Thesis--Southern Illinois University, 1967. / Description based on print version record. Includes bibliographical references.

Diss. phil.-hist. Bern (kein Austausch). / Im Buchh.: Zürich : Chronos-Verlag. Register. Literaturverz.

Thesis (Ph. D.)--University of Wisconsin, 1965. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--Georgia State University, 2007. / Title from file title page. Lynee Lewis Gaillet, committee chair; Beth Burmester,Tanya Caldwell, committee members. Electronic text (189 p. : ill.) : digital, PDF file. Description based on contents viewed Oct. 15, 2007. Includes bibliographical references.

This study has attempted to show that the plays of La Chaussée, which were popular in France in the middle to lat eighteenth century, were popular because they appealed to social values of the period, and particularly because they expressed a conservative view of society and of the role of women in that society. The introduction sets forth the historical and biographical background of La Chaussée, the extent of the success achieved by his "comédies larmoyantes" in performance and in publication during the eighteenth century, and the reasons for selecting the five plays on which this study concentrates. The focus on, female characters is explained by the number of plays "about" women: Mélanide, La Gouvernante, L'Ecole des méres and by the tendency in literary criticism to consider eighteenth-century French tastes in theatre dictated by women. Chapter I presents a content analysis of the five plays. This technique, taken from Goodlad, A Sociology of Popular Drama, provides plot summaries of these now unfamiliar plays which are used as a basis for chapter II. Furthermore it permits determination and comparison of these themes, settings, areas of conflict explored and types of resolution offered in the plays under examination. La Chaussée most frequently presents the problems of marital and familial love, and resolves conflicts with reconciliation, marriage, or another form of social integration. Goodlad brings out the relationship between popular success and a play's at least implicit didacticism and its conservatism in form and content. Chapter II uses narratological analysis techniques from Bremond, Logique du récit. The plays are considered as texts. The purpose here is to bring to light the structure of plot: how resolution in delayed or achieved, what roles -- victim, beneficiary, assistant, frustrator -- female character play in that structure. Heroines are found to be passive victims, beneficiaries, or even frustrators. Secondary female characters play minor assistant roles, or act as frustrators for the heroines. Resolution is achieved by male characters. Chapter III turns to discourse, how much and what is said about the female sex and/or by female characters. It examines the quantity, content and situation of female discourse in these plays, and particularly the social and situational restraints on discourse. A female character usually only has one scene with male characters in which she speaks half or more of the total lines, unless she is alone with someone over whom she has affective influence, and not her husband. Maids are used to express generalizations about the situation of women in society, and sympathy for the heroine. The discourse of heroines centres on the standards of virtue to which society holds them: patience, endurance, chastity, obedience. In the conclusion, critical judgments on La Chaussée from the eighteenth century to the present are reviewed and examined. Doubt is cast on the extent to which La Chaussée should be seen as promoting theatrical or social reform, and increased emphasis in placed on the nature of his didacticism, and the pervasiveness of his conservatism. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Contemporary Ambulatory Theatre and Audience Agency explores recent productions that encourage individual audience members to move through large, public spaces in new ways, developing a sense of ambulatory agency as they explore their theatrical environments. It focuses on four objects of study: Punchdrunk’s Sleep No More, a version of Shakespeare’s Macbeth wrapped in the aesthetic of Alfred Hitchcock films and staged for mask-wearing audiences inside three New York warehouse spaces; Blast Theory’s A Machine To See With, which guides audiences through a neighborhood on a supposed bank heist using their mobile phones and has been restaged in nine different cities; Street Corner Society’s Subway Orpheus, a loose adaptation of Ovid’s mythic story in which audience members travel between stations on Boston’s MBTA system; and David Levine’s Private Moment, a series of eight scenes from films shot in Central Park performed by live actors on continuous loops in the exact locations where they were filmed. Contemporary Ambulatory Theatre and Audience Agency uses performance theory, the author’s own experiences of the works, and interviews and statements by practitioners and audience members to determine why artists and audiences are so attracted to new forms of ambulatory agency and how these pieces and others produce them. It argues that, recently, performances like Private Moment have inverted prior understandings of audience agency, treating the individual audience member as the protagonist of their own theatrical event and utilizing performers and other inhabitants of public space to help them exercise this newfound agency. / A Dissertation submitted to the School of Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2018. / April 10, 2018. / Includes bibliographical references. / Mary Karen Dahl, Professor Co-Directing Dissertation; Daniel Aaron Sack, Professor Co-Directing Dissertation; Karen L. Laughlin, University Representative; Elizabeth A. Osborne, Committee Member; Patrick Timothy McKelvey, Committee Member.

Submitted to the Faculty of Arts in fulfillment of the requirements for the degree of Doctor of Philosophy (D.Phil) in the Department of Communication Science at the University of Zululand, 2001. / This study investigates Industrial Theatre as an effective form of corporate communication against the backdrop of South Africa's unique situation that distinguishes it from other countries in the world. As the post-apartheid South African society is concerned with development and transformation of its workforce, particularly among those who have previously been disadvantaged, communication in organisations has become vitally important in achieving these goals as well as in increasing productivity. This study identifies four specific problems that relate to the effectiveness of communication within an organisation, namely the historical problem, the literacy problem, the credibility problem and the problem concerning the traditional adversarial relationship. Problems concerning the corporate media and the definition of the term "Industrial Theatre" are also treated. In this study, Industrial Theatre is equated with a form of corporate communication and thus has a public relations function within an organisation. It therefore needs to ground itself firmly within public relations theory and practice. It must be a deliberate, planned and sustained effort that establishes and maintains mutual understanding between the organisation and its internal and external stakeholders. The uniqueness of the South African environment necessitates a communication model that creates an enabling environment for effective corporate communication. The Mersham graphic communication model for development as used in this study achieves this by contextualising both the communicators and the recipients firmly within their own sociocultural and autobiographical circumstances. The Mersham model is ideally suited to the Industrial Theatre context, as it also advocates that communicators and recipients should exchange roles, thereby enabling effective communication on a continuous basis. The current trends in corporate communication encourage transparency and "ownership". All the stakeholders of an organisation are encouraged to interact and to participate in the management of their organisation, hence achieving a sense of "ownership". The key to this entire process is negotiation. As this study contends that any theatrical process used as a communication tool should have negotiation as its main constituent, it was necessary to create a dramaturgy that incorporates negotiation into all its facets in order to serve the purposes of the thesis. The Negotiated Dramaturgy thus created has three distinct parts. The first consists of the pre-production forums in which the stakeholders discuss issues that create objectives for the dramaturgy to achieve. The second section contains the dramaturgy that enacts the objectives through story lines created by the stakeholders and analyses the results through the in-role forums. The third section evaluates the effectiveness of the process. This approach to Industrial Theatre ensures that all stakeholders are involved in the entire process from beginning to end. They, therefore, have total "ownership" of the process, which is characterised by transparency.

No description available.

This dissertation argues for increased scholarly engagement with “vernacular musical knowledge,” or VMK, as a methodological possibility for the burgeoning music-theoretical study of musical theater. I define VMK as a generalist term: it exists for every type of music, both contemporary and historical, and is musical knowledge that is held by (and informally passes between) practitioners within a musical community. This project primarily engages with the VMK of musical theater practitioners in New York City, as part of the Broadway theater community. This study offers a route for musical theoretical inquiry of musical theater that avoids introducing the common problematics that emerge from applying conventional music theory and its analytical techniques to musical theater repertoire. A detailed look at extant music theory literature, both considering musical theater topics and also concerning the pedagogy of music theory for musical theater musicians-in-training, reveals assumptions that often undermine arguments or arrive at misguided conclusions due to a basic incompatibility with the compositional realities of music for musical theater. In particular, this project investigates the socalled “work concept” that pervades western (classical) musical thought and identifies the ways in which it is not entirely applicable to musical theater shows. The latter portion of the project both exhibits the VMK of a sample of musical theater practitioners from New York City and provides an example of the type of scholarship that can emerge from scholarly engagement with such VMK. Investigating how contemporary Broadway music arrangers have influenced modern audiences’ perceptions of the classic “Broadway sound” through their ongoing re-creative work, it becomes clear that (1) the “sound” of so-called “Golden-Era” Broadway music is often an ahistorical fabrication, and that (2) the analysis of this music benefits greatly from the elucidation of musical creatives’ goals and viewpoints, without which one would reach very different analytical conclusions. This project demands critical engagement with the normative methodologies in music theory, especially when those methodologies are applied to popular music styles (and, in particular, musical theater). I argue that the scholarly inclusion of vernacular musical knowledge offers an alternative approach for the next generation of theorists studying musical theater.

No description available.