This thesis is an exploration of information and theory relative to the development and management of performances within university level theatre and dance study abroad programs. Only U.S. theatre and dance study abroad programs in foreign countries are examined. This research is focused on programs that not only include performance, but also the entire creative and production process within the duration of their time abroad. Even with these constraints, the information provided is applicable to programs of non-U.S. institutions and programs that tour a performance abroad. The core of this thesis is an examination of the 2011 cycle of the University of Texas Theatre in Italy study abroad program. Through online research and e-mail I will also research similar study abroad programs, presenting information on curricula, program host city, program duration abroad and program website. Supporting literature is found in several fields; study abroad program creation, theatre management, production and administration. A synthesis of this knowledge is essential to the success of producing and managing in an abroad academic setting. This research will be a resource for current or potential study abroad program directors interested in integrating a performance in their own program. An introduction of common study abroad models and theatre curricula will be presented to provide context and vocabulary for the remainder of the research. I will define my own role as production manager and describe the responsibilities thereof. The following chapters will cover the management and logistics involved in selecting a performance piece and students, budgeting, travel, and production. For myself, this thesis is only the beginning of my own exploration in producing performances in an international setting. This experience and study was an opportunity for me to encounter some of the challenges common to producing abroad and touring internationally. In addition to this, I believe producing internationally is a positive way to share our own rich culture as well as an opportunity for Americans to discover and appreciate the cultures of others. I hope this to be my first step on a long career path of international collaboration. / text

Thesis (M.A.) - Carleton University, 2003. / Includes bibliographical references (p. 73-75). Also available in electronic format on the Internet.

Zugl.: München, Univ., Diss., 2007

Thesis (doctorat en droit)--Université de Cergy-Pontoise, 1997. / Includes bibliographical references (p. [481]-511).

Thesis (doctorat en droit)--Université de Cergy-Pontoise, 1997. / Includes bibliographical references (p. [481]-511).

Proefschrift--Groningen. / "Stellingen": 1 leaf (laid in). "Bibliographie": p. [238]-247.

Thesis (M.A.)--Humboldt State University, 2009. / Includes bibliographical references (leaves 80-82). Also available via Humboldt Digital Scholar.

Thesis (D.M.A.)--University of North Carolina at Greensboro, 2005. / Title from PDF title page screen. Advisor: William P. Carroll; submitted to the School of Music. Includes bibliographical references (p. 113-119).

Thesis (M.Arch.)--University of Hong Kong, 2000. / Special report study entitled : Opera theatre : space and technology. Includes bibliographical references. Also available in print.

This is the first study of the avant-garde Yiddish art theater movement, which flourished across five continents during the interwar period. From Warsaw to San Francisco, Buenos Aires to Winnipeg, Mexico City to Paris, and Johannesburg to Melbourne, the Yiddish art theaters were acclaimed by critics and popular with Jewish and non-Jewish spectators alike. These theaters had a significant impact on renowned theater practitioners around the world, who credited the Yiddish art theaters with inspiring their own artistic practice. In tracing how a small group of Yiddish theater artists developed a modernist theater movement with a global impact, my project provides a key and heretofore missing chapter in the history of the modern stage. I argue that the spirit of innovation that characterized the activities of the Yiddish art theaters and enabled them to become so influential was a direct product of the transnational nature of their movement. Operating in a Jewish cultural context unbounded by national borders, the success of these companies was propelled by a steady exchange of actors, directors, scenic designers, and critics across the world. Buoyed by a global audience base and unconfined by the geographical-linguistic borders that limited the national theaters of their neighbors, Yiddish theater artists were uniquely able to develop a fully transnational modernist theater practice. The global reach of the Yiddish art theaters is best exemplified by the Vilna Troupe (1915-1935), the catalyst for this movement and the primary focus of my study. The Vilna Troupe was the epicenter of the international Yiddish art theater movement throughout the interwar period. I demonstrate how the Troupe remained itinerant throughout its history, enabling it to reach an ever-larger global audience and inspiring dozens of other Jewish actors to create Yiddish art theaters of their own. Where previous generations of Yiddish actors had been subject to the double disapproval of Jewish and non-Jewish intellectuals alike, the Vilna Troupe legitimized the Yiddish art theater movement as a key contributor to the global theatrical avant-garde. / Near Eastern Languages and Civilizations