Shakespeare's Unwritten Contract With His Audience, A Study at His Professional Practices proposes that Shakespeare had a manifesto tor the theatre as rigorous as that of Ben Jonson whose writings leave lIS in doubt as to how he saw the function of drama and the dramatist. This thesis concentrates on the plays Shakespeare wrote after he became a member of the Lord Chamberlain's Men in 1594 - when he could exercise more control over his work than his unattached contemporaries. It argues that of equal importance to what Shakespeare wrote are the choices he had, but which he chose not to exercise. Alone of his contempories he wrote no authorial address to his audience or readers; his professional output was unlike any other Elizabethan or Jacobean playwright and so was his use, or avoidance, of common theatrical devices and conventions. This thesis undermines the conventional theory of a 'War of the Theatres' and proposes that there was a much longer and wider literary debate than has hitherto been recognised and that Shakespeare was actively involved in that debate. Further, it argues that Hamlet was his main contribution to this debate and that Hamlet is essentially a play which expresses Shakespeare's manifesto for the theatre. Evidence for the argument is culled from Shakespeare's contemporary rivals, from pre-Elizabethan drama, from my knowledge of stage magic and from such details as the number of neologisms which appeared in the language during the period 1596-1602, when Shakespeare was the sole survivor of the first generation of identifiable London playwrights and was therefore the man against whom new writers, such as Jonson and Marston, had to measure themselves.

¡@¡@There had always been a close relationship between religions and drama. The early drama was used as part of the religious rituals. Since the Middle Age, drama has become as one of the ways for evangelizing. In the early development period of Taiwan, churches did not just provide the resources for medication and education; it also became a supportive force for the artistic development, alongside with the government. Christians with a passion for their faith formed gospel theatres to share the gospel. Among those groups, the role of faith for some is just a way to cultivate their members, for some it is the core value of the organizations. This research is aimed to analyze the gospel theatres through the literature review of the development of religious drama in Taiwan, the interviews with members of the current gospel theatres to understand their managements. Also base on the interviews, this thesis will provide a definition for gospel theatre and gospel drama. ¡@¡@This thesis is divided into three parts. The first part is the literature review. The second part studies the different management of each case. After analysis these cases by theatre management and Mintzberg¡¦s theories, the third part also provides some suggestions for these theatres. ¡@¡@In this research, I has discovered that because the gospel theatres¡¦ main purpose is to share the gospel with their faith; it makes them different from general theatres.A gospel theater operates in a mission organization mode: 1. a special spiritual, evangelistic devotion or fellowship tem will cultivate the members¡¦ faith and keep the organization in the same purpose; 2. for the productions and marketing strategies, because of their religion, the gospel theatres often face the limitations in performing locations and forms, which may cause ¡§isolation¡¨ or ¡§compromise¡¨ with the society; 3. the gospel theatres members reduce their conflict through ¡§value sharing¡¨, therefore, the leader¡¦s attitude on faith will affect the performance of the team. ¡@¡@Because gospel theatres stand between ¡§faith¡¨ and ¡§arts¡¨, each theatre has a different viewpoint of what a gospel theatre should be, as some have a tendency toward faith-oriented, and the others are more arts-oriented. In this thesis, I attempts to define gospel theatre in four major areas, and believes these differences help bring varieties to arts and Christian evangelism. Furthermore, some suggestions for the gospel theatres and churches are raised for their future development and cooperation.

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Magistro darbe „Profesionaliųjų teatrų edukacinės veiklos su vaikais ir jaunimu bruožai“ analizuojama edukacinių renginių atitikimas moksleivių ir jaunuolių poreikiams. Profesionaliųjų teatrų edukacinių renginių su vaikais ir jaunimu tikslas – atskleisti ir ugdyti vaikų ir jaunuolių kūrybinius gebėjimus, puoselėti jų teatrinius interesus ir polinkius, teatro dalyku siekiama, kad jaunuoliai įgytų bendrą teatrinę kompetenciją ir teatru praturtintų savo gyvenimą. Meninių interesų vaikystėje ir paauglystėje skatinimą ir tinkamų sąlygų jų plėtotei sudarymą galime vertinti kaip labai svarbią vaiko ar jaunuolio prigimtinių teisių įgyvendinimo sąlygą. Modernios sampratos apie vaikystę kontekste paauglys tampa edukacinių teatro paslaugų užsakovu. Vaikų ir jaunuolių meninių interesų ir edukacinių profesionaliojo teatro paslaugų, atitiktis yra aktuali pedagoginė problema. Tyrimo objektas – vaikų ir paauglių meninių interesų ir edukacinių profesionaliųjų teatrų paslaugų, teikimo atitiktis. Darbo tikslas – atskleisti profesionaliųjų teatrų edukacinės veiklos su vaikais ir jaunimu bruožus. Darbą sudaro dvi dalys: pirmoje dalyje analizuojama profesionaliųjų teatrų edukacijos samprata, ištakos ir raida, edukacinių programų formos ir edukacinės veiklos vertybinis aspektas. Antroje dalyje yra pateikiami darbo tyrimo rezultatai, apibendrinami atlikto tyrimo duomenys. Darbe buvo taikomi teoriniai (mokslinės literatūros analizė), empiriniai (kiekybinio tyrimo apklausa raštu) bei statistiniai... [toliau žr. visą tekstą] / In post – graduate work ''The features of educational activity in professional theatres among children and youth''it is analysed the equivalent of educational occasions of students and youth. The aim of these occasions is to develop children and the young's creative abilities, promote their interests in theatre, gain total competent about theatre and inrich their lives. The motivation of artistic interests in chidhood and adolescent is a very important stipulation. Having a modern understanding about theatre in childhood the teenager becomes a client of theatre service nowadays. The conformity of theatre service among children and the young in professional theatres is a very actual problem these days. The object of the study is the conformity of children and teenagers artistic interests and the educational service in professional theatres. THE AIM OF THE STUDY is to reveal the features of professional theatres among children and the young. The work consists of two parts; in the first part it is analysed the educational concept, sources, the forms of educational programmes and educational values of professional theatres. In the second part it is given the test results and data. There were used these study methods; theory[the analysis of science fiction], empyric[test in writing and statistic[the analysis of data]. One hundred and forty respondents took part in the test; the workers of Siauliai Drama Theatre and Panevezys J.Miltinis Drama Theatre and the students who attend... [to full text]

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, in partial fulfilment of the requirements for the degree of Master of Arts in the field of Cultural Policy and Management, 2016 / Without an audience, theatre is meaningless; however, getting that audience to the theatre can be challenging; especially for small scale independent theatre organisations that often don’t have access to the necessary skills and budgets. This research report considers the potential place of Facebook in audience development. It investigates whether Facebook, as a social networking platform, can function as an effective tool to help small scale independent theatre organisations to broaden, deepen and/or diversify audiences. Additionally, it explores audience motivations, key drivers and barriers, and how they influence theatre attendance especially in a South African context. The research report follows a mixed method approach which includes in-depth interviews, focus group discussions as well as an online (Facebook) survey to try and find ways to curb the issue of declining audiences. It concludes that audience development requires a thorough understanding of audience needs, drivers, trends and barriers as well as commitment from the entire organisation and sector; that developing audiences is about building on-going and mutually beneficial relationships between audiences and organisations, and that appropriate monitoring and evaluation systems need to be put in place. The report also concludes that Facebook can be effective in helping organisations to reach new audience segments, providing a platform for communication between organisations and their audiences, and for marketing; but proposes that Facebook should be included as one aspect of the holistic audience development plan. / MT2017

Thesis (Ph. D.)--University of Sydney, 1996. / Title from title screen (viewed 27 March 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Includes bibliographical references. Also available in print form.

The purpose of this dissertation is twofold. Firstly to investigate the aspects and issues around performing arts and their influence on architecture. Secondly, to set the brief for the design of a performing arts theatre that directly relates to its surroundings, namely Durban's bay and urban waterfront, the Embankment, as well as to the large, existing theatre community within Kwa-Zulu Natal. The building will seek to accommodate the independent theatre and dance companies that have been displaced due to the ‘White Letter’ bill passed in the early 1990s, creating a home base for them. The facility aims to enliven the neglected water's edge and be a catalyst for its rejuvenation of the area. Through this study, specific characteristics of theatre design will be investigated. These characteristics include the following: the relationship between funding and the community, theatre planning and the spatial relationships that exist between functions as well as the engagement with the public and promenade edge. Due to the fact that a theatre is a civic facility that connects a variety of different people from diverse walks of life together, an opportunity presents itself in creating a building that contributes to the both the city and its community. This research will study the multi-faceted aspects that comprise a performing arts theatre on Durban's Margaret Mncadi Avenue (formerly the Victoria Embankment). The research will consist of primary and secondary sources. Conclusions will be drawn from both case and precedent studies but a balance between primary and secondary research is needed to obtain a workable response and brief for the design of a theatre. This research will also concentrate on urban waterfronts, in particular Durban, which exists today as a reminder of what we are focused with in today's society, namely leisure pursuits coupled with commercial skyscrapers within the inner city verify our focus as a community. It is the author's aim to provide a facility that changes this focus to include cultural activities such as a theatre as a means of pure expression. / Thesis (M.Arch.)-University of KwaZulu-Natal, Durban, 2009.

Thesis (Ph.D.)--University of Wollongong, 2002. / Typescript. Includes appendices: volume 2. Volume 2 contains transcripts of interviews. Transcripts of interviews also recorded onto 19 cassettes. Oral history tapes available from University of Wollongong Archives, no. B99. Includes bibliographical references: leaf 285-301.

This thesis is written from a practitioner-researcher perspective and explores leadership within Learning Disability Theatres, focussing on a series of moments captured within the education and outreach programme of DIY Theatre Company, Salford, UK. The researcher presents a dialogical view of research within which knowledge-production is viewed as dynamic and processual rather than mobilised by the search for a single truth or one prescriptive method of working. Emerging from research undertaken as political activity the thesis engages with, and attempts to disrupt, dominant, normative agendas of power and knowledge which limit our notions of leadership and result in people with learning disabilities all too often being viewed as too disabled to carry out leadership roles. The thesis highlights the challenges and potential for research undertaken collaboratively with disabled co-leaders to be viewed through frameworks of Applied Theatre, Critical Disability Studies and Critical Leadership Studies and articulates a methodology-in-the-making with the potential to inform future research, practice and policy within all three disciplines. Methods include observations, arts-based Inclusive Research and interviews. Descriptions of moments of practice, written from a phenomenological perspective, offer insights into the highly relational nature of leadership practice in Learning Disability Theatres. The researcher suggests it is in such moments of practice, only visible and present in the making that new ways of thinking about and carrying out leadership in participatory theatre can be located. A critical and relational perspective opens up alternative ways of negotiating and describing leadership by and with performers and theatre-makers with learning disabilities. The term workshop-in-the-making has been coined to introduce a view of the drama workshop as an extension of improvised artistic practice within which improvisers work with light structuring, are heedful, generous, able to accept offers and to respond in the moment. Development and research of dialogical leadership are political acts which challenge normative, ableist perspectives and offer significant opportunities for development of practice, research and policy within and beyond Learning Disability Theatres. This thesis does not seek to define a single model of leadership, but highlights the value of a relational perspective in exploring the nuances, shifts and complexities of roles within leadership-in-the-making and, as a result, reveals the rich range of leadership practices often masked by more hierarchical approaches.

Little research into historical, architectural and social significance of the picture theatre in pre-television rural Australian society has been undertaken. Taking a New South Wales country area (to represent a microcosm), this thesis records the picture venues and qualitative research material from past patrons and theatre staff. The study 1/. establishes the environment created by a picture theatre 2/. shows that New South Wales was typical of Australia in film attendance before the 1960s 3/. introduces the Central-West subject area, and describes how data was gathered from available records 4/. shows the development of the picture venues within the subject areas 5/. gives 'life' to the occasion formerly associated with going to the pictures 6/. suggests the success ot the rural picture shows was a happy co-incidence: the exhibitors' desire to make money and the patrons' desire for a social experience (and entertainment). A recommendation is made that one of the venues discovered during the course of research should be investigated for heritage listing. It is important that we should acknowledge the vital part that going to the pictures once played in pre-television days, especially in rural areas / Master of Arts (Hons)