The London Turkish Cypriot (LTC) community has been described as ‘invisible’, a community at the point of eradication (Aksoy and Robins 2001). For three generations of LTCs the process of cultural identification has seen an evolution from migration and ‘homeland’ association, to critical displacement, assimilation and different perceptions of what is ‘home’. The growing diversity in cultural identification is further reflected in enhanced access to spatial consumption, mobility and choices of emplacement for its younger generations. This PhD is driven by practice-as-research. The practice, and therefore line of reasoning, behind this research is an ongoing, organic process that has shifted throughout the course of the thesis. The documentation of the practice-as-research is included in the accompanying DVD and is integral to the findings of this thesis. The thesis asks how LTC youth ‘perform’ their identities and negotiate a diaspora identity that is in constant flux. The enquiry consists of two main lines of enquiry. First, I am exploring how young people use public spaces through mobility and a ‘mobile’ culture, using mobile initiated technology to further explore the idea of movement and flux. Second, I progress towards a greater understanding of the participating young LTCs’ concept of ‘home’ and what elements of their every day performative behaviour, their environment and relational spaciality construct and support these home-making practices. The thesis addresses complex issues arising out of auto ethnographic practice-as-research of the LTC community, conducted through applied drama practices with its youth. Issues include identifying young participants’ relationship to cultural space, place making and notions of ‘home’ as part of their identity construction process. The thesis also discusses the ‘fit’ of applied drama as a qualitative research tool within this context and the fluidity of changing technologies that can be, and are at times, used to document examples of practice.

Multimedia technology in theatre is nothing new, but various companies in modern and post-modern Japan, such as Dumb Type, Hatsune Miku, and the robot theatre of Oriza Hirata and Hiroshi Ishiguro, have been experimenting with mediatized technology. This thesis hones in on these Japanese multimedia theatres. It studies the origins of mediatization in theatre, looking at the impact of the innovations made by Adolphe Appia. Furthermore, the growing impact of media technology can create a perception of ‘Liveness’ of these artificial actors. Liveness is a critically important concept, both on and off stage, affecting how one perceives the non-human and the type of relationships that are conveyed between the human and non-human actor, as well as the non-human actor and its human audience. This thesis covers the productions of “A One Woman Show” and a spoiler-heavy discussion on "Super Danganronpa 2 The Stage ~Sayonara Zetsubō Gakuen~" within the context of the impact of projections on stage. Robots and the uncanny valley are also reviewed, with the play "Sayonara" as the primary case study within this topic. Then the thesis analyzes the experimental human theatre of Dumb Type, focusing on their plays "S/N" and "pH," as well Vocaloid concerts and the impact of these characters, especially Hatsune Miku, upon the fans. In the course of this analysis, reasons are suggested as to why these technological innovations have found particular success in Japan. / Graduate

This thesis examines key developments in theatre design in Britain between 1935-1965 through the lens of the praxis of the design trio known as Motley (active 1932-78) and of theatre designer Jocelyn Herbert (1917-2003). Analysis of their roles in the creation of the four theatre productions that are used as case studies, Romeo and Juliet (1935), Three Sisters (1938), The Kitchen (1959 & 1961) and Happy Days (1962) enables an evaluation of the complex threads of influence on Motley and Herbert both from within the UK and from the USA and Europe. Furthermore, it offers a close study of their working process including their relationships with directors and playwrights considering not only what they designed, but how and why. Critical engagement with theatre design practice has increased since the early 1990s but there is still very little evaluative literature about British theatre design during the period of this study, 1935-1965. To date there are only three books and three journal articles that specifically cover the seminal designers Motley and Herbert so there is scope for a broadened analysis and contextualisation of their practice. One of the original contributions to knowledge of this thesis is that it assesses the confluence of influences on Motley and Herbert and draws together the threads of connections between British, European and American theatre and the ethos of Michel Saint-Denis illustrating how these fed into Motley’s and Herbert’s work. Whilst acknowledging the complexity of theatre practice and of reconstructing past events, this thesis assesses a combination of archival design material, such as set and costume renderings and sketches, as well as written texts, press reviews and recorded interviews, and draws on my own experience as a theatre design practitioner. The four case studies enable an in-depth investigation of Motley’s and Herbert’s processes and practice, the circumstances in which they operated and how they negotiated these conditions, as well as indicating how the role of the theatre designer developed across the period 1935-1965. In approaching the four case studies from the point of view of design the thesis contributes a new layer to their intricate histories. By emphasising the significance of the professionalisation of the role of the theatre designer during this time and by revealing the connections between Motley, the London Theatre Studio, Herbert and the Royal Court Theatre it expands understanding of the period and reinforces the substantial contribution of design to British theatre history.

Live performance lacks the durability of art practices such as photography, film and painting, and so definitions of ‘live’ acts have traditionally been formulated in terms of ‘transience’ and ‘disappearance’. In this context the archive and archival documents are often described as the antithesis of performance’s ontology. An archive’s primary function is to preserve material for future, undetermined uses, whereas a live event is temporary and cannot endure as ‘itself’ outside of the temporal-spatial zone it unfolds in before an audience. Yet archival documents are intimately imbricated in the creation of live acts. This can be seen in all performance practices, from written plays in the dramatic theatre, to the assemblage of materials used in devised performance, to the ways sites are framed as sources of historical knowledge in performance reenactments. By examining the role documents play in performance practice I argue that archival materials have the potential to act as the genesis for live acts. The archive’s generative function makes performance a potential method of historical research, where documents can help engender an interactive reciprocity between spectators and the past. The archival mode of performance practice I advocate in this thesis requires spectators to become participants inside the performance sphere, just as historians participate in the writing of historical discourses in the archive. There are several practice-as-research components to my project. These include the Audience as Document events and two workshops. The primary practice-as-research event is a participatory site-specific performance Voices from the Village. The Olympic Village in Stratford, East London, is framed as a type of authoritative historical document that works as a meta-narrative of London’s past. The Olympic Legacy anchors the memories of East London’s residents to a time they are encouraged to re-live in their everyday lives. At the centre of contemporary urban regeneration projects is a firm conviction that the future can be built in the here-andnow. Participants are guided through the Village and by two tour guides who attempt to inculcate them into the Legacy Project – a new type of citizenry based upon the neoliberal hegemony. In the third part participants explore what would happen if the neighbouring Hackney Wick estate was ‘regenerated’ in the future. My practice 4 examines how documents in performance can act as interlocutors between a site’s past(s) and a participant’s ‘live’ experience. The enduring form of digital documents creates a manifold afterlife for performance on the Web, which is the home of an evolving network of people who connect to each other through their re-interpretation of the Olympic Legacy. I am arguing that the life of a performance does not end over a fixed duration, but is instead a dialogic process with a multitude of access points.

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During the research for the components of a musical production tour company of “The Sound of Music” (Play by Lindsey and Cruze and Music by Rodgers and Hammerstein), the Producer begins with constructing the organizational structure and ascribing essential jobs focusing on the Stage Manager’s position and his duties. As an organized and informative leader, the Stage Manager’s main responsibility is to create a book which will assist him/her in processing necessary evolving data into a clear and communicative information. During the production phases, The Stage Manager’s book assists with managing technical and artistic needs using distinctive lists: sound, lights, props, costume, and ground plans. Also, it assists the Stage Manager in prompting sound, light and crew cues from a well-prepared prompt script, which generates smooth rehearsals and performances. Thus, in a large musical capacity the creation of a Stage Manager’s book is an inevitable organizational production tool.

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. / Arts, Faculty of / Theatre and Film, Department of / Graduate

Contemporary theatre is increasingly visual, an aesthetic shift that has been analyzed in, among others, Hans-Thies Lehmann’s influential Postdramatic Theatre. This shift is apparent in Japanese director Tadashi Suzuki’s intercultural adaptations, which adapt plays of the Western repertoire for contemporary Japanese and international audiences in a style that is richly and evocatively visual. Notions drawn from postdramatic theatre, metatheatre and postcolonial theories are applied as framing devices to uncover the deep cultural and theatrical significance of Suzuki’s adaptive work. My approach to analyzing the three case studies: Suzuki’s King Lear, The Trojan Women, and Cyrano de Bergerac takes a more globalized view of theatrical adaptations that acknowledges the visual turn of contemporary theatre and contributes to the fields of intercultural performance studies and adaptation studies by expanding the notion of interculturalism beyond the limits imposed by current Western analytical perspectives.

The modern critics offer two different approaches regarding characterization in Golden Age Spanish theatre. The first approached, used by the majority of literary critics, consists in assuming that that the reader has to discover something that is hidden in the text. According to this approach, stage characters are creations of the author who, like a great architect, produces personalities that the reader has to discover. On the other hand, there are critics who claim that the characters have to be constructed by the reader. (José María Ruano de la Haza, Víctor Dixon). The main goal of my thesis is to elaborate a methodology for the constriction of dramatic characters and apply it to the six “prototypical” characters described in the classic study by Juana de José Prades.

This thesis details the search for dramaturgical methodologies of adaptation with the additional component of a creative project used to put those methodologies into practice. In particular, my research has been focused on the methodologies available for transforming static or descriptive moments of literature into compelling works of drama. My discussion on this process begins by tracing the scholarly developments in the field of adaptation studies, which have led away from what Linda Hutcheon calls “fidelity criticism” and have opened up a new vein of praxis-based research in recent years. Specifically, I trace the path to a four-step formula for the development of theory first suggested by Edward Said and later tailored to the process of adaptation by Linda Hutcheon. The formula itself advocates the balance of research and creativity, which has been an ideal framework for this thesis document. The second chapter of this thesis focuses on an application of this formula for a dramatic adaptation of Voltaire’s notorious novella Candide, or All for the Best, which presents the particular problematic of a densely philosophical novella. Candide also furnishes an interesting case study for the four-step formula as it presents both a rich historical context and a complicated narrative structure. The third and final chapter details the specific dramaturgical choices made in working with the formula to create a new adaptation entitled Survival of the Optimistic, and the implications these choices create for the adaptation process as a whole. The adaptation itself follows at the end of this thesis document.