The present research consists of a comparative study of Brigham Young University's Golden Age Comedia (GAC) and Golden Age Theater Production (GATP) courses. The two courses cover much of the same academic material, but one of the differences between the two approaches to the teaching of Golden Age literature is that the GATP course incorporates a theater production and outreach component. Although this outreach program has been seen as intuitively and anecdotally effective, there has been no prior attempt to document student motivation for choosing this course over the traditionally taught course (GAC), nor to discover any of the outcomes experienced by university students who participate in it. Similarly, there have been no studies conducted to compare the educational outcomes of the two approaches. Therefore, the present empirical study was conducted with the goal of determining student motivation and expectations for course selection, academic outcomes of each approach, and whether any additional intellectual or personal growth was experienced by students in the GATP course. This study revealed that there indeed are differences in the motives and expectations behind students' decision to enroll in the GAC course rather than the GATP course, and vice versa, and that each course yields different outcomes for those students. Students receiving instruction through the GATP Outreach program appear to be able to attain a similar mastery of the course material as those in the GAC course. Furthermore, through the inclusion of the outreach program, students are able to acquire additional skills and enriched attitudes that have the potential to prepare them for future studies and life experiences. For universities interested in implementing a similar production and outreach program, this study provides evidence that such a course can indeed provide an alternative path to the teaching of Golden Age literature at the university level and that it proves to be an attractive alternative to certain students that is worth their time and effort.

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?

This investigation is concerned with the analysis of a production of Peter Pan, a large-scale musical play, which was presented at Dallas Repertory Theatre in February of 1975. This analysis is intended to be both an educative discussion of the experimental nature of the show and a practical guide to the production of a typical musical play by a non-professional company. The most outstanding elements examined include the following: (1) casting a teen-age boy, instead of an adult, in the title role; (2) casting children in all children's roles, and adults in all adult roles; (3) modification of the script and score to implement the casting of children in key roles; (4) the utilization of a short motion picture to simulate the flying of actors onstage.

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

Com referencial teórico de Pierre Bourdieu, esta pesquisa propõe refletir sobre as maneiras de produzir teatro na cidade de Porto Alegre no período de 1985 a 2005. Observando o teatro como campo social em que se estabelecem disputas internas de poder e amparado por um estudo interdisciplinar de história, antropologia e sociologia a partir da memória e da narrativa oral dos produtores entrevistados, distingue categorias entre a atividade de produção do teatro. Este trabalho do Programa de Pós-Graduação em Arte Cênicas da Universidade Federal do Rio Grande do Sul – PPGAC UFRGS -pretende analisar as transformações das políticas culturais de Porto Alegre e verificar, se houve, quais as influências das legislações na prática do trabalho do produtor de teatro de grupos, companhias e tribos que atuaram durante este período, de forma ininterrupta, na cidade. Assim a pesquisa vislumbra oferecer base teórica para a inclusão de estudos sobre os conceitos campo do teatro e produção de teatro para a formação de artes cênicas, considerando que as discussões do teatro no momento atual não devem ficar apenas sobre as questões estéticas, mas também relacionadas a questões de história, poder público e sociedade. / Based on Pierre Bourdieu´s theoretical reference, this research proposes to reflect on ways of producing theater in the city of Porto Alegre, from 1985 to 2005. Observing theater as a social field in which internal power disputes are established and supported by an interdisciplinary study of history, anthropology and sociology from the memory and the oral narrative of the producers interviewed, categories among theater production acitivity are distinguished. This paper of the Graduate Program in Performing Arts of the Federal University of Rio Grande do Sul - PPGAC UFRGS - intends to analyze cultural policies transformations in the city of Porto Alegre and verify, the influence of these legislations in the practice of Group Theather Producers, as well as companies and tribes that also acted throughout this period of time, in the city. Therefore, this research aims to offer a theoretical basis for the inclusion of studies on theater and theater production concepts for the formation of performing arts, considering that theater discussions at the present time should not only be about aesthetic issues, but also related to issues of history, public policy and society.

No description available.

Com referencial teórico de Pierre Bourdieu, esta pesquisa propõe refletir sobre as maneiras de produzir teatro na cidade de Porto Alegre no período de 1985 a 2005. Observando o teatro como campo social em que se estabelecem disputas internas de poder e amparado por um estudo interdisciplinar de história, antropologia e sociologia a partir da memória e da narrativa oral dos produtores entrevistados, distingue categorias entre a atividade de produção do teatro. Este trabalho do Programa de Pós-Graduação em Arte Cênicas da Universidade Federal do Rio Grande do Sul – PPGAC UFRGS -pretende analisar as transformações das políticas culturais de Porto Alegre e verificar, se houve, quais as influências das legislações na prática do trabalho do produtor de teatro de grupos, companhias e tribos que atuaram durante este período, de forma ininterrupta, na cidade. Assim a pesquisa vislumbra oferecer base teórica para a inclusão de estudos sobre os conceitos campo do teatro e produção de teatro para a formação de artes cênicas, considerando que as discussões do teatro no momento atual não devem ficar apenas sobre as questões estéticas, mas também relacionadas a questões de história, poder público e sociedade. / Based on Pierre Bourdieu´s theoretical reference, this research proposes to reflect on ways of producing theater in the city of Porto Alegre, from 1985 to 2005. Observing theater as a social field in which internal power disputes are established and supported by an interdisciplinary study of history, anthropology and sociology from the memory and the oral narrative of the producers interviewed, categories among theater production acitivity are distinguished. This paper of the Graduate Program in Performing Arts of the Federal University of Rio Grande do Sul - PPGAC UFRGS - intends to analyze cultural policies transformations in the city of Porto Alegre and verify, the influence of these legislations in the practice of Group Theather Producers, as well as companies and tribes that also acted throughout this period of time, in the city. Therefore, this research aims to offer a theoretical basis for the inclusion of studies on theater and theater production concepts for the formation of performing arts, considering that theater discussions at the present time should not only be about aesthetic issues, but also related to issues of history, public policy and society.

Com referencial teórico de Pierre Bourdieu, esta pesquisa propõe refletir sobre as maneiras de produzir teatro na cidade de Porto Alegre no período de 1985 a 2005. Observando o teatro como campo social em que se estabelecem disputas internas de poder e amparado por um estudo interdisciplinar de história, antropologia e sociologia a partir da memória e da narrativa oral dos produtores entrevistados, distingue categorias entre a atividade de produção do teatro. Este trabalho do Programa de Pós-Graduação em Arte Cênicas da Universidade Federal do Rio Grande do Sul – PPGAC UFRGS -pretende analisar as transformações das políticas culturais de Porto Alegre e verificar, se houve, quais as influências das legislações na prática do trabalho do produtor de teatro de grupos, companhias e tribos que atuaram durante este período, de forma ininterrupta, na cidade. Assim a pesquisa vislumbra oferecer base teórica para a inclusão de estudos sobre os conceitos campo do teatro e produção de teatro para a formação de artes cênicas, considerando que as discussões do teatro no momento atual não devem ficar apenas sobre as questões estéticas, mas também relacionadas a questões de história, poder público e sociedade. / Based on Pierre Bourdieu´s theoretical reference, this research proposes to reflect on ways of producing theater in the city of Porto Alegre, from 1985 to 2005. Observing theater as a social field in which internal power disputes are established and supported by an interdisciplinary study of history, anthropology and sociology from the memory and the oral narrative of the producers interviewed, categories among theater production acitivity are distinguished. This paper of the Graduate Program in Performing Arts of the Federal University of Rio Grande do Sul - PPGAC UFRGS - intends to analyze cultural policies transformations in the city of Porto Alegre and verify, the influence of these legislations in the practice of Group Theather Producers, as well as companies and tribes that also acted throughout this period of time, in the city. Therefore, this research aims to offer a theoretical basis for the inclusion of studies on theater and theater production concepts for the formation of performing arts, considering that theater discussions at the present time should not only be about aesthetic issues, but also related to issues of history, public policy and society.

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