This account of reconstruction in the post-war German theatre analyzes the development of theatre in the Western Zones between 8 May 1945 and 20 June 1948. It establishes a number of previously unknown facts about the types and numbers of theatres which existed, which plays were premiered during the three seasons, as well as reconstructing and investigating the repertoires of twenty selected houses. The findings allow received opinions to be challenged concerning the status of Berlin and other leading theatre centres in relation to provincial houses and the alleged absence of contemporary German drama. They also lead to revisions of data on repertoires, production dates, premieres and so on. An assessment of the difficult and contradictory status of the German theatre at the time illustrates the tensions in cultural and national reconstruction within Germany, and the uniquely significant role played by theatre as a focus for re-establishing national and personal identity in the devastation following the Second World War. The thesis was largely researched at theatres and archives in the Federal Republic of Germany and Berlin since no systematic attempt had previously been undertaken to analyze each of the aspects covered in relation to the three Western Zones individually and comparatively. The three main divisions of the account deal with the context for reconstruction (the roles and ideas of the German theatres and critics and of the Allied authorities; the physical conditions determining reconstruction); a statistical overview of theatres, premieres and repertoires; an investigation of the roles and significance of foreign drama, the German classics, and modern German drama in relation to national and cultural redevelopment illustrated by production reconstructions of selected works: (Anouilh: Antigone; Wilder: Wir sind noch einmal davongekommen; Ardrey: Leuchtfeuer; Goethe: Iphigenie auf Tauris; Lesslng: Nathan der Weise; Borchert: DrauBen vor der TUr; Weisenborn: Die Illegalen; Wolf: Professor Mamlock; Zuckmayer: Des Teufels General).

I argue in this dissertation that the plays of Aeschylus are best understood as appeals to their predominantly male fifth-century Athenian audience centered around the presentation of dramatic character. I maintain that an examination of the Persians, Seven against Thebes, and Suppliants in these terms reveals that these plays are not primitive, static, or simplistic plays from early in Aeschylus’ career, but rather dramatically complex and mature works. More broadly, I assert that character studies are not hopelessly outdated nor at odds with audience-centered and cultural studies. By combining these approaches, we gain a fuller understanding of how playwrights composed the plays and how spectators responded to them. I also assert that divergent responses to dramas based on individual experiences are not only the rule for spectators of tragedy, but directly influence how playwrights approached their dramatic characters. The Introduction includes theoretical background for spectators’ relationship to dramatic characters culled from film theory and an application of its general principles to the Oresteia. In chapter 1, I examines how the Persians invites spectators to experience a range of potentially contradictory emotional states that include fear of the Persian invaders and sympathy with the inhabitants of the Persian Empire, with the men who fought against them in the war, and perhaps even with Xerxes himself. In Chapter 2, I show how, initially, the Seven against Thebes strongly implies, but does not establish beyond a doubt, that Eteocles is a paragon of Greek manhood and a noble defender of his city with whom Athenian spectators could identify. Questions about Eteocles emerge, however, when the play introduces Polyneices’ accusations of injustice against him, points to increasing similarities between the brothers, and shows how their fates have long since been sealed by their father’s curse and by the will of Apollo. In Chapters 3 and 4, I argue that the portrayal of the Danaids in the Suppliants is intentionally ambiguous. Spectators may have known that the Danaids would kill the Aegyptids, but the play offers vague and contradictory evidence regarding them and their situation to generate suspense in this early play of the trilogy. / text

The purpose of this dissertation is to define the scope of naturalism in British working-class drama with special reference to the plays of D.H. Lawrence, Sean O'Casey and Joe Corrie. To fulfill such a project, I undertook a personal assessment of the theory of naturalism and its practice in the theatre. For the purpose of being more comprehensive, I carried out a comparative study between working-class naturalism and that of the New Drama since the latter preceded the former. Having assessed and evaluated the theory of naturalism, in general, and its manifestation in the works of the new drama exponents and of the working-class dramatists, I defined and discussed the comparative aspects, as concepts, in the plays of three British playwrights. I have also tried to familiarize the reader with the features of the conversational analysis in the light of which I approached the issue of how similar to natural discourse dramatic dialogue may be. The study of the manifestation of naturalism in the plays of Lawrence, Corrie and O'Casey, which covers the last three chapters, is undertaken in the light of the scope of naturalism as I have previously defined it. In other words, an attempt is being made to question the validity of the naturalist theory as advocated by its exponents, and to prove the practicality of the angle from which I approached naturalism by examining certain plays. The study of the plays, therefore, allows me to define the extent to which one can refer to Lawrence, Corrie and O'Casey as naturalist dramatists and to question, if not to correct, some unfounded criticisms of naturalism in general and working-class naturalism in particular.

Academic work on Aboriginality in popular media has, understandably, been largely written in defensive registers. Aware of horrendous histories of Aboriginal murder, dispossession and pitying understanding at the hands of settlers, writers are worried about the effects of raced representation; and are always concerned to identify those texts which might be labelled racist. In order to make such a search meaningful, though, it is necessary to take as axiomatic certain propositions about the functioning of films: that they 'mean' in particular and stable ways, for example; and that sophisticated reading strategies can fully account for the possible ways a film interacts with audiences. These sophisticated readings can then by rendered as ontological statements, prefaced by such nonnegotiable phrases as: 'Jedda is ... .' his thesis suggests that such approaches fail to take account of the work involved in audiences making sense of these texts. Although the possible uses of a film or a television program are not infinite, neither is it possible to make final statements about a text's status. Rather, it is necessary to take account of various limits which are placed on the interpretations of texts, for different audiences at different moments. Moving the focus of attention away from feature films (which have traditionally encouraged the idea of a spectator constructed by the text) to include television programs (which have proven more difficult to write into such a project) facilitates this move to an understanding of Aboriginal representation more concerned with the work involved in its interpretations. This thesis addresses three main areas. Firstly, favoured modes of spectatorship validate particular practices of consumption. These have implications for the readings which will be made of Aboriginality. Secondly, sets of validated intertexts circulated as 'genres' and 'oeuvres'enable meaning to be made in particular ways. Finally, secondary texts(including academic work) which explicitly purport to explicate films and television programs provide frameworks within which interpretation can be made. Each of these limits works to close down the radical polysemy of television and film texts, enabling meaning to be made of them, and of the Aboriginality they purport to represent.

Theatre as an art form has often been associated with notions of presence. The live immediacy of the actor, the unmediated unfolding of dramatic action and the energy generated through an actor-audience relationship are among the ideas frequently used to explain theatrical experience and all are underpinned by some understanding of presence. Precisely what is meant by presence in the theatre is part of what this thesis sets out to explain. Presence, I argue, is not so much a single concept, but is a term which encompasses differing accounts of theatres aesthetic or experiential specificity. While I have attempted to show how concepts of presence have developed over time, most of the forthcoming discussion is rooted in twentieth century thought, when theatres aesthetic autonomy became an increasingly important concern in the context of artistic modernism and the rise of rival media such as film and television. However, an equally important part of this thesis has been to question the relevance of concepts of presence within the context of contemporary theory. Since the nineteen-eighties in particular, theatre theorists have been inclined to critique the notion of presence from a poststructuralist perspective. Additionally, the increasing use of technology in performance and a recognition of the pervasive influence of the media in contemporary western society has made traditional appeals to theatrical presence seem increasingly retrograde. In the light of these concerns, questions are raised about how the distinctiveness of theatre might best be articulated without reinstating the current opposition between those who advocate theatrical presence, and those who treat the concepts of presence with suspicion. By drawing together discussions which posit presence as the essence of theatre alongside poststructuralist misgivings about the validity of such claims, I have attempted to re-position the concept of presence within a contemporary theoretical context. Without wishing to idealise the stage as a privileged site which is experienced in terms of presence, I argue that we should instead examine the potential of theatre to put presence into play. Rather than look at theatre as present, I propose instead to explore how theatre manipulates our experience of the present, challenging rather than reinforcing an audiences experience of the live or the immediate. Drawing on ideas in semiotics, phenomenology and performativity, I argue that a framework for thinking about presence, enriched by poststructuralist theory, can inform the analysis of theatrical performance. While by no means a complete survey of presence in the theatre, it is my hope that this thesis will help to suggest new ways of thinking about the tangled set of ideas which surround this concept, and how they might contribute to our understanding of theatres representational possibilities.

Mask Praxis is an investigation of the theories and practices behind the uses of the mask in modern drama from 1896 to 2004. The study traces the crisis in humanism through the use of idealist and materialist masks by theatre practitioners and explains how the search for a unified field was overlaid by fractured identities and a slide into dissonance. How important are the masks that people adopt on the stage for understanding their actions in society? How does the metaphorical power and perceptual ambiguity of the mask correlate with intentions of its maker and performer? What is the relationship between the mask and the face of the actor, and what does the mask do that cannot be done unaided? What are the main approaches to actor training that have used masks, and how are these training systems connected to wider belief systems? What do we learn from the act of masking about self-perception and social being, and what are the principal considerations that this gives rise to? This investigation proceeds from a consideration of major theories and practices. Chapter 1 examines mask performance theories, conventions, and typologies. Chapter 2 analyses the specificity of the mask, materials and methods, representative mask-makers and provides casebook studies on the Sartori family and the Masks for Menander Project. Chapter 3 evaluates actor-training under the mask from Copeau to Lecoq. Chapter 4 assesses the masks of idealist modernism and Chapter 5 considers the masks of materialist modernism. The final chapter is dedicated to transnational flows, multinational productions and the notion of connectivity. It brings new evidence to bear on the emergent field of masks, puppets and performing objects and sets down a major overview of the mask as a primary iconographic tool and as a liminoid instrument from which to mediate and direct the flow of power in a system.

This thesis analyses dramatic and historical narratives about the Holocaust. Primarily, it focuses on Israeli, German and Austrian writers from the time of the Final solution (1941) to the mid 1990s. In particular, I will highlight how the 'trauma' of the Holocaust has influenced collective identity in these countries and how writers have either affirmed or deconstructed narratives of history and identity which have emerged since World War Two. To understand fully the various narratives which have developed, it is important to refer to the artistic achievements both of the victims of National Socialism and the survivors whose accounts are often at variance with narratives typical of Israeli and German writers. Chapter One, therefore, is a detailed account of how those who were experiencing Nazism first hand interpreted their situation in contrast to how those in exile or in Palestine emplotted the atrocity stories from Europe. The rest of the thesis charts how narratives of the Holocaust are subtly re-figured according to political Zeitgeist - what Walter Benjamin called Jetztzeit, the blasting of history out of its continuum to service contemporary political needs. This thesis aims to show that narratives and representations of the Holocaust both in Israel, Germany and Austria mutate according to contemporary events. Today, whilst it is generally agreed that there is no such thing as an objective, concrete past, and that historic events are called upon to help interpret current complexities, the Holocaust in Israel and the Germanies has been consciously deployed to shape interpretations of present considerations by revisionism. This has caused consternation among many in the Jewish community who assert that, as the Holocaust is a unique event, to use it for analogous discussion denigrates the memory of the victims. Others maintain that the Holocaust is but one example of human depravity and holds many lessons for the contemporary world. This thesis asks whether the Holocaust can be viewed simultaneously both as a typical and an atypical event without denigrating the victims or generating simplistic analogies.

This thesis argues that theatricalization is an appropriate paradigm to employ in a political reassessment of the historical avant-garde moments of Futurism, Dada and Surrealism. Through an analysis of the performativity and theatricality of the manifestos and manifestations of these successive avant-garde, it is suggested that each avant-garde moment self-dramatizes a destructive character. An argument is then developed that the destructive character of the avant-garde demonstrates and displays a libertarian-barbarian dialectic which emerges from within the discourses of anarchism and nihilism, in particular from Michael Bakunin’s maxim: ‘the passion for destruction is a creative passion, too’. The destructive character of the avant-garde is manifest most clearly in the manifestos which announce and perform a desire for the destruction of the institution of art and the re-integration of art and life, as advanced by Peter Bürger. Identifying a parallel between the discourses of theatricalization and aestheticization in Symbolist drama, I argue that the paradigm of theatricalization necessitates a critical re-assessment of the polarity which Walter Benjamin advances, between the aestheticization of politics and the politicization of art. Further, it is suggested, we must also re-examine the polarity which Bürger asserts between Aestheticism and the avant-garde with respect to the question of autonomy in art. Thus, from Bakunin’s initial breakdown of the opposition between destruction/creation we embark upon a re-examination of the polarity between key terms of the avant-garde: libertarian/barbarian; incarnation/integration; aestheticization/politicization; theatricality/performativity. The theatricalization of avant-garde manifesto is then articulated in the context of Habermas’ study of the structural transformation of the public sphere from feudalism (theatricalization) to capitalism (literalization).

The National Theatre of Scotland is a unique, non building-based, commissioning and producing cultural institution, established in the wake of the devolution of the Scottish Parliament. This thesis explores how the NTS responded to its ‘national’ remit within the context of both post devolution Scotland and an increasingly globalized world in which the significance and boundaries of the ‘nation’ are often ambiguous and contested. The public sphere in the United Kingdom has always held a tension between the interweaving national identities of its four constituent nations. However, the constitutional changes since 1999, have allowed the possibility for a more distinctive public sphere to be defined in Scotland. This thesis examines how the NTS, over a relatively short period of time, has played a role in helping to mark out and define the nature of this new national public sphere and argues that the company was particularly well placed to accommodate and reflect heterogeneous imagining’s of identity and respond to contemporary expressions of belonging. However, the thesis also charts changes to the company during these early years and, most significantly, notes the potential effect that the change from arms length to direct government funding might have on the company’s long-term development. The thesis argues that direct funding aligns the arts too closely to political agendas rather than supporting artistic freedom and expression. As such, rather than helping to mark out a democratically representative and critical public sphere in Scotland, the NTS is in danger of becoming entangled by competing conceptions and perceptions of nationhood in Scotland.

The endemic presence of digital technology is responsible for numerous changes in contemporary Western societies. This study examines the role of multimedia within the field of theatre studies, with particular focus on the theory and practice of theatre design and education. In the cross-disciplinary literature review, I investigate such primary elements of contemporary media as interactivity, immersion, integration and hyper-textuality, and explore their characteristics in the performing arts before and during the digital epoch. I also discuss various IT applications that transformed the way we experience, learn and co-create our cultural heritage. In order to illustrate how computer-generated environments could change the way we perceive and deliver cultural values, I explore a suite of rapidly-developing communication and computer-visualization techniques, which enable reciprocal exchange between viewers, theatre performances and artefacts. I analyze novel technology-mediated teaching techniques that attempt to provide a new media platform for visually-enhanced information transfer. My findings indicate that the recent changes towards the personalization of knowledge delivery and also towards student-centered study and e-learning necessitated the transformation of the learners from passive consumers of digital products to active and creative participants in the learning experience. The analysis of questionnaires and two case studies (the THEATRON and the VA projects) demonstrate the need for further development of digital-visualization techniques, especially for studying and researching scenographic artefacts. As a practical component of this thesis, I have designed and developed the Set-SPECTRUM educational project, which aims to strengthen the visual skills of the students, ultimately enabling them to use imagery as a creative tool, and as a means to analyze theatrical performances and artefacts. The 3D reconstruction of Norman Bel Geddes' set for The Divine Comedy, first of all, enables academic research of the artefact, exposing some hitherto unknown design-limitations in the original set-model, and revealing some construction inconsistencies; secondly, it contributes to educational and creative practices, offering an innovative way to learn about scenography. And, thirdly, it fills a gap in the history of the Western theatre design. This study attempts to show that when translated into digital language, scenographic artefacts become easily retrievable and highly accessible for learning and research purposes. Therefore, the development of such digital products should be encouraged, but care should also be taken to provide the necessary training for users, in order to realize the applications' full potential.