Red Magic is a play in three acts by Michel de Ghelderode. As part of this thesis, it was directed by Michael Irwin and produced on November 2-5, 1966, at the Frederic Wood Studio Theatre on the campus of the University of British Columbia. This written thesis is an analysis of the play in preparation for, and a record of that production. It is divided into three sections. The first section is a discussion in essay form of the author, the play, and the production. Pertinent biographical information about the author is followed by a discussion of the characteristics of his plays as they appear in Red Magic. The play itself is analysed as to plot, theme, dialogue, character, relevence to our time, playwright's intent, type of universe depicted, and forces at work behind the action. Because there are available no published interpretations of Red Magic, this part is limited to the director's interpretation. A specific approach to the style of production and to the solution of problems follows. A bibliography completes the essay section. The second section is the specific analysis of the script. Opposite the pages of script appear analytical notes for each French scene under the following headings: Purpose, Actions, Dominant Emotions, Character Dominance, Mood, Rhythmic Image, Shape, Staging, Difficulties, Mechanical Problems and Beats. In the text on the facing pages are shown the scene divisions, cuts, blocking, beat divisions, lighting and sound cues, and some stage directions. The script is preceded by important facts and acknowledgements about the production, a cost breakdown, a box office report, and keys to understanding the analytical information and the symbols used in the text . Complete lighting, sound, property and costume plots follow the script. The third and final section consists of the material record of the production. Costume sketches are followed by a rendering of the set and photographs in colour of the actual production. Following these are samples of the program and newspaper reviews. Lastly, the blueprints of the ground plan and construction drawings are included as foldouts. / Arts, Faculty of / Theatre and Film, Department of / Graduate

Le Roland furieux constitue un réservoir d'intrigues inépuisable pour l'opéra baroque. Nous prenons en compte un corpus de quatre-vingts livrets mais aussi pièces de théâtre et ballets, résumés dans l'Annexe et analysés au fil d'une réflexion qui vise à dégager des grandes lignes d'histoire de l'opéra pouvant justifier la disparition des personnages, qui coïncide avec le passage du texte source au second plan après le XVIIIe siècle. Le point de vue adopté dans la première partie nous permet de mettre en lumière la circulation des sujets et de démêler les différents filtres de réécritures intermédiaires en fonction des influences littéraires, mais aussi politiques et matérielles. La plasticité de l'Arioste qui le rend adaptable à tous les contextes, entraîne également une fortune sérieuse aussi bien qu'une fortune comique. Les épisodes de l'épopée privilégiés à l'opéra, au-delà des différences entre contextes de création et genres, sont ceux qui mettent en scène l'excès et le désir. Les deux personnages qui cristallisent ces thématiques suivent, dans l'histoire des réécritures opératiques, deux trajectoires inversées. Roland ébranle les conventions génériques et perd dans ses plus belles réalisations l'essentiel de sa charge comique tandis qu'Alcine, se fondant dans tous les genres, de sérieuse, devient comique. / Ariosto's Orlando furioso offers a countless multitude of plots for the baroque opera. Our corpus is composed of eighty librettos and also of some dramatic plays and ballets, presented in the appendix. This thesis intends to consider why Ariosto's heroes disappeared from European scenes, while they lost their aura, by taking in account the main lines of operatic history. Firstly, we would like to accent the circulation of the plots between cultural areas and to analyze the different literary, political and factual influences that can alter the original text. Then, our purpose is to examine the ariostan plasticity, which suits to all the contexts and explains the ambivalent generic posterity of the epic romance on operatic stages, either comic or serious. Finally, we want to highlight that the most adapted episodes are related to excess and desire. The both characters, that carry these themes, meet an opposite fate. Orlando's most achieved treatments subvert more and more the generic conventions, by reducing his comic aspect, whereas Alcina loses her serious nature and becomes a comic figure.

Thesis--Yale. / Bibliography: p. 109-110.

Zugl.: München, Univ., Diss., 2007

Thesis Univ. Perth, 1999. / Includes bibliographical references and index.

Zugl.: München, Univ., Diss., 2007.

Univ., Diss. u.d.T.: Kauertz, Claudia: Rationalität - Interdisziplinarität - Traditionalität--Göttingen, 1999. / Quellen- und Literaturverz. S. [250] - 276.

The aim of my thesis is to improve the orientation of students in the field of the basic hermetic sciences, for exemple the alchemy, the astrology and the magic, which are developping also nowadays. The first part of my thesis is considered to describe the renewal of the hermetism in Bohemia in the end of 19th century and to watch its development till the 30th of the 20th century. Another part of my project decribes the hermetic society "Universalia" and it presents the main and significant members of this groupe. Chapiters that follow this text deal with the alchemy, the astrology and the magic - it's the essential part of my theses. They are considered to explain the young people these terms, to present them the history of these hermetic sciences, to open the scientific approach and first of all to compare several texts of czech hermetics of the limited period with the contemporary view with the following purpose - to instruct the students to approach to the hermetic science in the critic and cautious way. The last text is dedicated to the ocult science in the nazi Germany and to its relation with Bohemia.

Diss.--Zürich, 1994. / Bibliogr. p. 259-266.

Th. doct.--Histoire--Grenoble 2, 1998. / Bibliogr. p.459-471. Index.