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Liao Weichun. / "August 2004." / Thesis (Ph.D.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (p. 249-268). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

This dissertation examines the role of speech inflection in the composition of melodies of American musical theatre and investigates how composers approached speech inflection in their work throughout this genre's history. Through analysis of songs and interviews with composers, this dissertation investigates the relevance of speech inflection in the various styles of composition existing on Broadway. The main focus of musical theatre compositions, especially post Rodgers and Hammerstein's musical Oklahoma, is to move the plot along through songs. Therefore, the delivery of the text must be of ultimate consideration in the writing of modern musicals. A well-written speech-melody facilitates the process of a speech-melody-interpretation, which will result in the delivery of lyrics with an understandable, natural sounding quality. This investigation happens through a chronologic evaluation of the relevance of speech inflection during each of the distinct phases on Broadway, as well as an examination of the approach to writing with a speech-melody focus of each individual composer throughout history. This study explores the importance of speech inflection in American musical theatre songwriting focusing on a speech-melody approach to composition. / by Ana Flavia Zuim. / Vita. / Thesis (Ph.D.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.

張秉權. / 論文(博士)--香港中文大學, 1999. / 參考文獻 (p. i-xvi) / 中英文摘要. / Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Zhang Bingquan. / Lun wen (bo shi)--Xianggang Zhong wen da xue, 1999. / Can kao wen xian (p. i-xvi) / Zhong Ying wen zhai yao.

本文以清代宮廷演劇制度的完善與興替、宮廷大戲《昭代簫韶》的創作與演出為中心，探討其中帝王性情、意識形態的投射與帝國形象的建構；試圖對宮廷演劇繁盛與變遷的原因、《昭代簫韶》文本與演出的意涵、宮廷與民間演劇的交流與影響等問題，作出新的解釋。 / 現有研究強調清朝帝后喜好戲曲娛樂、宮廷舞臺壯麗輝煌，以及晚清宮廷演劇變革等等。本文認為，清代宮廷演劇實有更多豐富的內涵有待更深入的研討。帝后的倡導及參與，自是推動清代宮廷演劇繁盛的重要原因，但在滿足帝后娛樂的同時，宮廷演劇也用於朝廷儀典；戲曲教化與國家儀式的功能相互結合。 / 清代宮廷演劇，在元明清雜劇傳奇及亂彈之外，還有適應現實需要而奉旨編演的大戲與節戲。宮廷大戲，規模龐大，情節複雜，排場繁縟，在中國戲曲史上十分獨特。創作於乾嘉之際的《昭代簫韶》，取材於明代演義小說《北宋志傳》，鋪寫楊家將輔宋抗遼事。通過特定情節與人物穿戴，《昭代簫韶》參與了清代正統華夷的論述，並含有重評歷史與訓諭臣民的深意。此部大戲將褒忠誅奸的昇仙入地與軍陣鬥法的神道描寫，與觀劇現場的君臣秩序相結合，形成舞臺上、下戲曲與現實的呼應，道德教化寓意明顯。 / 本文對清代宮廷演劇制度變遷與宮廷大戲《昭代簫韶》演出史的考察，還特別關注戲曲在宮廷與民間的流動與影響。尤其是外學伶人進入與退出宮廷，使得宮廷伶人的規模與組成發生改變，這不僅影響到大戲的演出形式與藝術呈現，也使得宮廷演劇處於對外開放與吸收融合的狀態。清代戲劇便在宮廷、文人與民間三方面，均臻繁盛。 / Theatrical performance played an important role in the Qing court culture. This thesis discusses the evolution and change of the court theatre institution throughout the Qing Dynasty. In the contexts of court entertainment, political activities and cultural policy, the creation and performance history of the grand theatre piece, Zhaodai xiaoshao, or The Glorious Music of a Brilliant Age, from the Qianlong-Jiaqing to the Guangxu period serve as an adequate example. In this case study, we can explore the nature of the Qing emperors and Empress Dowager Cixi, state ideology and the construction of the Empire’s image. / Most existing research in Qing court drama and theatre focuses on the Qing emperors’ great passion for theatre, the three-tiered grand stage in the imperial palace and the wealth of props and costumes, as well as the repertoire change in the late Qing, especially the formation and development of Jingju or Peking Opera. This thesis arguesthat given its rich contents and relevant contexts, the Qing court theatre deserves far more research both in breadth and in depth. The participation of the imperial power undoubtedly promoted court theatre. Theatrical performances at court became not only private entertainment for the imperial family; they also appeared in state ceremonies with special ritual significance. In addition, the grand plays like the 240-scened Glorious Music of a Brilliant Age projected the images and instructions of the emperorsto enlighten the subjects, for particular needs in political circumstances. / The Glorious Music of a Brilliant Age was based on the story of the Yang Family Generals in the Northern Song Dynasty. Usingthe concept of destiny, the grand play established the plot in which Song defeated Liao and the Taizong of Song completed the unification of the Hans and non-Hans. This is not the real history. However, the play reflected the transition from the early Qing of the northern ethnic-group regime to the mid-Qing of the unified Chinese dynasty. It showed the Manchu emperors’ intent to construct a political orthodox position for their empire. Through the specific costumesof its characters, this history play revealed the ethnic and identity issues among the audience in the Qing court. It teaches the audience and later, readers to be loyal subjects. / In the performance history of The Glorious Music of a Brilliant Age, it is also important to note the institutional evolution of the court theatre, especially the folk actors flowing inside and outside the court. These actors’ movement created opportunities for exchange between the court theatre and the public theatre. For instance, during the Hundred Days Reform, Zhaodai xiaoshao was adapted from its original Kun-Yi music to the Pihuang music under the command of the Empress Dowager Cixi to be performed by the eunuch actors and famous celebrities from the capital theatre. The adaptation and performances of this play, when closely examined, expressed the "ideal" parent-child and monarch-subject relationship which the Empress desired Emperor Guangxu to observe, given the reality of tension between the two at that time. In other words, the performances at court theatre often serve the political purpose of communication, indoctrination, as well as integration. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 胡光明. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 255-281). / Abstracts also in English. / Hu Guangming.

The Restoration and early eighteenth-century theaters of London formed an important mixed-gender rhetorical venue, which was acutely focused on the age-old “querrelle des femmes” (or woman question). The immediate popularity of the newly opened Restoration theaters, the new practice of casting actresses rather than actors in female roles, and the libertine social climate of London from 1660 to the early 1700s created a unique rhetorical situation in which women openly participated as speakers and audience members. Through a methodology combining feminist historiography, performance theory, Bitzer’s rhetorical situation, and Habermas’ notion of the public sphere, this dissertation reclaims the Restoration theatre as one of the earliest public, secular, mixed-gender rhetorical venues in the English-speaking world. London theater of the Restoration and the early eighteenth century presents a feminist kairos for rereading and revisioning the actress from object to subject, from passive receiver to deliverer of performative rhetoric. Overall, the attention given to issues of femaleness in the plays of this period exceeds that of preceding and subsequent periods. The novelty of the actresses, as well as disillusionment with the male-dominated government and system of patriarchy, were major contributing factors that led to the female focus on stage. This phenomenon of female rhetoric also reflects the charisma, elocutionary skill, and visual rhetoric of the best female performers of the period, including: Nell Gwyn, Mary Saunderson Betterton, Elizabeth Barry, Anne Bracegirdle, Susannah Mountfort Verbruggen, Anne Oldfield, and Lavinia Fenton, all of whom are discussed from a rhetorical perspective in this dissertation.

Orientador: Orna Messer Levin / Acompanha 1 CD-ROM / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-14T12:21:36Z (GMT). No. of bitstreams: 1 Carvalho_DanielleCrepaldi_M.pdf: 8306817 bytes, checksum: 03d52e563169bdbc68987dd592f976fa (MD5) Previous issue date: 2009 / Resumo: Neste trabalho, analiso a produção teatral com que o literato Henrique Maximiniano Coelho Netto (1864-1934) - autor importante na virada do século XIX para o XX - inaugurou sua intervenção nos palcos cariocas, em especial o "poema dramático" Pelo Amor! (1897), o "episódio lírico" Ártemis e a "balada em prosa rítmica" Hóstia (1898). Através de tais obras, o literato almejava combater a crise que, segundo seu julgamento, o teatro enfrentava. Sua crítica era dirigida tanto às peças teatrais representadas nas casas de espetáculos comerciais do Rio de Janeiro quanto aos artistas que nelas atuavam. O repertório das companhias que estavam em cartaz na capital era composto, em sua maioria, pelos melodramas lacrimosos e especialmente pelas comédias musicadas - estas recebiam a contribuição dos gêneros musicais populares (a exemplo do lundu e do maxixe). As comédias musicadas exploravam as situações cômicas, algumas vezes fantasiosas, por meio de diálogos construídos, muitas vezes, sobre o duplo sentido das palavras. Além da ausência de qualidades artísticas, Netto considerava essas comédias musicadas licenciosas, já que invariavelmente assumiam uma conotação sexual, devido aos ditos ambíguos que utilizavam e às danças sensuais. Sendo assim, o literato propunha-se a conduzir uma regeneração nos palcos, apoiando-se, para isso, na tradição literária ocidental, da qual retirou os assuntos para a escrita desses dramas. E por acreditar que o elenco profissional não tinha condições intelectuais para levar à cena peças literárias, estimulou que fossem encenadas por um elenco amador composto pela elite econômica do Rio de Janeiro. Pelo Amor! trata da desolação de uma condessa escocesa frente à perda do esposo e o amor que nutre por ele, o qual engendrará o desfecho trágico de ambos. A atmosfera lúgubre que perdura no drama se reflete na música criada por Leopoldo Miguez, que, tendo sofrido visível influência do músico alemão Richard Wagner, criou temas musicais para as personagens principais e esboçou uma interação entre elas no plano musical. A iniciativa conquistou adeptos mas também recebeu críticas. O mesmo deu-se, no ano seguinte, quando da encenação de Ártemis (música de Alberto Nepomuceno) e Hóstia (música de Delgado de Carvalho), no ano seguinte. Na verdade, muitas foram as críticas, ora às peças, ora à relação entre o texto e a música, reação que, em grande medida, tangia o aspecto político. Ora, a imposição de um novo modelo artístico intentava gerar a reordenação do cenário artístico carioca e a exclusão de obras consagradas pelo público e também parte da crítica, como as óperas italianas, as comédias musicadas e os melodramas. Proponho-me, na presente dissertação, a analisar as três peças de Coelho Netto à luz da produção teatral e crítica da época e sobre a época, e daquilo que os literatos do Rio de Janeiro publicaram a respeito da movimentação cultural da cidade. Ocasionalmente, tal trabalho também irá se estender à partitura das obras, para que a relação entre texto e música seja melhor compreendida. / Abstract: In this work, I analyze the theater plays with which Henrique Maximiniano Coelho Netto (1864- 1934) - important Brazilian writer in the turn of the nineteenth century to the twentieth - started his interference in the stage of Rio de Janeiro, specially the "dramatic poem" Pelo Amor! (1897), the "lyric episode" Ártemis and the "ballad in rhythmic prose" Hóstia (1898). Through these plays, the writer claimed to defeat the crisis he believed the theatre was facing. His criticism aimed the plays presented in the commercial theaters of Rio de Janeiro and the actors and actresses that played them. Thecompanies' repertoire was restricted to almost only teary melodramas and specially musical comedies - the comedies had the contribution of popular music (for example, lundu and maxixe) and presented usually funny and sometimes fantastic situations, with dialogues that eventually leaned upon double senses. Beyond the lack of artistic qualities, Netto considered the musical comedies vicious, because of the sexual insinuation they implied through dialogues and music. Therefore, the writer intended to conduct a regeneration of the stage, using for that the occidental literary tradition, from where the subjects of these plays were chosen. And because he believed the professional artists lacked intellectual conditions to present literary plays, he gave his work to be put on stage by amateur groups that had the economic elite as members. Pelo Amor! presents the desolation of a Scottish countess because of the loss of her husband and the love that she devotes to his, which is responsible for the tragic ending of both. The grim atmosphere that remains in the drama reflects in the music created by Leopoldo Miguez, that had suffered visible influence of the German musician Richard Wagner, for Miguez creates musical themes for the leading characters and paints an interaction between them in the musical field. But the idea didn't have only adepts. The same happened with Ártemis (music by Alberto Nepomuceno) and Hóstia (music by Delgado de Carvalho), in the following year. In fact, many were the detractors of the texts and music of these plays, reaction that is largely related to political aspects, once the imposition of a new artistic model intended to cause the reorganization of Rio's artistic scenery and the exclusion of work of arts that were successful among the public and also part of the critic, like the Italian opera, the musical comedies and the melodramas. I intend to analyze these plays taking in consideration the theatrical and critical production of that time and of nowadays and what Rio's writers published related to the cultural activities of the capital. This work will also occasionally refer to the printed lyrics of the plays in order to understand the relation between text and music. / Mestrado / Literatura e Outras Produções Culturais / Mestre em Teoria e História Literária

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