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Objects in the Theatre of Samuel Beckett: Their Function and Significance as Components of his Theatrical LanguageQuinn, Margaret Lynne Thurling 12 1900 (has links)
This thesis is an exploration of all the plays of Samuel Beckett written for the live theatre, with a view to elucidating their meaning through a study of the objects present on the stage. The frame of reference is consistently that of the play in actual production. The Beckett stage is never cluttered: there are always very few people, words, or things in the Beckett·dramatic world. Similarly there is little movement. (The same people, words, things, and movement, however, repeat themselves obsessively.) It is proposed that every object specified as being on stage by the stage directions of the author or by the dialogue, and whether functioning as part of set, costume, or properties, makes a dramatic statement in interaction with word and gesture. What man docs and says in relationship to things largely defines his existence. As the dramatic oeuvre of Beckett progresses from Waiting for Godot (1953) to Not I (1972) the function and significance of objects becomes increasingly marked as people, words, and movement convert to things, silence (or incoherent outpourings), and stillness. As the Beckett world becomes increasingly "reifie" the bleakness of his vision is intensified. Beckett's use of objects as part of his theatrical language becomes increasingly sophisticated and complex. It is discovered that two peculiarly Beckettian contributions are made to what Artaud called "le langage concret" of the stage: character-objects, and light functioning as object. The use of both emphasizes the dehumanization of Beckett's characters: as they become progressively static and fragmented they become increasingly less the manipulators of objects and are increasingly themselves manipulated by objects. The light as object elicits the voice in Play and Not I. In Play the human being is part of the object (urn) that contains him and in Not I has herself become an object, Mouth, suspended in the light above the stage. In the last plays, then, the Beckett stage is totally dominated by objects. They make the only statement: the urns and Mouth speak. Since speech is the definitive human attribute of the Beckett hero throughout Beckett's work, objects have thus superseded human beings at the centre of the Beckett dramatic world. / Thesis / Doctor of Philosophy (PhD)
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Plowshares Theatre Company the first twenty yearsCurenton, Myron Wade. January 2008 (has links)
Thesis (M.A.)--Michigan State University. Dept. of Theatre, 2008. / "The objective of this study is to discuss the history and origin of the Plowshares Theatre Company based upon an interview with the current artistic director, Gary Anderson, and his assistant, Dr. Addell [Austin] Anderson"-- vFrom the abstract. Title from PDF t.p. (viewed on Aug. 4, 2009) Also issued in print.
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The Stuart masque : dance, costume and rememberingRavelhofer, Barbara January 1999 (has links)
No description available.
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To steal at discretion : stage adaptations of novelsWang, Huijuan January 1996 (has links)
No description available.
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C.J. Phipps (1835-97) and nineteenth century theatre architecture (1863-97)Maguire, Hugh Francis Bernard January 1990 (has links)
No description available.
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A Master's thesis consisting of: Production log book for the role of Edmund Tyrone in Long Day's Journey into NightLangdon, Alan January 1962 (has links)
Thesis (M.F.A.)--Boston University
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Metastage : the study of the offstage as context in modern dramaCroskell, Stuart January 2000 (has links)
No description available.
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Visceral/virtual : performance : an Investigation, through embodied practice, of the relationships between live and mediated formats in performanceParis, Helen January 2000 (has links)
No description available.
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The woman director in the contemporary, professional theatreHennigan, Shirlee. January 1983 (has links)
Thesis (Ph. D.)--Washington State University, 1983. / "A chronology of women directors of the twentieth century": leaves [219]-233. "Chronology of women directors in off-broadway theatres, 1937-47; 1960-80": leaves 234-237. "Chronology of women directors in regional theatres, 1963-1981": leaves 238-246.
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Child actor ethics : children in plays with adult themes /Ott, Meredith C., January 2009 (has links)
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 78-81). Also available online in Scholars' Bank.
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