Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: Euripides’s Medea have been staged a number of times in the new South Africa. This study’s purpose is to provide a practical example of a rewritten Medea set in a contemporary Afrikaner community. The political climate and gender views employed in the Euripidean Medea are analysed and compared to that of the new text. The themes in the Euripidean Medea are analysed as well as possible themes in the Afrikaner community to provide the new text with contemporary social trends in the white Afrikaner community. The style of the Euripidean Medea is analysed and adapted in the new play to create a style that can be accommodated in contemporary South African theatre. Appropriating Medea in an Afrikaner community will hopefully provide future theatre-makers with a narrative of the practical process of appropriation from which more universal principles on the practice can be derived as the play has never been fully rewritten in Afrikaans to create an authentic play. / AFRIKAANSE OPSOMMING: ’n Aantal produksies van Euripides se Medea is in die nuwe Suid-Afrika gedoen. Die doel van hierdie studie is om ’n praktiese voorbeeld te skep van ’n nuutgeskrewe Medea wat verplaas is na ’n kontemporêre Afrikaner gemeenskap. Die politieke klimaat en geslagsrolle in die Euripidese Medea word ontleed en vergelyk met dié van die nuwe teks. Die temas in die Euripedese Medea word ontleed, asook moontlike temas in die Afrikaner gemeenskap om kontemporêre sosiale tendense vir die nuwe teks te vind. Die styl van die Euripedese Medea is ontleed en in die nuwe teks aangepas tot ’n styl wat in die kontemporêre Suid Afrikaanse teater haalbaar is. Deur Medea te verplaas na ’n Afrikaner gemeenskap, kan ʼn moontlike voorbeeld geskep word wat as narratief vir toekomstige teatermakers kan dien vir die praktiese proses van verplasing waaruit universele beginsels gevorm kan word aangesien die drama nog nie vantevore volkome herskryf is tot ’n outentieke drama in Afrikaans nie.

A research report submitted to the Drama for Life division of Wits School of Arts, Faculty of Humanities, for the award of the degree of Masters in Applied Drama at University of the Witwatersrand, 2015 / This research report evaluates an exploration of how Applied Drama methods can aid the pedagogy of Human Rights and encourage an attitude of responsibility towards human rights among young adult caregivers at the Rena la Lona Creative Centre in Soweto, South Africa. Human Rights are basic standards which inform the standard of living among people so that they live in dignity. In the context of this study, Human rights education through Applied Drama methods is the means through which people are empowered and are given a sense for responsibility. The study consisted of the use of Applied Drama methods to articulate the education of equality and Human rights. This was done through a practice-based research framework wherein the research is informed by collective practice and also relies on theoretical findings. The first chapter articulates the background and justification of study. Chapter two focuses on the literature and methodology that inform the study. Chapter three explores the research findings through an analysis of the methods used and the learning derived from the practice. Chapter four concludes with the reflection around the research results. The conclusion asserts that the explored Applied Drama methods can be used as a tool for holistic education of the South African Bill of Rights within an informal education setting such as the Rena la Lona Creative Centre.

Thesis (Ph.D.)--University of Delaware, 2006. / Principal faculty advisor: Lois Potter, Dept. of English. Includes bibliographical references.

Thesis (Ph. D.)--University of California, San Diego and University of California, Irvine, 2003. / Includes bibliographical references (leaves 227-242).

Inaugurele rede Universiteit van Amsterdam, 2008. / Onder auspiciën van de Universiteit van Amsterdam. Description based on print version record. Includes bibliographical references.

This paper argues that since media or technologies are extensions or abstractions of ourselves, the technologies that we performatively produce simultaneously function to (re)produce us. Technologies are highly social spaces which have the performative power to (re)produce the very 'materiality' of that thing we call 'reality.' The performative powers of technologies manifest as the powerfully (re)productive meaningmaking paradigms and regulatory controls in operation in a given culture. After considering the predominant paradigms performed through typographic and computing technologies, this paper investigates 'gender' as a performative site of social interface (re)produced in relation to these predominating technological paradigms. This paper further argues that in the context of the cyborg, 'gender' is exposed to be a map with no territory: in a world increasingly exposed as simulation, the material reality of 'gender' is power's effect. Finally, this paper considers the theatre in relation to typographic and computing paradigms, arguing that 'play' and the imagination, in world that is all representation, are crucial sites of social practice. Indeed, 'performativity' provides a means for understanding the agency, subjectivity, materiality, and politics of construction (re)produced through this, our simulated world.

Thesis (M.E.S.)--The Evergreen State College, 2007. / Title from title screen viewed (2/6/2008). Includes bibliographical references (leaves 71-73).

Thesis (Ph.D.)--Murdoch University, 2003. / Thesis submitted to the Division of Arts. Bibliography: leaves [303]-318.

Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2008.

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