A Mad World, my Masters est une pièce de jeunesse de Thomas Middleton qui fut représentée en 1605 au théâtre des Enfants de Saint-Paul. Cette pièce, qui n’avait jamais été traduite en français, a été représentée en 1998, pour la première fois depuis le XVIIème siècle, dans le théâtre reconstitué de Shakespeare, le Globe de Londres. La scène du Globe s’est révélée être un outil extraordinaire pour redonner vie à cette comédie exubérante et pour en faire comprendre les ressorts dramatiques. Quant à la traduction, elle a permis d’analyser en détail les complexités du langage d’un auteur trop longtemps méconnu. / A Mad World, my Masters is one of Thomas Middleton’s early plays. It was first performed in 1605 by the Children of Saint Paul’s in London. This comedy had never been translated into French. It was revived in its original version in 1998, for the first time since the printing of the Second Quarto (1640) at Shakespeare’s Globe Theatre in London. The bare stage and open playing space of this replica made it possible to draw the best out of this exuberante comedy and to make its dramatic efficiency clear to modern audiences. Translating the play also made it possible to analyse in detail the complexities of the language of an author who had been little studied until his Complete Works were published in 2007 by Gary Taylor and John Lavagnino.

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Call number: LD2668 .T4 1930 C81

This dissertation examines the role of stage properties-props, slangily-in the construction and expression of characters' identities. Through readings of both canonical and non-canonical drama written between 1600 and 1707-for example, Thomas Middleton's The Revenger's Tragedy (1607), Edward Ravenscroft's adaptation of Titus Andronicus (1678), Aphra Behn's The Rover (1677), and William Wycherley's The Plain Dealer (1677)-I demonstrate how props mediate relationships between people. The control of a character's props often accords a person control of the character to whom the props belong. Props consequently make visual the relationships of power and subjugation that exist among characters. The severed body parts, bodies, miniature portraits, and containers of these plays are the mechanisms by which characters attempt to differentiate themselves from others. The characters deploy objects as proof of their identities-for example, when the women in Behn's Rover circulate miniatures of themselves-yet other characters must also interpret these objects. The props, and therefore the characters' identities, are at all times vulnerable to misinterpretation. Much as the props' meanings are often disputed, so too are characters' private identities often at odds with their public personae. The boundaries of selfhood that the characters wish to protect are made vulnerable by the objects that they use to shore up those boundaries. When read in relation to the characters who move them, props reveal the negotiated process of individuation. In doing so, they emphasize the correlation between extrinsic and intrinsic worth. They are a measure of how well characters perform gender and class rolls, thereby demonstrating the importance of external signifiers in the legitimation of England's subjects, even as they expose "legitimacy" as a social construction.

The anonymous French seventeenth-century play le Docteur Amoureux (1691) was written for theThéâtre Italien, the Italian troupe acting in Paris. It incorporated the techniques of both Old French farce and the commedia dell'arte into mainstream comic modes, in the manner of Moliáere but with some amusing twists. Le Docteur Amoureux remains a significant part of the French comic canon and the historical corpus of drama, yet it has never been translated into English. With prefatory commentary on the text and the period, the genres of stage performance, and the challenges involved in translating historical texts, this first translation of le Docteur Amoureux is intended to serve contemporary theater research into this rich and prolific period in the history of the French theater under Louis XIV. / by Elsa Cantor. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

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Studies of the English Renaissance reveal a patriarchal structure that informed its politics and its literature; and the drama especially demonstrates a patriarchal response to what society perceived to be the problem of women's efforts to grow beyond the traditional medieval view of "good" women as chaste, silent, and obedient. Thirteen comedies, whose creation spans roughly the same time frame as the pamphlet wars of the so-called "woman controversy," from the mid-sixteenth to the mid-seventeenth centuries, feature women who have no public power, but who find opportunities for varying degrees of power in the private or domestic setting.

In this thesis an attempt will be made to trace briefly the development of the domestic tragedy of blood on the English stage to the end of the first decade of the seventeenth century.

This dissertation focuses on the elements of performance that contribute to the actress's development of somatic practices. By mastering the art of articulation and vocalization, by transforming their bodies and their environment, these actors created their own agency. The female actors lived the life of the characters they portrayed, which were full of multicultural models from various social and economic classes. Somaesthetics, as a focus of sensory-aesthetic appreciation and somatic awareness, provides a pragmatic approach to understanding the unique way in which the woman of the early modern Spanish stage, while dedicating herself to the art of acting, challenged the negative cultural and social constructs imposed on her. Drawing from early modern plays and treatises on the precepts and practices of the acting process, I use somaesthetics to shed light on how the actor might have prepared for a role in a comedia, selfconsciously cultivating her body in order to meet the challenges of the stage. / by Elizabeth Marie Cruz Peterson. / Thesis (Ph.D.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Typescript. Errata slip inserted. Bibliography: leaves 360-385.