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

No description available.

Written to fulfill a partial requirement for the Masters of Fine Arts degree from the University of Iowa, this is an exploration of Kevin Argus' journey as an actor. It is a personal text that documents his relationship with: the present moment, the state, and mask, which are the necessary requirements for great acting. He asks, "How can you drop into the present moment? How can you expand the state to give others a visceral feeling? How can you create a specific character?" It goes on to recount pitfalls in the rehearsal process and the performance that are frequently encountered.

Preface and play text of AND I WILL HOLD YOU/WHEN YOU ARE BROKEN.

No description available.

archives@tulane.edu / 1 / Samantha Johnson

This thesis examines the representation of the Polytechnique massacre in Canadian theatre. Utilizing a corpus of four Canadian plays, this study analyzes how trauma, feminism and commemoration intertwine in theatrical representations of this event. The findings demonstrate that the ways in which we represent the Polytechnique massacre are not neutral. They underscore our understandings and our beliefs relative to this event. In particular, this study demonstrates that in these plays, male characters talk more often and for longer than female characters. In addition, it analyzes how the recurrent topic of the “crisis of masculinity” is portrayed within this corpus. This study aims to participate in the constant reinterpretation of history, in order to question the narratives that have been passed down to us about the Polytechnique Massacre. / Graduate

This project is situated in Olievenhoutbosch - a still-developing community - within a new urban design framework called the Olievenhoutbosch Osmosis Framework, which is a student project criticizing the original Olievenhoutbosch Ministerial Housing Estate Framework of July 2005. The framework addresses the issues related to connectivity in the area, and the design intervention attempts to address this issue on a human scale, on various experiential levels. The dissertation explores the use of multi-functional theatre spaces with varying degrees of interaction and levels of activity. The primary generators for this design intervention has been its urban connectivity, location, the specific site, human movement, and human activities related to the site and the programme of the intervention. In view of the context, the programme, the design intent of the framework, and the location in the framework, the design intervention will create spaces both in and around the structure in which various activities can take place, through the interplay between different tectonic elements. / Dissertation MArch(Prof)--University of Pretoria, 2012. / Architecture / MArch(Prof) / Unrestricted

Boston University. University Professors Program Senior theses.

This research project is an interdisciplinary investigation of the memory of the 1904-1908 Namibian genocide through its performance representation(s). It lies at the intersection of performance, memory and genocide studies. The research considers the role of performance in remembering, memorialising, commemorating, contesting, transmitting and sustaining the memory of the genocide across time and place. The project frames performance as a media through which history is narrated by positioning performance as a complex interlocutor of the past in the present. This claim is premised on the assumption that the past is not simply given in memory ‘but it must be articulated to become memory’ (Huyssen, 1995:3). The research considers commemoration events and processes as fruitful performance nodes to uncover the past as well as the politics of the present. It makes the case that while the Namibian genocide has so far been denied official or state acknowledgement, it is chiefly through the medium of performance that the genocide memory is remembered, contested and performed. The project offers a variety of perspectives on the relationship between genocide violence, memory and space by focusing on what is remembered, how it is remembered and by paying attention to when it is remembered. The research contributes to an understanding and reconstruction of memory and performance of the Namibian genocide on two fronts. Firstly, as a cultural phenomenon and secondly, as a form of elegy and memorial in contemporary times. These insights contribute to the emerging body of scholarly work on performance and the cultural memory of the Namibian genocide. The project also charts avenues of inquiry in the production and transmission of memory across time and generations, within and beyond Namibian national borders. It pays close attention to performance’s contribution to the formation of cultural memory by exploring the conditions and factors that make remembering in common possible such as language, images, rituals, commemoration practices, exhibitions, theatre and sites of memories. Through examining the specific role of performance as a medium of cultural memory of the Namibian genocide the study considers ‘memory as performing history’ (Shuttleworth et al., 2000:8). The research interrogates how contemporary artistic performance representations and interpretations from within and outside of Namibia inform the way societal history and the present are presented and remembered. Performance becomes an aperture to investigate the enduring contemporary role of the memory of the Namibian genocide as well as its simultaneous reconfiguration. This enables the project to investigate how memories circulate across time and place - transnationally and across generations. This cross-border and transgenerational reflection is essential to understanding how the Namibian genocide has and is articulated, circulated, structured and remembered through performance in the postcolony.