While the power dynamics between theatre critics and artists are inevitably imbalanced, as the written word reaches a wider audience and lives much longer than does performance, for feminist artists, the stakes in this relationship are heightened due to the disjunction in identity and ideology that often separates them from mainstream reviewers. This study exposes the gendered nature of theatre criticism, examining the dialogue about feminist theatre in which critics, audiences, and artists are engaged, and identifying its consequences beyond the box office. Case studies are drawn from Nightwood Theatre (1979-present) in Toronto and the Théâtre Expérimental des Femmes (TEF) (1979-1987) in Montreal as well as the work of the TEF’s co-founder Pol Pelletier before 1979 and after 1987 in order to examine key issues in the critical reception of feminist theatre in Canada, including: censorship, the relationship between art and politics, translation, and how artists speak back to their critics. This dissertation argues that the standards employed by mainstream reviewers, while most often not intentionally discriminatory against women, run counter to the central qualities of much feminist theatre. Reviewers’ tendency to separate text and spectacle and their consistent reification of universality and objectivity as critical ideals work in contradistinction to feminist theatre, which has historically placed greater emphasis on performance over written text and foregrounded the particularized nature of identity and experience. Drawing extensively on archival materials and applying a materialist feminist framework to the study of theatre criticism, this dissertation examines the history of feminist theatre and performance in Canada from a different perspective than it has previously been studied and suggests new ways to understand the relationship between critics, artists, and audiences. Through its case studies emerge several practical suggestions about responsible and ethical critical writing that can be applied beyond the scope of feminist theatre.

The shift in the American economic viewpoint before and after World War I left an indelible mark on the arts, allowing the only indigenous music to arise, jazz. In the transitory period following the war, it was George Gershwin who paved the way for jazz to become America's only indigenous music. Yet, the current definition of jazz is so racially polarized that it has lost focus on the music. This work explores George Gershwin's role in creating a jazz culture in a xenophobic country and argues for an inclusive definition of jazz, one based on the music itself.

This thesis examines the impact of Argentine theatre on Barcelona’s stage culture in the twenty-first century. Catalan theatre is caught up in conflicting cultural discourses that centre on the relation between language, politics and identity, tensions further compounded by globalisation and changing patterns of migration. Although publications in this field demonstrate the complexity of the inter-relationship of theatre to cultural identity (as with Sharon Feldman, In the Eye of the Storm [Bucknell University Press, 2009]; Maria Delgado, ‘Other’ Spanish Theatres [Manchester University Press, 2004]; Lourdes Orozco, Teatro y política en Barcelona (1980-2000) [Asociación de Directores de España, 2007]; Helena Buffery, Shakespeare in Catalan [University of Wales Press, 2007] etc.), there remains a need to articulate Catalan theatre’s relationship with its Hispanic “others” in terms that move beyond the separatism of the language binary. The aim of this thesis is to demonstrate how the presence of Argentine theatre allows for intercultural encounters that are built around the concept of mutual exchange. By drawing on an extensive range of cultural theory, the thesis sets out to explain both the extent and limitations of this exchange, focussing in on concepts of identity, gender and nation. The thesis is split into three sections: the first engages with existing debates and examines the historical development of cultural and theatre connections between Buenos Aires and Barcelona; the second looks at the aspects of infrastructure which have most clearly helped to facilitate the contemporary link: the Sala Beckett, international festivals, Focus and the Teatre Lliure; the third takes Javier Daulte, Victoria Szpunberg, Rafael Spregelburd and Rodrigo García as four indicative case studies to demonstrate the range of influence and practice. The conclusion examines the legacy of the Argentine-Catalan theatre link, drawing together the insights gained into modes of identification and cultural practices associated with theatre in Barcelona.

This research is motivated by the proposition of the legitimacy of applying ¡§little theatre¡¨ as the mode of theatre management. The core context and the judgment of value of theater management today are founded basically on a ¡§large-scare theatre¡¨ paradigm; this causes, for most of the time, prejudice and insufficient result in managing theatrical affairs. To analyze the details of this problem, I started from rediscovering the ideological conflicts between Modernity and Post-Modernity, and tried to solve this dualistic misunderstanding by using ¡§Post-Modern Turn¡¨ as the mode of transcending. Since the term ¡§Post-Modern¡¨ is generally associated with social aspects as post-industry society, information society, organizational behaviors and consumption theory, etc. it is necessary to redefine theatre management as the issue of discussion in the realm of sociology. In order to approach my ideal strategy for today¡¦s theatre management, I developed three major parts as the frameworks of study: 1. the Post-Modern Turn of sociology of art, 2. five faces of modernization of Taiwan¡¦s modern theatre, 3. the Post-Modern Turn of organizational management and Taiwan modern theatre. I believe the difficulty of theatre management today lies not in the issue itself, but in the way we look at it. By relocating this problem in a social context, we can have a rethinking of how art management is possible, of exploring the updated and proper solutions for today¡¦s theatre management.

abstract: In the United States, we tend to understand linguistic systems as separate and autonomous, and by this understanding, bilinguals are people who speak two different languages and switch between them.  This understanding of bilingualism, however, does not reflect the reality of the way many bilinguals use language.  Rather than “code-switch” between two languages, sociolinguists posit that many bilinguals understand their language as a single linguistic system, and choose different elements of that system in different situations, a process termed, “translanguaging.” Translanguaging provides an alternative framework for examining bilingual language as an ideological system in plays, particularly plays which use translanguaged dialogue to describe the experiences of young people who dwell on and cross borders, a category of plays I term, “Border Theatre for Young Audiences (TYA).” This descriptive study utilizes grounded theory and close reading theoretically grounded in border studies and sociolinguistic theory to determine what roles Spanish and English play in Border TYA as autonomous systems, and as pieces of a new, translanguaged system.   Playwrights of Border TYA u translanguaging as a structural metaphor for cultural negotiation to examine identity, belonging, and borders.  Translanguaging provides subaltern characters a process for communicating their experiences, examining their identities, and describing encounters with borders in their own unique linguistic system. Border TYA, however, does not exclusively translanguage.  Border TYA also incorporates monolingual dialogue and translation, and in these instances the languages, Spanish and English, function autonomously as tools for teaching audience members to recognize vocabulary and cultural experience. / Dissertation/Thesis / Doctoral Dissertation Theatre 2017

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A final thesis for my Master of Fine Arts degree should encompass every aspect of the past few years spent in the class room. Therefore, as a perfect capstone to my degree, I have decided to conceive, write, and perform a new musical with my classmate Rockford Sansom entitled The History of Musical Theatre: A 16 Bar Cut. The History of Musical Theatre: A 16 Bar Cut will be a two-man musical that will capsulate all of musical theatre history in a single evening. Starting with the Greeks and finishing in the present, the show will comedically inform the audience, while paying homage to, the astonishing art form called musical theatre, using several outrageous conventions such as a game show, spoof, mimicry, and most importantly, drag. The show will also pose the question to everyone: with all the great literature already created, where is musical theatre headed, and who is going to bring us there? Writing A 16 Bar Cut will test the training I have received and my mastery of musical theatre as an art form. The show will demonstrate my understanding and passion for several components used by authors and actors alike to create a musical. Being that the show is a capsulation of all musical theatre, A 16 Bar Cut will show my true mastery of the history and literature of musical theatre. I will be forced to hone my skills of the collaborative process at a new level, as never having to truly execute them with such intensity before. The challenges that lay ahead will be seen not only in the performance aspect, but also in the creation of A 16 Bar Cut. Since musical theatre has an immense range in genre and style, the ability to technically master these styles and genres will prove to challenge me as a performer, as well as a writer. In the performance, there will be three main challenges: vocal qualities, dance techniques, and my acting craft. The vocal styles used in A 16 Bar Cut will test my capabilities as a singer to meet the demands needed to convey the original material used as it was initially intended. As a dancer, the specific movements and "signatures" of the many choreographers will challenge me to understand and be able to re-create these "specifics" for an audience. The character building will test me as an actor, starting with one through-lined character--a heightened half-brained juvenile form of myself--along with building approximately fifty auxiliary characters throughout the show. As a writer, there are two major challenges that I foresee. The first challenge is the arc of the show--needing to keep a steady through-line that will let the audience understand what is happening and follow the history. The second obstacle is making sure the audience understands the show. I may be finishing an M.F.A. in Musical Theatre, but not everyone will be. In fact, some audience members may not know anything about musical theatre. This challenge arises trying to make the show funny to everyone, not just musical theatre dorks. The Research and Analysis portion of my monograph document will follow the course of action laid out in the M.F.A. Thesis Guidelines. The (A) Research section will include the biographical information pertaining to the composers and lyricists involved in the selected materials. Librettists of specific book shows that we choose to utilize as it pertains to our show will also be included in this section. I will also include a brief subsection of each composer, lyricist, and librettist's significance to musical theatre history. The (B) Structural Analysis section will discuss the structure and dramatic organization of how we choose to create A 16 Bar Cut. The (C) Analysis of the Role section will reveal how we employ the stock characters/ comedic duo of the straight man and funny man (i.e., Laurel & Hardy and Abbot & Costello). All other components outlined in the M.F.A. Thesis Guidelines will be included in my document.

Believing that a thesis should encompass all aspects of a conservatory training program, I will write and perform--in collaboration with my classmate Patrick John Moran--a new musical entitled A 16 Bar Cut: The History of American Musical Theatre as the capstone project for my Master of Fine Arts in Musical Theatre. A 16 Bar Cut will be a two-man show that tells the entire history of American musical theatre from the ancient Greeks to today in a tongue-in-cheek manner. The goal of the project is to pay homage to an original American art form in a night of zany silliness and hilarity. The show will feature an informative perspective on the rise and current status of American musical theatre, several new songs, complete irreverence, and grown men singing, dancing, and making utter fools of themselves. Creating my thesis show will test and stretch my knowledge base of the musical theatre art form and virtually every skill that I have developed in my course of study. Since A 16 Bar Cut centers on the historical journey of musical theatre, constructing the new work will demonstrate my understanding of musical theatre history and literature. Performing the show will also challenge my ability and craftsmanship as an actor, singer, and dancer. Not only will I create a through-line character--a heightened, silly, professorial version of myself, but I will also create approximately fifty additional characters used throughout the show. The vocal and dance requirements for my track will also be numerous and demanding. And since the show travels through the major movements of musical theatre history, I will have to dance, sing, and act in the various styles and qualities of each movement and time period. Other significant challenges will center on script development. The first obstacle will be synthesizing music theatre into a single evening while maintaining an arc, storyline, and Patrick and my specific point of view about the genre. Another complexity to the show will be accessibility to the audience--how to be respectful to and informative about musical theatre, while at the same time being entertaining and funny to a wide array of audience members who will vary in musical theatre knowledge. In addition, developing a two-man thesis will require a complete collaboration with Patrick Moran. Since musical theatre is rarely--if ever--a solo art, working as a team will expand and exercise my collaborative abilities. And producing the show with Patrick will test supplementary skills such as marketing, resourcefulness, design and technical elements, etc. The Research and Analysis portion of my monograph document will be structured according to the M.F.A. Thesis Guidelines as applicable to my specific project. The (A) Research section will consist of a biographical glossary on all of the composers and lyricists referenced in A 16 Bar Cut. Librettists' information will be included when their work is pertinent. Additionally, each composer, lyricists, and librettists will be discussed in regards to their significance in musical theatre history. The (B) Structural Analysis section will describe the show's organization and construction and how the structural problems mentioned above are solved. The (C) Role Analysis section will have three sub-sections focusing on my different roles in the production as a playwright, producer, and actor.

Throughout the twentieth century, theatre for young audiences (TYA), or children's theatre, has been situated as something "other" or different than adult theatre, a kind of theatre--but not really theatre, a construct which opened the door to numerous "how to" philosophies geared specifically toward the theatre for young audiences practitioner. As a twenty-first century theatre practitioner, I am interested in how these philosophies are situated within or against current professional practices in the TYA field. This interest led me to the main question of this study: What are the predominant twentieth-century philosophies on acting, directing, and dramatic literature in the TYA field; and how do they compare to what is currently practiced on the professional American TYA stage? In order to explore current practice, I focused on three theatres, two of which are nationally recognized for their "quality" TYA work, the Seattle Children's Theatre and the Children's Theatre Company in Minneapolis. The third company, the Orlando-UCF Shakespeare Festival, is one of the largest Shakespearean festivals in the country, and has a growing theatre for young audiences program. Between June and October of 2006, I conducted numerous interviews with professional managers, directors, and actors from these organizations. I also attended productions of Pippi Longstocking (Children's Theatre Company), Honus and Me (Seattle Children's Theatre), and Peter Rabbit (Orlando-UCF Shakespeare Festival). It was through these interviews and observations of these productions that I was able to gain data--methodology, techniques, and philosophy--on twenty-first century TYA acting, directing, and dramatic literature. My study has uncovered that although there are numerous twentieth-century "how to" philosophies, many current TYA practitioners are unfamiliar with them. Most of the twenty-first century TYA practice that I studied follows the trends of the adult theatre. This thesis serves as the culmination of my Master of Fine Arts in theatre for young audiences at the University of Central Florida. However, it is not a culmination of my study on the theatre for young audiences field. Past philosophies paired with current methodology, while providing models of quality, also open the door to numerous ideas for further study. This thesis challenges me in examining my own notions of quality acting, directing, and dramatic literature in the TYA field; and it is my hope that this challenge makes me a more informed, deliberate, and responsible theatre practitioner.

Queer Youth, or young people who identify as lesbian, gay, bisexual, transgender, or questioning, is a demographic with an increasing presence in contemporary society. Along with this increased presence has come an increase in support groups available to these youths that range from Gay-Straight Alliances at their schools, community groups from their local gay and lesbian center to, most recently, theater companies that have begun to offer workshops and performance opportunities within the Queer Youth Theatre genre. Queer Youth Theatre is an emerging form of topical theatre that deals with issues and situations queer youth may face in their daily lives. Few scripts exist that deal with topics related to LGBT youth, and most theatre groups that offer LGBT youth programs, such as the Pride Players from the Omaha Theater Company for Children and Young People in Omaha, Nebraska, rely on devising works for live performance. The Pride Players independently publish a “Best of” anthology for use by other groups wishing to use their devised material (Guehring2). Though these opportunities may be beneficial to the youths involved, there is still a need for scripted works to be available for queer youth to explore. This thesis project looks at two steps necessary to beginning the process of adapting LGBT young adult novels for the stage. First, an adaptation rubric must be created for use as a guide for identifying source material for translation to the stage. Second, the young adult novels Boy Meets Boy by David Levithan and Rainbow Boys by Alex Sanchez are evaluated for their strength as adaptations by applying the rubric with a directorial lens.