Thesis (M.A.)--University of Nevada, Reno, 2008. / "May, 2008." Includes bibliographical references (leaves 77-78). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2009]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.

Inaug.-Diss.--Basel. / Vita. "Stellenverzeichnis": p. [58-59].

Thesis (Ph. D.)--Princeton University, 1921.

Inaug.-Diss.--Basel. / Vita. "Stellenverzeichnis": p. [58]-[59].

Thesis (Ph. D.)--University of Wisconsin, 1929. / Imprint on label mounted on t.p.: Published by the author, Banta Pub. Co., Menasha, Wis.

No description available.

No description available.

AN ABSTRACT OF THE THESIS OFClaude Ryan Towery, for the Master of Fine Arts degree in Theater, presented on April 1, 2022, at Southern Illinois University Carbondale. TITLE: THE FAMILY THAT PLAYS TOGETHER STAYS TOGETHER: DIRECTING HAY FEVER BY NOËL COWARD MAJOR PROFESSOR: Professor Olusegun Ojewuyi From the spring of 2021 to the spring of 2022, the period of time during which this document was written, the Covid-19 pandemic was still ongoing. The pandemic’s cataclysmal events precipitated a paradigm shift across cultures and societies around the world – a shift that affected countless vocations, leaving many confused and uncertain as to how they would continue working, supporting themselves and their families, pursuing their dreams, etc. Every theatre practitioner in the United States was negatively affected in some form or another, and many lost their jobs. Questions as to how theatre could continue and/or survive ran the gamut. This document chronicles how my thesis production survived. The Family That Plays Together Stays Together... reviews my process and journey of directing Noël Coward’s Hay Fever, and the challenges and triumphs that came with directing a theatrical production during a worldwide pandemic – a journey that has forever changed me and my perception of this art form and the world around me. This paper, in chronological order, details all the phases necessary in bringing this production to fruition. Chapter One includes the preliminary research, playwright’s biography, play analysis, and directorial interpretation of the script (vision & concept). Chapter Two details the pre-production process, examining the design and production meetings, dramaturgy, and marketing. Chapter Three delineates the production process, auditions and casting, rehearsals, the development of techniques employed, and performances. Chapter Four is a personal reflection of the pitfalls, discoveries, and changes I i would make if I were to direct this play in the future. The final chapter also includes a section on techniques and practices that will help me grow in my craft as a director, artist, and academician. I have come up with a phrase that summarizes my directing of Hay Fever, my graduate school experience, and practicing theatre during a worldwide pandemic; “Life is but a game, and a game that must be played to the finish.”

Following the publication of Trendall’s Phlyax Vases, the history of comedic theatre in Magna Graecia received a great amount of scholarly attention, culminating in such important works as Taplin’s Comic Angels, Green’s Theatre in Ancient Greek Society and most recently Bosher’s dissertation, Theater on the Periphery. This work is, in many ways, a supplement to their collective research, and assesses the literary and material evidence for the development of comedy in the Apulian city of Tarentum. The analysis of textual evidence will begin by investigating Tarentine interactions with Attic theatre in the beginning of the fourth century and leading to the influence of its comic tradition on the early stages of Republican Rome through the works of Rhinthon and Livius Andronicus. An assessment of the Roman historiographical treatment of Greek theatrical influence and the vibrant Bacchic cult practices observed in the festivals of Tarentum will round out discussion of literary and textual evidence A general overview of fourth century comedic iconography production will begin the section on material culture. In this context, some notable individual pieces adduced by Taplin and Green will be addressed before other iconographpic material from Tarentine coinage and other sources will be presented. The conclusion from this body of evidence affirms a vibrant and independent tradition of comedic theatre in Tarentum that was at once amalgamative through its interactions with the festivals of the Hellenistic period and conceptually autochthonic for the Tarentines themselves. / text

This comedic short theatre piece follows the main character as she applies the five stages of mourning a death (denial, anger, bargaining, depression, and acceptance) to her recent break-up. The process section then details the writing, development, and performance of the piece for the first time, as well as plans for its future iterations. / text