Acknowledging the provenance of the mask of Scaramouche in carnival, this thesis employs a critical framework drawn from the work of one of that phenomenon's major theorists, the Russian philologist, Mikhail Bakhtin. It specifically tests the hypothesis that the mask embodies Bakhtin' s criteria of carnival- laughter, both mocking and regenerative. First by charting its evolution as a parasite or servant role in the professional theatre of the socalled commedia dell 'arte in early seventeenth-century Italy. A comparison between the myth of its most famous exponent, Tiberio Fiorilli, and his material history exemplifies the hypothesis by establishing his social position as a type of court jester. The satirical functions of the mask in French society are then examined, focussing particularly on its influence upon the theatre of Moliere in its fluctuation betwen the roles of servant and master. It is argued that the carnivalesque qualities of the mask represented the continuation of a heterodox opposition to absolutist containment, and these dialogic properties are emphasised in its history throughout the eighteenth, nineteenth and twentieth centuries, which is marked by a hybridisation into different artistic genres. It is demonstrated how the mask became inextricably associated with revolution through the popular fiction of Rafael Sabatini and cinematic adaptations thereof. Finally its attraction to the Italian avant-garde is seen in the closing decades of this century, returning through the mask to a cultural politics echoing the utopian project of carnival.

This thesis examines the transformative potential of applied theatre, specifically through a study of the playmaking process, and the embodiment and performance of stories, as a tool for middle school girls to articulate ideas about and personalize the notion of leadership. This study documents the theory and practitioners who informed my work in the creation and implementation of an applied theatre program piloted in the fall of 2009. Through a process of qualitative, reflective practitioner research, I examined the participants’ perceptions of, and relationship to, leadership throughout the project, while simultaneously analyzing my own changing perceptions of what it means to lead and facilitate an applied theatre process and performance. The resulting discussion offers a need for a balance between the process and the product in applied theatre, and most importantly the need for practitioners to continuously reexamine their intentions and practices throughout an applied theatre project. / text

The dead painter's son is a two-act musical for the stage. Set in Atlantic City, New Jersey in the early 1940s, the story concerns an acclaimed magician's descent into insanity. The music mostly exhibits the styles of popular song and swing, while some sections employ polytonality and free atonality. What makes the musical unique is its blending of comedy with horror, as well as its complete authorship by one person; the book and lyrics are written by the composer. / text

Abstract This project was in the Dorothy Somerset Studios on the University of British Columbia Campus during the week of April 14th till the 20th, 2008. I was advised by Professor Alison Green and Professor Richard Prince. The project’s title was When I’m in it… . It consisted of three groupings of sculptures set within the black box theatre space (see Illus. 1A, B and C). The Pattern Bubbles sculpture consisted of hollow tissue balls suspended from the ceiling, each containing a small and suspended object. These bubbles were suspended in a line, at different heights, and they were lit from within (see Illus. 2A and B). The entire theatre space was also lit using the lights on the grid in the theatre. A Silhouetted Cast consisted of Styrofoam cutouts shaped like dress forms covered with muslin and padding (see Illus. 3A, B and C). These cutouts were about 4ft X 2ft X 3inches. On one side I had a mixed media collage of imagery pinned to the muslin covering and on the other side were phrases stenciled right onto the muslin. These forms stood on the floor atop actual iron dress form stands. There were eight of these silhouettes, each one representing a character from a theatre production for which I had designed the costumes and the information on each one came from that experience. Costume Aprons, the final sculpture in the space, was also suspended from the ceiling. It had eight aprons made from cottons, silks and burlap hanging from a laundry carousel. The aprons were hung from the lines with silver bulldog stationary clips. I had hand-embroidered words on the aprons using embroidery threads of many different colors. In the pocket of each of the aprons was the title page from a script on blue paper (see Illus. 4A, B, C, and D). The black curtains were drawn around the square perimeter of the theatre stage, and you could still see the audience seating and the theatre booth. There was a soundtrack playing constantly within the space.

This thesis documents the history of a Vancouver theatre company from the time of its inception in 1980 to present day. Headlines Theatre Company formed with a mandate to create socially relevant theatre. This thesis also examines Headlines' life and evolution as a political and popular theatre company; specific plays and productions were selected for examination which were found to be representative of the development of the company's work. The thesis is divided into six chapters. The first chapter explores the formation of the collective and the company's successful initial work, which employed agitprop techniques. This chapter also highlights Headlines' follow up venture into the medium of film using material from their theatrical work. The company's next theatrical project, which resulted in a national tour, is also documented. This theatre company's direction underwent an enormous change subsequent to their second theatrical production. Chapter Two introduces the company's move from a collective to a traditional organizational structure while it continued to produce agitprop theatre. As well, this chapter investigates Headlines' introduction o f the theories and practices of Brazilian director Augusto Boal into its new work, Power Plays, to create both conventional and forum theatre. Chapter Three looks at the further development of Headlines' forum theatre productions, the Power Plays, and its experiments with this theatre form. This chapter examines the company's search for an even wider audience through the innovative merging of live interactive theatre with the medium of television. Headlines' brief return to a more conventional style of theatre is discussed in Chapter Four. In both of the productions reviewed in this chapter, the company faced funding obstacles due to the content of the play or the discussion following it. Chapter Five surveys the progression of Headlines' work as it incorporates the later work of Augusto Boal. The company's Theatre for Living programmes and methods of operation are further explored. The final chapter reveals some of Headlines' recent collaborations with other theatre artists as well as with artists in other disciplines, a direction the company will continue to pursue in the future. Headlines is shown to be a small, professional theatre company that is a well-established member of Vancouver's theatre community. B y documenting their history and examining selected productions and projects, this thesis chronicles an extremely active theatre company whose work has evolved greatly over a period of eighteen years. With its evolution in content, form and function, Headlines has been an innovative popular and political theatre company.

The main purpose of artistic as well as theatrical education at school is to develop students’ aesthetical cognition. Art is such a sphere of human activity where emotional experience plays an extremely important role. Theatrical art embraces two dimensions: horizontal – the world of feelings and emotions, and vertical – the world of mind and intellect. It means that actor’s skill consist of his/her ability to convey both the feelings and the ideas. In adolescence young people undergo a period of confusion of roles and search for their identity. At the same time they are open for new experience, therefore it is greatly important for them to learn self-confidence and have a teacher/educator they can trust. Such peculiarities of emotional experience as sence of pleasure during theatrical education classes, communication with fellow actors on stage and with the audience, lack of self-confidence or, vice versa, excessive self-reliance often bring teenagers to theatrical education. Emotional experiences that predominate in theatrical education have immeasurable influence on the inner world of the teenager; they bring him/her closer to the secret of theatrical art and give sense to their activity.

This study of Primus Theatre is evidence of many things. First and foremost it is a long overdue print recognition of Primus Theatre's substantial artistic accomplishments and its important contribution to the development of theatre-making in English-speaking Canada. In examining the various factors contributing to the founding of the theatre company and the extremely challenging conditions in which company members functioned over the years, it remains truly remarkable that Primus Theatre existed at all. Three central determinations emerge from the examination of Primus Theatre's practice. The theatre company truly was a pioneering venture in English Canada. Company members established an "as-if-permanent" ensemble that engaged in the creation of original performance work drawn from research that emerged from their regular training practice. The company adopted a theatre-making practice generated by the Odin Theatre in Denmark and then adapted it to vastly different cultural and fiscal contexts. It can also be determined that the origins of the company are inextricably bound to Artistic Director Richard Fowler's personal artistic journey. His strong sense of the creative and communal potential for theatre not only fuelled his own creative journey but also inspired National Theatre School students to launch their own acts of courage. The third determination arising from this study is that, while all aspects of Primus Theatre's creative practice can be linked to that of the Odin Theatre, this relationship can most accurately be described as an imprinting, rather than as an extension, of Odin Theatre practices. The conscious and unconscious permutation and advancement of the practice, driven by the technical and creative needs and interests of the young Canadian company and deeply affected by substantial financial hardships and creative set-backs, forced Primus to emerge as a unique theatrical entity developing from a particular and identifiable geneology. This study of the establishment of Primus Theatre also provides evidence that the substantial hardships faced by company members did not dissuade them from advancing their practice of continued exploration of form and expression. The study provides evidence not only of Primus Theatre's substantial body of creative work but also of its substantial pedagogical efforts. Subsequently, a new generation of theatre artists has been inspired by and trained in this alternative theatre-making model, and are making their own contributions to the continued redefinition of theatre in English Canada.

This thesis captures the nature of musical theatre in secondary schools in order to understand more completely the intrinsic benefits of the activity. The research surrounds the essence of students’ experience as part of a secondary school musical theatre course, and how students come to understand the meaning of their experience over time. The research design uses a hermeneutic phenomenological lens to capture the lived experience of six former musical theatre students using in-depth, semi-structured interviews. The data is organized in a narrative-like style and analyzed according to the emergent themes, the literature, and this researcher’s personal experience. The data suggest musical theatre is a journey of self-discovery where process is paramount. The alumni describe the impact of teacher quality on the musical theatre process, the family inherent in the musical theatre cast, the allure of performance and notoriety, and the frustrations toward other students’ apathy. Recent graduates note increased confidence and improved public speaking abilities, but older graduates see musical theatre as something life changing. The intensity of experience, therefore, seems to depend on the number of years students have to reflect on the impact of their experience. Holding these experiences in such esteem, in this study however, decreases the probability of participation in future musical theatre opportunities for fear of their inadequacy. These former students fear they will be unable to repeat the musical theatre experience to the same quality they experienced back when they were in secondary school. This regrettable cycle is unfortunate, but seems to be the reality of how students come to understand this experience over time. The analysis is intended to inform curriculum delivery, advocacy, and alumni relations for future courses in musical theatre. / Thesis (Master, Education) -- Queen's University, 2010-09-22 22:14:14.457

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