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The environment of Hong Kong theatrical performance: foreign dramatic texts in local performance.January 2008 (has links)
Shaw, Yomei. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 146-152). / Abstracts in English and Chinese. / Chapter Introduction: --- Definitions and Dimensions of Key Issues --- p.5-14 / Chapter Chapter One: --- An Analytical Review of Translated Drama in Hong Kong --- p.15-26 / Chapter Chapter Two: --- Authenticity and Text-based Theatre in Hong Kong --- p.27-78 / Chapter Chapter Three: --- The Global Stage: the Performance of Other Modernities --- p.79-104 / Chapter Chapter Four: --- Code-switching in Performance Contexts --- p.105-38 / Chapter Conclusion: --- "Adaptation, Transformation and Future Directions" --- p.139-45 / Bibliography --- p.146-51 / Appendix I --- p.152-54 / Appendix II --- p.155-72
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Harold Pinter : breading strategies with reference to The Birthday party, The Homecoming and One for the roadNel, Johannes Erasmus January 1989 (has links)
Thesis (M. A. (English)) --University of the North, 1989 / Refer to the document
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Tsenguluso ya u tambudzwa ha vhanna nga vhafumakadzi kha dirama dza Mahamba, Netshirando na Muyai na NetshivhuyuMunyangane, Nditsheni Norman January 2014 (has links)
Thesis (MA. (African Languages)) --University of Limpopo, 2014 / Ṱhoḓisiso iyi yo sengulusa u tambudzwa ha vhanna nga vhafumakadzi kha ḓirama dza Mahamba (1989), Ṋetshiranḓo na Munyai (2007) na Ṋetshivhuyu (1989). U tambudzwa ha vhanna nga vhafumakadzi hu khou bvelela fhedzi a hu dzhielwi nṱha. Muvhuso na Madzangano a si a Muvhuso a simesa u amba nga ha u tambudzwa ha vhana na vhafumakadzi ngeno vha sa iti zwo linganaho kha u lwa na u tambudzwa ha vhanna nga vhafumakadzi.
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The roots of Cree dramaManossa, Geraldine, University of Lethbridge. Faculty of Arts and Science January 2002 (has links)
This study examines the foundation of contemporary Cree performance, tracing its existence to traditional Cree narratives. Contained within traditional Cree stories is the trickster, Wasakaychak. These oral stories are shared collectively, providing the community with relevant cultural knowledge. The thesis concludes that contemporary Cree playwrights and performers such as Shirley Cheechoo and Margo Kane maintain the roles of traditional storytellers because their work informs its audience about the history of the land and also comments on the state of the community. This study further demonstrates how the mythological character, Wasakaychak, remains an active part of Cree society by examining his significance within Tomson Highway's plays, The Rez Sisters and Dry Lips Oughta Move to kapuskasing. / v, 107 leaves ; 28 cm.
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A critical analysis of N.F. Mbhele's one-act plays.Khumalo, Ellie. January 2001 (has links)
This thesis investigates the appropriateness and the accuracy of Mbhele's artistry in writing his one-act plays from Izivunguvungu Zempilo, Ishashalazi and Ezemihla Nayizolo. It considers the formal literary elements which include characterisation, themes, setting, plot, dialogue and style of the writer inclusive of the language that has been used. It also involves different kinds of themes that are revealed by this dramatist in his work. His themes cover all the aspects of life. This includes the exploration of the previous political situation and its effect on the lives of the people, the effect of the Western influences on black South Africans and the people's perspectives on education and religion.
The theoretical framework that has been used in this study is the historical-biographical approach. The interview with the author has been very helpful in this regard. The purpose of the interview has been to develop some kind of understanding of the author's own ideas, his early life experiences, his educational background, and the sense of the situation the author writes about.
This study consists of six chapters; the first chapter serves as the general introduction for the whole thesis. The author's biographical notes, the identification and the discussion of the research methodology and the definition of some important terms, form part of chapter one. In each chapter, there is an explicit explanation of each formal literary element in relation to Mbhele's one-act plays. Chapter two deals with both characterisation and plot, because plot deals with all the events in a story and the way in which these events are
connected. All the events in a story involve the characters. Chapter three investigates the themes that are found in Mbhele's one-act plays, and the
ways in which they are revealed. Chapter four consists of the dialogue and style of the writer, which includes his use of the language and the form of address used by the characters to address each other. Chapter five discusses the social background of the characters in relation to what they do in the plays. This includes their given social circumstances, the time and the place which
the writer has created for them. Chapter six is the general conclusion for the whole study. It includes the summary, observation and some implications for further research. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.
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The language of the theatre in the apocalypse of JohnVoortman, Terence Craig 23 August 2012 (has links)
M.A. / An explanation of what I will be doing. how I will be doing. it, and why I will be doing this research is given below. The purpose of this subsection is to enable the reader to have greater clarity regarding the overall objectives of the thesis. Chapter 1: "Ezekiel the Tragedian" The objective of chapter 1 is to examine the link between apocalypse and tragedy as genre forms. The work of Ezekiel the Tragedian belongs to the world of both tragedy and apocalypse. Ezekiel, the Hellenistic Jew, was clearly influence by a Hellenistic genre form (namely Greek tragedy) in his work the "Exodus of Moses" (an inter-testamental work based on the Exodus of Moses as mentioned in the Old Testament). Ezekiel the Jew adapts his message towards his Hellenistic audience. The question one asks is "Could John, the Jew, likewise have adapted his message towards his Hellenistic audience? Could John have used Greek drama to communicate his prophetic-apocalyptic message to his Hellenistic audience?". 1.Biermann and I.Grabe, ibid,lff. "The Exodus of Moses" has significant points of comparison with the Revelation of John. These include a vision of a figure seated on a throne in heaven (a typically apocalyptic scene), seven plagues of judgement, a battle involving huge armies, the Exodus account of the deliverance of Israel, and a chorus who sings choral songs. Ezekiel adapts and develops the Biblical narrative and expresses it in the genre of Greek drama. Chapter2: "Tragedy and the Hellenistic World" The objective of chapter 2 is to examine the evidence of tragedy in Hellenistic times. This will include examining the influence of traaedy in the seven cities of Asia Minor to whom John writes, as well as the Jews and their association with the theatre. The popularity of tragedy will be researched. The use of tragedy in the Imperial cult will be also be examined. The question that needs to be asked is "Would John be influenced by Greek drama in his communicating with the seven churches of Asia Minor? And were his audience in the seven cities familiar with Greek drama?" Chapter 3: "The Elements of _Greek Drama in the 126 -v'@ation of John" The objective of chapter 3 is to examine research regarding the Revelation of John and Greek drama. The research shall be discussed in terms of certain features common to Greek drama (for example acts and scenes, the role of the chorus. the structure, the dramatic actors etc). Furthermore, my intention is to show that a number of reputable scholars have noted significant similarities between the Revelation of John and Greek drama, with some even arguing that the Revelation of John is written in the form of a Greek drama. The viewpoint that the Revelation is written in the szenre of Greek tragedy is a respectable viewpoint and has a noteworthy following. Chapter 4: The Form of the Revelation" The form of Revelation will be compared with the form of Greek drama in chapter 4. The purpose is to see whether noteworthy similarities of form exist between the Revelation and Greek drama. Chapter 5: The Function of the Revelation" The cathartic' function of Greek tragedy and the cathartic function of the Revelation will be examined. The question asked is: "does the Revelation have a cathartic function? and if so how does this cathartic function compare with Greek tragedy? Why would the revelation have a cathartic effect?" Chapter 6: "The Throne Scene" The "throne scene" of chapter 4 following is one of the most important scenes in the Revelation of John. "Throne scenes"are popular accounts in both prophetic and apocalyptic writings 63. In this chapter we shall examine the "throne scene" from the viewpoint of Greek drama, so as to see whether it would indeed be possible to communicate a throne scene effectively in Greek drama practice. `Catharsis means "healing" in lavmens terms. This is abundantly clear in the throne scenes of Isaiah and Ezekiel in the Old Testament, as well as an abundance of throne scenes in inter-testamental apocalyptic writings.
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Introduction to Troilus and CressidaUnknown Date (has links)
Mary Woodbery / Caption title / Typescript / M.A. Florida State College for Women 1908
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Masiandoitwa ane a diswa nga u tenda kha vhuloi kha Vhavenda, nga maanda ho sedzwa litambwa la Vho Mahamba la 'Zwo Itwa' la Vho Milubi la 'Mukosi wa lufu' na la Vho Mathivha la 'Mabalanganye'Munzhedzi, Mutshinyani Jane 18 September 2015 (has links)
MA (Tshivenda) / Senthara ya M.E.R. Mathivha ya Nyambo dza Afrika, Vhutsila na Mvelele / See the attached abstract below
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Nyakisiso ye e tseneletsego mabapi le kgethologanyo le moyana wa bosetshaba byalo ka ge H. M. L. Lentsoane a di tsweleditse mo pading ya gagwe ya megokgo ya lethaboModiba, Moore Suzan 18 September 2013 (has links)
MA (Northern Sotho) / Senthara ya M. E. R. Mathivha Dipopelong tsa Afrika, Bokgabo le Setso / See the attached abstract below
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Lucwaningo Ngesakhiwo Emidlalweni Yemoya Lemibili Lekhetsiwe YeSiswati: Ngefeta Wena nalotsi Hawu BabeNdlovu, Nokuthula Pretty 21 September 2018 (has links)
MA (ISiswati) / Sikhungo i-MER Mathivha Setilwimi Temdzabu, Buciko Nemasiko Inyuvesi yaseVenda / Lolu lucwaningo lolutsintsa sakhiwo semidlalo yemoya yeSiswati lelandzelako:
Ngifela Wena nalotsi, Hawu babe. Umgudvu wesisekelo selucwaningo ugcila
esihlokweni, singeniso, kukhuphuka nekwehla kwemdlalo kuye kufinyelelwe
esiphetfweni semdlalo. Tincenye letibalulekile temdlalo kuba kudlaleka, tetsameli,
inkhundla nebadlali. Kuvetwa kwebalingisi kukhonjiswa kubuye kuhlelwe
ngekwetinhlobo netindlela labavetwe ngato. Kulemidlalo kulindzeleke kutsi tetsameli
tilingisele bunjalo nesimo semphilo lapho kuboniswana, kwabelwana ngelwati
etimeni nasetindzaweni letehlukene. Kuchunyanwa ngemagama, tento, nekulingisa.
Tigameko temdlalo tesekelwe yingcoco yeluchumano lecuketse lokutsintsa liphimbo:
imisho, kuphindza nekulingisa lokuletsa inchazelo yemagama. Luhlatiyo lukhombisa
lwati, buhle belukhetfomagama, libintanamisho, silulumagama nenkhulumobuciko
yebalingisi. Kudlaleka nekufundzeka kwemidlalo kusisekelo sayo. Luhlatiyo
lwebunjalombhalo lwesekelwe imfundziso-njulalwati nesenekamcabango. / NRF
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