This paper examines certain theoretical underpinnings of the historical processes by which Shakespeare's history plays became the de facto collective memory of the events they depict, even when those events are misrepresented. The scholarly conversation about this misrepresentation has heretofore centered on Shakespeare's potential political motivations. I argue that this focus on a political, authorial intent has largely ignored the impact these historical distortions have had over the subsequent 400 years. I propose that, due to Shakespeare's unique place in the historical timeline of the development of collective memory, Shakespeare's historical misrepresentation in the history plays is a byproduct of the emerging ability to access historical sources while also shaping the nascent collective memory. Shakespeare became an archon, in the Derridian sense, of English history. As such he exercised the archon's hermeneutic right to interpret English history. Tracing the methods by which the public experienced Shakespeare's plays, this project shows that in the 20th century film became the dominant medium by which audiences experienced Shakespeare for the first time. Using Orson Welles' Chimes at Midnight as the principle example, I show that the hermeneutic right shifted away from Shakespeare and was instead taken on by directors reinterpreting Shakespeare's version of history. Welles' knowing manipulation of the archontic function empowers his film, affecting subsequent interpretation and placing it squarely in the Shakespearean film canon.

Thesis (M.A.)--Brigham Young University. Dept. of History. / Electronic thesis. Also available in print ed.

The period from the end of World War I through the 1950s has been called “the Golden Age of Drama on Broadway.” Subsumed within this period is another sort of golden age, of music in the American spoken theater, Broadway and beyond, c. 1935-60. Unlike more familiar, and better-studied, genres of dramatic music such as opera, ballet, and the Broadway-style musical, music composed for spoken dramas is neither a definitive part of the dramatic form nor integral to the work’s original conception. Rather, it is added in production, like sets, costumes, and lighting. This study traces the roots of this rich period of spoken-dramatic music to the collaboration of producer John Houseman, director Orson Welles, and composer Virgil Thomson on the Federal Theatre Project, beginning in 1936. The musical ramifications of that collaboration eventually extended to include composers Paul Bowles and Marc Blitzstein, influential theater companies such as the Theatre Guild and Group Theatre, innovative directors such as Elia Kazan and Margo Jones, and major playwrights such as Lillian Hellman and Tennessee Williams. Following a consideration of the forces that gave rise to this musically rich nexus and the people, materials, and practices involved, three high-profile theatrical collaborations are examined, along with three scores that resulted from them: Thomson’s score for Houseman’s 1957 “Wild West” Much Ado About Nothing; Blitzstein’s score for Welles and the Mercury Theatre’s 1937-38 “anti-Fascist” Julius Caesar; and Bowles’s score for the original production of Williams’s The Glass Menagerie (1944-45). Each score is located within the musico-dramatic history that produced it, and analyzed within the context of the production for which it was written. This work aims to begin to recover a vast body of forgotten American dramatic music, to limn the role of the spoken theater in the careers of these three noteworthy American musical artists, to probe a busy intersection of high and commercial art forms, and to suggest music’s important role in the development of the American spoken theater.

The Federal Theatre Project, which was established in 1935 to put unemployed Americans back to work after the Great Depression, and later employed over 10,000 people at its peak, financed one particularly original adaptation of Shakespeare: the "voodoo" Macbeth directed by Orson Welles in 1936. Debuting in Harlem with an all-black cast, the play's setting resembled a Haiti-like island instead of ancient Scotland, and Welles also supplemented the witches with voodoo priestesses, sensing that the practice of voodoo was more relevant, if not more realistic, for a contemporary audience than early modern witchcraft. My essay will consider how the terms "national origins" and "originality" intersect in three distinct ways vis-a-vis this play: The Harlem locale for the premier, the Caribbean setting for the tragedy, and the federal funding for the production.

The Mormon Church has for years been given credit by historians for the settlement of Carson Valley. Prior to 1854 the LDS Church actually had no connection with that valley except that it was part of the Utah Territory, which the Church controlled. When political dissension against the Mormons developed in Carson Valley, Brigham Young decided to organize the area into a county in 1854. The following year he sent Orson Hyde and other officials there to organize the county government. Within a year Hyde so influenced Young that he agreed to send 250 colonists to Carson Valley in order to bring that area under the control of the Mormon Church. During the next eighteen months the colony failed to live up to its several objectives. When the Utah War broke out the Mormon leaders decided to abandon the colonial effort and instructed the missionaries to return to Salt Lake City. This hardship Hyde and Young could have spared the Saints had they foreseen the difficulties of establishing the colony in the midst of non-Mormons, an experience the Church had previously undergone in the East.

No description available.

Thesis (M.A.)--Brigham Young University. Dept. of English, 2002. / Includes bibliographical references (p. 67-69).

Adaptations of works have the potential to bring their subject matter to a new audience. This thesis explores the adaptation of Russian fairy tales into novels by authors Orson Scott Card and Joy Preble by looking at how they present Russian fairy tales, folkloric figures, and fairy tale structure to an American audience.

The colorful history of Mormon polygamy has many interesting stories to tell, and one of the most interesting is that of Rev. Dr. J. P. Newman's debate with the Mormon Apostle Orson Pratt on "Does the Bible Sanction Polygamy?" This debate was held at the New Tabernacle in Salt Lake City, Utah, on August 12, 13, and 14, 1870. Newman was the Chaplain of the United States Senate and one of the foremost preachers of Washington, D.C. His appearance in Salt Lake City to debate the question of polygamy was a national topic. Probably never before, nor since, has so much been said in such a short time by non-Mormon presses on a question respecting Mormonism. And never before, as far as the author has been able to discover, has a chaplain of the Senate engaged in a public debate of such wide-spread interest.

This thesis is an attempt to render theatrically the establishment and eventual dissolution of the Federal Theatre Project, from the point of view of its appointed director Hallie Flanagan. Drawn from a variety of historical sources, including subjective first-person accounts and objective transcripts of congressional investigation testimony, the play approximates the structure of the Living Newspaper, a style of presentation adopted by the Federal Theatre Project. This thesis also includes an appendix, which details my playwriting process for this particular play, from initial concept through to production.