The thesis is a record of the writing and rehearsal process which led to the British premiere of the full length Canadian play, Danceland, at The Old Red Lion Theatre, London, in November of 1994. The first chapter is a discussion of the dramatic theories and historical research which informed the initial creative writing process. The second chapter is the final draft of the play itself. The third chapter is a record of the rehearsal and production process, as well as an overview of the major dramaturgical problems which the actors, director and designers encountered during rehearsals of the play. A full cast and crew list and the reviews from the British press are contained in the appendices. The playwright's "experiment" which sits at the heart of this production record is that Aristotle's idea of "place" is essential to the creation of an indigenous, Canadian dramatic literature. The writing process, however, is only the beginning of the translation of drama from the page to the stage; and it is this final, rehearsal and production process which demands that all dramatic theory be placed within the context of believable characterization and dramatic action.

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Orientador: Antonio Fernando da Conceição Passos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T21:34:19Z (GMT). No. of bitstreams: 1 Henrique_MarinaGomes_M.pdf: 1393898 bytes, checksum: c3b6192a2da03a56185d3e6db5020ee0 (MD5) Previous issue date: 2010 / Resumo: Este trabalho é fruto do processo de transcriação do poema de Bertold Brecht "A infanticida Marie Farrar" em uma peça de teatro e um roteiro de curta metragem. Para isso outras fontes literárias e o filme documentário "Camelos também choram" foram fundamentais no processo criativo, assim como os ensaios constantes da peça "Marias". O processo empírico da criação revelou em primeiro plano as histórias a serem contadas no teatro e no cinema / Abstract: This work is a result of the recreation of Bertold Brecht's poem "The infanticide Marie Farrar" in a theater play and a short film. Other sources for this literary and movie-documentary "The story of the weeping camel" were crucial in the creative process as well as the rehearsal for the play "Marias". The empirical process of creation revealed in the foreground the stories to be told in the play and in the movie / Mestrado / Multimeios / Mestra em Multimeios

The thesis is a record of the writing and rehearsal process which led to the British premiere of the full length Canadian play, Danceland, at The Old Red Lion Theatre, London, in November of 1994. The first chapter is a discussion of the dramatic theories and historical research which informed the initial creative writing process. The second chapter is the final draft of the play itself. The third chapter is a record of the rehearsal and production process, as well as an overview of the major dramaturgical problems which the actors, director and designers encountered during rehearsals of the play. A full cast and crew list and the reviews from the British press are contained in the appendices. The playwright's "experiment" which sits at the heart of this production record is that Aristotle's idea of "place" is essential to the creation of an indigenous, Canadian dramatic literature. The writing process, however, is only the beginning of the translation of drama from the page to the stage; and it is this final, rehearsal and production process which demands that all dramatic theory be placed within the context of believable characterization and dramatic action. / Arts, Faculty of / Theatre and Film, Department of / Graduate

Statement of the problem. It was the purpose of this study (l) to determine and illustrate the influence of time, culture and production situation upon the form and content of two plays based on the Greek legend of Antigone; the texts in question were those of Sophocles and Anouilh; and (2) to determine and illustrate the same influence of time, culture, and production situation upon the means of producing Lewis Galantiere's adaptation of Anouilh's Antigone at the University of the Pacific Play box in the Spring of 1965.

The study of stage combat is designed to fabricate the illusion of physical combat without causing harm to the performers. Most research in this field does not take into account the characterization of the actor during the training of a fight scene. An actor primarily learns the stunt choreography of the scene and often times the subtleties of the character is often forgotten. Scenes that involve physical contact are an essential aspect of the dramatic action. My aim is to eventually devise a process that will consistently create fight scenes that maintain the integrity of the fight director‘s work as well as the mastery of the actor‘s character composition. I am aware this is an ambitious project therefore will I approach this endeavor in two stages. This document will cover the first stage of this project: the investigation of the current process of several professionals who have varying experiences with fight choreography. I will propose and explore the significance of a series of questions a director, actor and fight choreographer should answer before embarking upon a fight sequence successfully. Questions such as: How important is the stunt physiologically and psychologically on the character? Does gender play a role in a fight sequence? Do size, age, and race play a role on character choice in a sequence? Why did the character choose that weapon? Where did that character learn to fight and why in that style?

The problem which concerns this thesis is the directing, designing, and mounting of Woody Allen's Play It Again, Sam under the auspices of the 1974 North Texas State University Summer Repertory Theatre Company. Chapter I contains a detailed examination of the playscript, an analysis of each of the characters, and criticism of Woody Allen's work. Chapter II deals with the chief problems and strategies involved in production. The preparation of the playscript, the cast and production staff, the design process, the front-of-house activities, and rehearsal experience are discussed in detail. Chapter III is the production book itself and includes the script, the blocking, and the light and sound cues. Chapter IV contains a critical summary of the project and recommendations for future study.

Call number: LD2668 .T4 1958 T47

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Orientador: Claudia Mariza Braga / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T09:06:45Z (GMT). No. of bitstreams: 1 Melo_EldersonMelode_M.pdf: 2807181 bytes, checksum: 276aec36846e45bd94bfc4344102a081 (MD5) Previous issue date: 2010 / Resumo: A presente dissertação apresenta uma reflexão sobre a formação e caracterização de modelos de grupos de teatro organizados no Estado do Acre, bem como um panorama das circunstâncias de produção de espetáculos teatrais por esses grupos, com um recorte mais específico nas produções de estilo temático regional, integrante de alguns espetáculos apresentados por parte desses grupos. A pesquisa desenvolvida analisa alguns modelos de grupalidades que fizeram parte da trajetória do teatro de grupo no Acre, bem como as características dos grupos que ainda encontram-se atuantes no Estado, em especial os que fazem parte dos principais pólos urbanos, a saber, Vale do Acre, Vale do Juruá e Vale do Purus, tentando entender, de forma mais ampla, como está atualmente estruturada a prática de criação de cenas teatrais. Além disso, visa, especialmente, entender de que maneira o discurso sobre identidades regionais vem sendo utilizado como componente de criação em espetáculos criados no Estado. Para tanto, fez-se uma análise de questionário, por meio da análise do conteúdo, que foi aplicado em grupos vinculados à Federação de Teatro Amador do Acre - FETAC e, também, uma análise particular de um espetáculo teatral com estilo temático regional, a saber, o espetáculo ?Manuela e o Boto?. Assim, as perguntas a serem respondidas são: De que forma e com que características os grupos de teatro se estruturaram, e estão estruturados atualmente, no Estado do Acre? Existe uma relação dos espetáculos apresentados hoje com o regionalismo acriano ou com os mitos fundadores do Acre? Como essa relação está estabelecida em parte dos elementos da cena espetacular? Pensar a produção artística local, sobretudo no que diz respeito ao teatro e aos grupos de teatro do Acre, é um desafio, mas ao mesmo tempo uma necessidade. Esse trabalho nasce da preocupação de entender essa produção artística, sobretudo no que tange ao teatro de grupo e as composições e contradições que vez por outra aparecem manifestas no discurso e prática dos sujeitos fazedores de teatro da região / Abstract: The present dissertation analyses the formation and characterisation of the instances of theatre groups organised in the state of Acre, as well as a panorama of the circumstances of production of the theatrical spectacles by these groups, with a more specific ambit concerning the productions of the regional thematic style, integrating some of the spectacles held by part of such groups.The inquiry carried out analyses some models of groupness which made up part of the trajectory of the group theatre in Acre, as well as characteristics of groups that still find themselves active in the state, in particular those which comprised the main urban hubs - namely Vale do Acre, Vale do Juruá and Vale do Purus, aiming at understanding, in a more encompassing fashion, where exactly the exercise of the creation of theatrical scenes presently is at. Moreover, it particularly strives for understanding in exactly which way the discourse about regional identities has been put to use as a component of creation in spectacles created in the state. In order to achieve that, a survey analysis was conducted - through the analysis of its content, which was applied to groups pertaining to the Federação de Teatro Amador do Acre [Amateur Theatre Federation of Acre] and, furthermore, an analyses of a theatre spectacle in particular, with a regional thematic style - namely 'Manuela e o Boto'. Therefore, the questions to be answered are: in which way and with what characteristics were the theatre groups constituted, and in which way are they currently constituted in the state of Acre? Is there a relation between the spectacles presented nowadays and the Acraniano regionalism or the founding myths of Acre? How exactly is this relation stablished in part of the elements of the spectacular scene? Pondering over the local artistic production, especially regarding what concerns theatre and theatre groups in Acre, is a challenge, but at the same time a necessity. This work is born from the effort to understand this artistic production, especially concerning group theatre and the compositions and contradictions which sometimes arise manifest in the discourse and praxis of the individuals who shape the theatre in the region / Mestrado / Artes Cenicas / Mestre em Artes