Theater on March 30, 2012, shortly after the 101^st anniversary of the fire.</p>

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This thesis in creative writing comprises two sections. The first is an essay on the theatre of the absurd. The introduction sets the genre in its historical context and briefly describes its aesthetic qualities. Four plays by reputed "absurd" playwrights are studied in the body of the essay: La cantatrice chauve (The Bald Soprano) by Eugene Ionesco, Fin de partie (Endgame) by Samuel Beckett, Le balcon (The Balcony) by Jean Genet, and Les voisins (not translated) by Claude Meunier and Louis Saia. The conclusion examines the difference between dramatic and comic plays found within the theatre of the absurd. It also touches on the legacy of the theatre of the absurd. / The second section of the thesis is a play in one act entitled Resolutions. It respects the principal characteristics of the theatre of the absurd which are described and analysed in the first section.

The object of this dissertation is to re-assess Australian examples of ???performance??? in light of discourses and directions in dramaturgy that have emerged since the 1970s internationally. The thesis applies Hans-Thies Lehmann???s comprehensive theory of post-dramatic theatre to explicate examples of departures from dramatic theatre in view of the expansive field of inquiry implied by the description ???performance??? or ???new media arts??? and general cultural-political theory. To examine the de-centralisation of text specific to post-dramatic theatre the dissertation analyses firstly, material devised collaboratively at all stages of creative development in its case studies of the Sydney based companies The Sydney Front (1986-1993) and Open City (1987 -); and secondly, Heiner M??ller???s concept of ???literature??? written for the theatre and in opposition to its convention. In addition, the analysis of M??ller serves as an introduction to a comparative analysis of a dramatic (literary) theatre project by a group of Aboriginal artists based on a post-dramatic text by M??ller. This dissertation endeavours to contribute to documentation on post-dramatic theatre in Australia and more broadly, to conceptions of contemporary forms of dramaturgy. More specifically, the thesis argues that dramaturgy no longer necessarily concerns the identification of an aesthetic locus that explicitly explicates the audience???s relation to a known macrocosm. Instead, the thesis conceives of dramaturgy as a compositional strategy that can be thought of within the bounds of Aristotle???s perfunctory visual dimension ???opsis??? and elaborated upon in terms of Kristeva???s theory of the ???thetic??? as regulating ???semiotic??? incursions into the ???symbolic??? order. In doing so, the thesis proposes the concept of a ???televisual??? and an ???abject??? dramaturgy, the latter on the basis of a relation to the older tradition of carnival and identifies a link between intertextuality (transposition) and dramaturgical strategies that engage the spectator in the theatre situation and the dissolution of logocentric hierarchy.

Thesis (B.A.(Educ.Th.)(Hons.))--University of Adelaide, Dept. of Drama, 1994. / Bibliography: leaves 110-118.

Thesis (Ph.D.)--Harvard University, 2007. / (UMI)AAI3265119. Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1729. Adviser: Mario Davidovsky.

Thesis (Ph. D.)--Ludwig-Maximilians-Universität zu München, 1960. / Includes bibliographical references (p. 110-115).