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In the commercial theaters of early modern London there worked a group of dramatists who, though they wrote for the playmaking industry, were not members of it. Rather than outliers in a unified, closed field of playwriting, they were amateur dramatists, a distinct class of writers who took advantage of the radically open nature of the field of playwriting for professional theaters to supply their own plays to the actors. Their plays require a different set of critical and historical questions than that traditionally used in examining plays by professionals. The reason for this distinction is that amateur dramatists came to their work with primary experience of the theater as cultural consumers rather than producers: they were playgoers who, though from a diverse range of economic and social backgrounds, shared a passion for the public stage—a passion that they translated into efforts to pen plays for that same stage. As plays by playgoers, their texts provide evidence for better understanding how particular audience members saw and understood the professional stage. Their plays reveal directly what audience members wanted to see and how they thought actors might stage it. In their attempts to replicate specific practices, conventions, and techniques that they saw in professionals' plays, they reveal how certain playgoers understood, or thought they understood, the professional theater. In their deviations from what they saw in professionals' plays, they testify to a gap between what the profession produced and what the audience wanted—a gap unnoticed by studies of audience experience that rely on professionals' plays to recreate that experience. Playgoers writing their own plays demonstrate that the early modern audience was a participatory, engaged, and even autonomously active force of dramatic creation. In the early modern professional theater, playgoers could create the texts and, in some cases, the performances that they desired. Reading amateurs' plays with an awareness that they were written not just for audiences but also by audiences thus opens a new window onto the early modern playhouse, the diversity of dramatists who wrote for it, and the creative experiences of the spectators who attended it.

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<p>The subject of this qualifying paper is an Edo Period N&omacr; theater <i> ch&omacr;ken</i>. Upon receipt, this choken was in very poor condition. There were six types of damage that needed treatment. </p><p> <i>First</i>, there was extensive warp breakage along the full length of the shoulders and sleeve bottoms and one area of full loss to the base fabric, exposing wefts. <i>Second</i>, a couched metallic thread was used as an outline to five vase motifs and as patterning for four butterflies. All used &lsquo;urushi,&rsquo; better known as Japanese lacquer, for an adhesive binding a metal foil its paper substrate. This couched thread had either loss to the metallic surface, to the combined metallic and lacquer surface, or was hanging, and at times twisted back upon itself. <i>Third</i>, there was a cut and finely woven, metallic coated paper used for some of the leaf and insect wing motifs that was tattered, unaligned, had loss to its metallic surface, and was not secure to the base fabric. <i>Fourth</i>, there were areas of weft breakage exposing warps. <i>Fifth</i>, the six exposed selvages that run the full length of the two sleeves and one body panel all needed to be strengthened. <i>Sixth</i>, there was one 3 by 4 inch area in the lower back of the body panel which had complete fabric loss. </p><p> Untreated areas were: areas of warp distortion in the front body panel; a few loose embroidery threads throughout the five floral/vase motifs; and a small amount of loss due to insect infestation. </p><p> Research was done and methods developed in order to find treatment techniques for the lacquer based metallic thread, the cut and woven paper motifs, and the extensive warp breakage extending along the shoulders and sleeve bottoms. </p><p> Due to the difficulty of finding English equivalents to Japanese textile terminology, I included a Comparative Glossary that I hope will be useful to other researchers in this field. </p><p> This project proved to be challenging, but in the end, very rewarding with a new body of knowledge concerning materials used in this type of cultural object. </p>

Black feminist scholars such as Lisa Anderson describe the most common stereotypes as that of the mammy, the mulatta, and the mistress. My research analyzes how each of these negative stereotypes are articulated or challenged in contemporary plays and films by bringing together scholarship that critiques dramatic representation, mass media that disseminates those representations, and social media that reveals popular perceptions of race. I utilize Black feminism to critique the stereotypical representation of Black women in dramatic works, and critical race theory to consider the social and political environment that allows these representations to proliferate. After setting up the historical context of stereotypes from the slavery era to the present day in chapter two, each of the following chapters explore one specific stereotype, beginning with the mammy in chapter three, moving to the mulatta in chapter four, and ending with the mistress in chapter five. Each of these chapters focuses on two case studies include one successful play and one film with a nation-wide release that features Black female characters and plays on mainstream networks. With theatrical case studies ranging from Lydia Diamond's Voyeurs de Venus (2006) to Lynn Nottage's By the Way, Meet Vera Stark (2013), films from The Help (2011) to Dear White People (2014), my work questions how these stereotypes persist and create meaning in popular culture. The work addresses the following questions: How have the mammy, mulatto, and mistress stereotypes functioned and persisted in dramatic works and popular culture in the contemporary era? How do contemporary works adapt, challenge, reinterpret, and reimagine these stereotypes? What does this suggest about shifts in representations of Black women in the contemporary United States? / A Dissertation submitted to the School of Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester 2018. / August 9, 2018. / Black Feminism, Critical Race Theory, Mammy, Mistress, Mulatta, Stereotypes / Includes bibliographical references. / Elizabeth Osborne, Professor Directing Dissertation; Tamara Bertrand Jones, University Representative; Jerrilyn McGregory, Committee Member; Kris Salata, Committee Member.

姚穎嘉. / "2003年8月". / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻 (leaves 123-127). / 附中英文摘要. / "2003 nian 8 yue". / Yao Yingjia. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 123-127). / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 引言 --- p.1-10 / Chapter 第二章 --- 抗戰時期的香港話劇：背景硏究(1937-1945) --- p.12-22 / Chapter 第三章 --- 戰後至1960年代的重整期：重視教育和 節省資源的文化政策 --- p.23-43 / Chapter 第一節 --- 維護政府管治權和重資源分配 --- p.24-30 / Chapter 第二節 --- 話劇發展及其主流 --- p.31-42 / Chapter 第四章 --- 1960至1967年的劇本荒：文化政策的寸步難移 --- p.44-65 / Chapter 第一節 --- 暴風雨前夕 --- p.45-51 / Chapter 第二節 --- 自力更生的話劇發展 --- p.52-64 / Chapter 第五章 --- 1967年暴動後至1982年中英談判的改革時期： 文化政策與政府爭取民望的導向 --- p.66-81 / Chapter 第一節 --- 香港本土文化的建立 --- p.67-71 / Chapter 第二節 --- 本土劇的初生和萌芽 --- p.72-81 / Chapter 第六章 --- 中英談判後至1997香港回歸：講求「價値」 提升的文化政策 --- p.82-100 / Chapter 第一節 --- 藝術發展的政治化與商業化 --- p.83-89 / Chapter 第二節 --- 中英談判後香港話劇的本土意識 --- p.89-98 / Chapter 第七章 --- 1997.7.1回歸後與未來展望：共同面向國際的中港文化 --- p.101-117 / Chapter 第一節 --- 回歸祖國文化與流傳 --- p.102-107 / Chapter 第二節 --- 商業藝術形成的惡性循環 --- p.107-114 / Chapter 第八章 --- 總結 --- p.118-122 / 參考書目 --- p.123-127 / 論文附錄 / 附錄(一）：抗戰劇人的背景資料 --- p.i 一ii / 附錄(二）：中英學會中文戲劇組的演出劇目 (1952-1963 年） --- p.iii´ؤiv / 附錄(三）：校際戲劇比賽劇目（1950- 1960年） --- p.v´ؤxiv / 附錄(四）：校際戲劇比賽中文戲劇冠亞季軍得獎作品 (1950-60 年） --- p.xv´ؤxvi / 附錄(五）：大會堂戲院和音樂廳的租用情況 (1962年3月至1964年6月） --- p.xvii´ؤxix / 附錄(六）：中國學生周報話劇組排練及演出的劇目 (1960-67 年） --- p.xx / 附錄(七）：專上學生聯會舉辦的大專戲劇節演出劇目 (1966-1975) --- p.xxi´ؤxxiv / 附錄(八）：1960年代中英學會中文戲劇組和 香港業餘話劇社演出的劇目 --- p.xxv / 附錄(九）：香港藝術節的演出話劇及場次(1973-1982年） --- p.xxvi´ؤxxvii / 附錄(十）：1997至2000年上演過的本地話劇 --- p.xxviii´ؤIii

This thesis is a historical account of left-wing theatre in Japan from its early beginnings in the 1910s to the collapse of the organised proletarian drama movement in 1934. It is set within the context of the general history of shingeki from the earliest attempts to reform existing traditional theatre soon after the Meiji restoration. The choice of this subject was encouraged by several factors. The Japanese classical theatre has much of interest to the foreign scholar and several substantial studies of its various forms have boon published. Shingeki, on the other hand, has as yet not been studied seriously by any Eastern scholar and it was at least portly a curiosity concerning the problems that would have confronted a modern drama in Japan that prompted this study of left-wing drama. The subject was limited to left-wing drama for several reasons. Firstly some limitation was required. The history of shingeki can now be said to extend over approximately one hundred years and such have been its vicissitudes and the volume of work contributed to it by its practitioners that only a very choral history would be possible in the limited scope of a thesis. Within the one hundred years of shingeki five separate periods can be discerned: the Meiji period, when the idea of a new drama for the new state was discussed and developed; the late Heiji and early Taisho periods, when the first experiments at a practical realization of new drama took place; the 1920s and early 1930s, when shingeki became an exciting new cultural form in the eyes of young intellectuals and when it became left-wing, as they did; the later 1930s, when a more sober approach to drama was taken by socialists and a more self-confident attitude was observable in those theatre people who were not left-wing; and the post-war period, with its complex mixture of self-examination and experiment. The 1920s and early 1930s - the left- wing period - were chosen because this can be confidently described as the formative period of modern Japanese drama. The struggle with the past was mainly over and the legacy left to future shingeki artists by these years was greater than that of any other period. [continued in text ...]

In 1493 Johann Trechsel published in Lyons a Latin edition of Terence's six comedies, generally known today as the "Lyons Terence." The volume is illustrated with 160 woodcuts. The first woodcut, on the title page, shows the author in his library; the second, a full-page frontispiece titled Theatrum, pictures a building with a stage and audience; the remaining woodcuts, half-page illustrations distributed throughout the text, depict figures on stages, a different stage for each of the six comedies. Chapter 1 introduces the woodcuts both as book illustrations and theatre documents. As book illustrations, the woodcuts are striking partly because of their size, their quantity, and their artistic merit and partly because they comprise the earliest series and narrative illustrations to accompany a printed Latin text. Commissioned for this particular edition to Terence's comedies, the woodcuts suggest a pedagogical concern with illustrations that provide a running commentary on the text. As theatre documents, the woodcuts are significant because they represent the first instance in which an editor has illustrated a dramatic text by depicting characters on stages. Chapter 2 analyzes the composition and distribution of the woodcuts by comparing each illustration with the text it introduces. Marking each traditional scene division, the woodcuts depict the characters who participate in the dialogue to follow. By manipulating the characters' placement on the stage, their use of curtains, and the number of times they are depicted in a single picture, the artist establishes conventions to identify (1) the major character group comprising a scene, (2) characters who speak apart before joining in conversation with those already on-stage, (3) characters who remain apart throughout a scene and speak only asides, and (4) characters whose voices are heard but who never appear on the stage. The artist does not portray nonverbal stage business. Chapter 3 investigates the possible influence of narrative art on the conventions identified in Chapter 2. First, I argue that the woodcuts were directly influenced by the miniatures in the Terence manuscripts; this influence accounts for errors and idiosyncracies in representing characters and the priority of character depiction over stage action. Second, I show that the woodcuts adopted conventions for representing narrative action, especially transitional links, from narrative art in general. Chapter 4 distinguishes between staging and the stage. Although the woodcuts do not represent characters so as to suggest the staging of Terence's plays, they do depict those characters upon stages. The Andria stage, moreover, appears to be indebted to the contemporary booth stage. The compartment labels I take to be a literary rather than a staging feature. Chapter 5 summarizes the findings of the dissertation. It concludes that the woodcuts, innovative illustrations which supplement a classical text, function primarily as a pedagogical aid to help the reader follow the Latin dialogue of the comedies.

<p> Victoria N&amacr;lani Kneubuhl, a prolific playwright and novelist, has become quite well-known for her works in critical dramatization of Hawai'i's colonial past, most often representing the Hawaiian Islands' cultural-socio-political changes through the thoughts and actions of doubly-marginalized female-indigenous Hawaiian characters. Four selected historiographical plays, clearly illustrating the crucial role of women in the formation of Hawai'i's past, present the juxtaposition of the indigenous culture with the onset and continuation of the effects of Americanization on the Hawaiian Islands--most notably excessive tourism and military use affecting the culture and the land. Kneubuhl's texts, as well as the performance of her plays and works of living history, are both educational and provoke contemplation. Three of the four plays under consideration in this research are gathered in the anthology, Hawai'i Nei: Island Plays. These include <i>The Conversion of Ka`ahumanu</i> (set in the 1820's), <i> Emmalehua</i> (set in 1951), and <i>Ola N&amacr; Iwi</i> (1994). The fourth, a living history play, <i>January 1893</i>, was produced and performed in January of 1993 on historic sites in Honolulu as part of the 100th year commemoration of the overthrow of the Hawaiian monarchy. </p><p> An informed analysis of these discourses--political, social, moral, religious and spiritual--adds a strong voice to the current conversation concerning Hawai'i's right to exercise self-determination. Kneubuhl's four selected plays illustrate Hawai'i's resistance to colonization beginning with the arrival of the American Protestant missionaries in 1820, and portray highlights of the outcomes of the cultural clash between Native Hawaiians and the intruding foreigners who desire to claim the land and govern it. </p><p> The idea of <i>voice</i> runs as a strong thread through these four major plays--specifically the feminine voice as illustrated by the central female figure(s) in each. Kneubuhl's use of dramatic performance constitutes an effective strategy in producing a wider range of enlightened understanding regarding Hawai'i's history, portraying Hawai'i's ruling class (ali`i) as strong, wise, insightful leaders. By engaging viewers of her plays (and readers of her published works) in active emotional and intellectual participation, Kneubuhl creates an opportunity to rethink or reform opinions regarding Hawai'i's past. Her plays continue to promote a more open-minded discourse that acts to preserve and renew Hawai'i's unique indigenous culture, and to consider or reconsider Hawai'i's social-political future and place in the world. Kneubuhl's works, a type of protest literature, tend to produce a sense of indignation concerning the greed, injustice, and illegality of many acts of the past that have had an adverse impact on the Islands and the Native Hawaiian people. Kneubuhl's dramatic works support sovereignty through education, helping to increase understanding of Hawai'i's true history. The aim is to create more informed discussion and debates on the topic of sovereignty.</p>