Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Charlotte Canning. Vita. Includes bibliographical references.

Orientador: Renata Soares Junqueira / Banca: Elizabete Sanches Rocha / Banca: Flávia Nascimento Falleiros / Banca: Maria Lúcia Outeiro Fernandes / Banca: Sonia Aparecida Vido Pascolati / Resumo: Depois do término da Segunda Guerra, o teatro português, tendo como meta a negação do naturalismo, inicia um processo de renovação da dramaturgia e da cena; no entanto, as atividades da arte dramática eram totalmente controladas pela censura imposta pelo regime político ditatorial (1926-1974), forçando dramaturgos e encenadores a buscar formas teatrais que fossem ao mesmo tempo inovadoras do panorama cênico e autorizadas pela censura. No final dos anos de 1950, o teatro épico-brechtiano e o teatro do absurdo constituíram as duas principais tendências teatrais que interessaram sobremaneira os dramaturgos portugueses; o primeiro foi intensamente interditado pela censura e o segundo alcançou os palcos a partir de 1959, influenciando a criação dramatúrgica dos novos autores que surgiam, dentre eles Helder Prista Monteiro (1922-1994), que teve algumas de suas peças encenadas durante a ditadura e foi considerado pela crítica um dos expoentes do teatro do absurdo em Portugal. Considerando os pressupostos do teatro do absurdo, as relações desse teatro com a censura e as questões discutidas no âmbito da crítica acerca das formas teatrais em voga no país, a obra dramática de Prista Monteiro constitui o corpus da presente tese, cujo principal objetivo é a análise das peças escritas antes da Revolução dos Cravos, com o intuito de lançar uma nova luz sobre a dramaturgia do autor e comprovar que nela estão refletidas as tentativas de renovação teatral e de objeção ao regime político vigente na altura de sua produção / Abstract: After the end of World War II, portuguese theater refused the conventions of naturalism theater and started a renewal process of dramaturgy and scene. These Dramatic Art activities, however, were totally controlled by the censorship practiced by the dictatorial political regime (1926-1974), thus forcing playwrights and directors to quest for theatrical forms that could at the same time innovate the theatrical background and be approved by the censorship committee. By the end of the 1950's, the Brechtian epic theater and the theater of the absurd were the two main theatrical tendencies that interested portuguese playwrights. While the first one was sorely forbidden by the censors, the second one reached the stage since 1959, influencing the dramaturgical creations of new emerging playwrights. Among them was Helder Prista Monteiro (1922-1994) who had some of his plays presented during the dictatorial period and was considered by critics one of the exponents of the theatre of the absurd in Portugal. Considering the assumptions of the theater of the absurd, the relationship of that theater with censorship and the issues discussed by critics about the theatrical forms in vogue in the country, the theatrical work of Prista Monteiro constitutes the corpus of this thesis. Its main goal is to analise the plays written before the Carnation Revolution, with the intention of shedding a new light over the dramaturgy of this author and to prove that on it are reflected the attempts of a theatrical renewal along with the opposition to the political regime present on the time of its production / Doutor

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This dissertation shows that early modern female playwrights were shaped by and helped to shape commercial literary marketplaces that were increasingly affected by the rise of credit, shifting exchange values, and unstable notions of trust, interest, and economic motivation. By looking at how their plays appropriated and responded to financial language present in popular forms of publications such as pamphlets, ballads, and accounting guidebooks, we find that female playwrights understood the discourse of credit in ways that were particularly important for female readers and theatergoers and employed it in their writing for the stage. My study illustrates how their plays represent credit as always inherently tied to the potential risk involved in the “business” of being a woman on the marriage market, a mother with a fortune to pass on, or a widow with a business to maintain. In this project, I analyze the city comedies of Aphra Behn, the pseudonymous Ariadne, Mary Pix, and Susanna Centlivre and conclude that their works constitute a narrative bridge between the financial discourse that appears before them in conduct books and advice manuals of the Restoration and after them in the eighteenth-century novel. Making these women and their London comedies a focal point, we can see how they employed the period’s financial discourse to highlight the problems associated with broken promises, counterfeit wills, and the supposed power of contract. My research demonstrates how these playwrights and their works play a critical role in accounting for the trajectory of financial discourse in eighteenth-century culture and literature prior to the “birth” of the English novel. “Risky Business” moves beyond a discussion of female investors or money in literature and, instead, offers a more nuanced understanding of the ways women writers were impacted by the rise of paper credit outside of and prior to fiction. The research presented in this project offers a new account of the way early modern female readers, writers, and theatergoers, were influenced by an increasingly complex financial discourse, a more detailed understanding of the relationship between economic and literary history, and a new way of conceptualizing the commercial female playwright.

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The centre of this dissertation is an attempt to define and assess the dramatic works of Canadian playwright Patricia Joudry. This compilation of the author's prodigious output between 1940 and 1981 will make all the dramas for radio, television, and the stage accessible to the public for the first time. The study discusses the author's approach to writing, her thematic and philosophical preoccupations, and investigates the influence of her personal life on her dramas. A detailed biographical study, based on an examination of Joudry's published and unpublished works, private papers, letters, and interviews is included. The dramas are presented chronologically, thematically, and according to the medium for which they were written. One chapter examines the author's absorption with occultist lore, and deals with the plays produced during a two-year period of "religious delusion." The bibliography contains critical reviews and production notes, and comprehensive lists of all of Joudry's produced and unproduced dramas, published and unpublished essays, novels, and autobiographies.

Thesis (Ph.D.)--Tufts University, 2000. / Adviser: Carol Flynn. Submitted to the Dept. of English Literature. Includes bibliographical references. Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (Ph.D.)--Tufts University, 2002. / Adviser: Barbara W. Grossman. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 300-318). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (Ph. D.)--University of Washington, 1998. / Vita. Includes bibliographical references (leaves [412]-418).

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 276-280). Also available on the Internet.