Thesis (Ph. D.)--Ohio State University, 1955. / Includes vita. Includes bibliographical references (leaves 379-397). Available online via OhioLINK's ETD Center

No description available.

Thesis (doctoral)--Friedrich-Wilhelms-Universität zu Berlin. / Contains only the 2nd and 3rd chapters of the whole work. Vita. Bibliography: p. [63]-68.

No description available.

Thesis (M.A.)--Louisiana State University, 1951. / HTML version of 1951 master's thesis in Speech. Last viewed 9/24/2009 Includes bibliographical references (leaf 104).

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 199-217). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 199-217). Also available on the Internet.

This research is about the behavior of cultural consumption on little theaters in Taiwan. Both the provider and the consumer are discussed in this thesis and their behaviors are checked with cultural theories. The result pointed out that, to discriminate certain people in a certain group or a certain social class is a major part of the motivation and behavior of the cultural consumption on little theaters. The research methods of this thesis are semi-structured interview, focus group and literature review, to study the behavior of cultural consumption on little theaters in Taiwan. Little theaters are theaters that are relatively small, might have some amateur affiliates. They have an avant-garde image, distinctive point of view on the theater aesthetic and are a part of high art. The providers of little theater are not only providing a product. These workers of little theater also put themselves in a certain group or class when they are making the decision of being a part of the little theater circle. The audiences (consumers) they attracted are the people who have the similar qualities of themselves. They are not approaching a mass audience. The providers expect their audiences have a certain ability to understand and interpret their works. This shows distinction. The consumers of little theater believe that it¡¦s their taste and a basic need to consume art. And is also a way to approach and understand the society. Even with the similar education background and social class, these people who choose to consume little theater (while some other doesn¡¦t) said that it¡¦s because they love art. They want to participate in a certain issue. Most important of all, it¡¦s a way to express themselves, an expression of who they are and what class in the society. Not only to consume or not separate these consumers from the others, during the process of consumption, the way they interpret the work also discriminate them from the others.

The thesis covers the history of the Vancouver Little Theatre Association (VLTA), one of the oldest amateur theatre groups in Canada. The subject was chosen partly because of the shortage of informative papers written on the histories of amateur theatre in Vancouver. As there has been very little written on this subject, the majority of the research was done with primary sources, most of which were in the VLTA archival collection at the City of Vancouver Archives. The VLTA was founded in 1921 by a group of people inspired by the art theatre movement in Europe. The Association proved to be very popular from its inception, and was able to buy a theatre building by its third season. The building was its home base until 1978. The Depression at the end of the 1920s dramatically affected the VLTA, and the company, once financially successful and widely accepted, lost much of its stability and following. From then on, most of the history of the VLTA is a struggle for survival. During the Second World War, the Association helped with the war effort, either by raising money for war charities or by giving performances for servicemen. At the end of the war, professional theatre began to emerge in Vancouver, and the VLTA had much competition. This early professionalism led to the building of Vancouver’s civic theatres in the late 1950s and early 1960s, as well as the founding of smaller, alternative, professional theatre companies of the 1970s. The Little Theatre found that it could not compete with these new movements. The Association’s position in the Vancouver theatre scene was forced to change. The Introduction presents a brief overview of the theatrical ongoings in Vancouver before the inception of VLTA, as well as the reasons behind the creation of the Little Theatre. Chapters Two to Five cover the main part of VLTA’s history, from its inception in 1921 to the selling of the York Theatre building in 1978. Chapter Six brings up to date the rest of VLTA’s history and discusses whether the VLTA succeeded in its original mandates. It also considers why VLTA remained amateur, while other little theatres in Canada turned professional. The thesis will cover the internal workings of VLTA as a company, and its position in the Vancouver Theatre scene in comparison to other theatrical happenings in the city.

The Montreal Repertory Theatre mounted a regular series of play productions every year from 1930 to 1961. They deliberately set out to follow the Little Theatre tradition of Antoine while profiting from later developments in England, Ireland and the United States. At a time when no alternatives existed in Montreal they provided theatre education at a high level and helped in the formation of many distinguished careers. / This study examines the work of MRT in a historical context, and as revealed in the company's surviving documents and in contemporary reports. The written record is supplemented by interviews with persons who worked with MRT. A number of these have made contributions on a national scale to Canadian theatre.