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Arthur Miller’s The Crucible was produced in the fall of 2017 as part of the University of Iowa’s Department of Theatre Arts’ Mainstage season. Director Doug Scholz-Carlson took an innovative approach to the production adding an octet of singers singing Sacred Harp hymns. This thesis explores the production process from the stage manager’s perspective. Because leadership, communication, and organization are essential attributes of stage manager, Katy McGlaughlin’s personal leadership, communication, and organization goals and outcomes for this production are addressed. McGlaughlin concludes her exploration with final thoughts on the production and her development as a Graduate Stage Manager at the University of Iowa.

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This document will journal the theatre scenic design work of Nicholas Wilson at the University of Iowa from August 2014 through the spring of 2017. Largely, the images included will be production photos of realized productions put on at the University of Iowa. Both large scale mainstage shows as well as smaller, low budget productions will be showcased as well as digital renderings and scale models to illuminate the design process.

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The dissertation deals with the Municipal Theatre of Göteborg with special reference to the period between 1967 and 1971, during which the group theatre developed and paved the way for a repertoire of social criticism. The theatre debate is viewed against the background of the socio-economic, ideo­logical, and cultural development of the 1960,s. After describing conditions at the Municipal Theatre of Göteborg under Mats Johansson's management from 1962 onwards, the study concentrates on analysing three group theatre plays produced by Lennart Hjulström: Flotten (spring 1967) by Kent Andersson, Hemmet (autumn 1967) by Kent Andersson and Bengt Bratt, and Sandlådan (autumn 1968) by Kent Andersson. The first play thematizes the ideological confusion of the middle-aged generation, the second the disappointment of the aged at the betrayal of socialist ideals, and the third the manipulative repression of children's education. A series of stagings with strong elements of social criticism caused a long and intense debate in the summer of 1969 about both the repertoire and the internal conditions of the Municipal Theatre. In spring, 1971, Kent Andersson and Bengt Bratt wrote Tillståndet (an ambiguous title meaning both 'condition' and 'permission'), by which the authors intended to ex­pose the repressive tolerance of bourgeois society. This play functions as an evaluation of both the group theatre period and the situation of the theatre as a whole, and it is therefore analysed in a metaperspective. It also functions as a summary of the criticism of the Swedish welfare state. / digitalisering@umu

This thesis places a selection of performances that took place in Toronto’s commercial theatres during the eighteen nineties in their historical context in order to consider determinants of meaning that influenced the social practice in one Canadian city - Toronto. These performances are selected to explore a range of performance activity across the decade and include: the debut performance by Canadian violinist Nora Clench at the Academy of Music in 1889; a fund-raising amateur “entertainment” The Marriage Dramas, performed for local adolescents at the Grand Opera House in 1892; The Second Mrs. Tanqueray, an example of the touring legitimate drama, performed by veteran acting couple the Kendals in 1894; another touring performance , in this instance a popular- theatre favorite, True Irish Hearts, by Dan McCarthy at the Toronto Opera House in 1893 and a rare example of Canadian playwriting from the decade, a performance of Catherine Nina Merritt’s United Empire Loyalist history play When George the Third was King in 1897. The analysis of all performances in this dissertation considers a range of determinants of meaning that Toronto audiences may have drawn upon when viewing a given performance and argues that the following constraints not only influenced the construction of a situated identity in Toronto but also suppressed domestic professional theatre production: a) a system of patronage that stigmatized the professional commercial theatre as frivolous or decadent; b) a utilitarian bias that was at odds with the post-materialist sensibilities of newer and more innovative forms of the late nineteenth-century drama; c) an economic and business practice that centralized production outside of the country to assure profit; and perhaps most significantly: d) a cultural hegemony that deemed Canadian drama to be immature and thus deterred works of aesthetic expression. This thesis is further informed by an understanding that history is written under the influence of the author’s own situated set of determinants and its goal in conducting an associative reading of Toronto’s nineties theatre practice is to locate theatre and performance history as part of a struggle among social, economic, cultural and political hierarchies.