Inaug.-Diss.--Frankfurt am Main. / Vita. Bibliography: p. 238-247.

During his fifty-year career, the Italian director Giorgio Strehler (1921-1997) staged more plays by Shakespeare than by any other playwright, but only a few of his most recent and successful Shakespearean productions have received international critical attention, and The Tempest he directed in 1978 is among them. Thirty years before however, in 1948, he directed a first, completely different production of the same text. Starting from the theoretical assumption that a theatre performance, as object, exists only in the moment in which it is actually produced, that is, in its reception by the audience, this dissertation has a twofold purpose: to explore the different contexts in which the two productions directed by Strehler were staged, and to underline how, from the beginning of his career he developed a crucial attention for interpretative techniques culminating in the 1978 Tempest. Aside from being based on the same text and from being produced by the same ensemble, the Piccolo Teatro of Milan, though with two radically different acting and technical troupes, the two productions of The Tempest directed by Strehler enlighten the variety of dynamics – from historical, political, and cultural, to more specifically theatrical, technical, and dramaturgical – which interacted within him while he was working at the staging of the play, and emphasizes the centrality of the director in contemporary theatre. Finally, this dissertation examines how the pragmatic process of rehearsal might modify the director's theoretical approach to a text, and shows how the study of a performance consists not just in the quest for its meaning, but in the investigation of how the text is brought to the stage, to that coalescent point that, in order to materialize, demands active participation and involvement from both interpreters and spectators.

Digitized by Kansas Correctional Industries

This dissertation examines how actors and directors are adapting and reimagining Shakespeare's plays so as to address the social concerns of their audiences at the beginning of the twenty-first century. At the center of my study is this question: how and why do the 400-year-old plays of a British writer speak to issues of class, race, gender, transglobalism, violence, and isolation in contemporary America? My dissertation answers this question by shifting the focus from established Anglo-American Shakespearean companies to American regional and grassroots theater organizations in order to consider how Shakespeare and his plays appear in unexpected places, serving audiences who are new to Shakespearean texts. By focusing on productions of a single Shakespearean play, The Tempest, I create a clearer sense of how various groups might reshape a Shakespeare play to fulfill their institutional missions. Literary critics and theater producers find the play's themes particularly applicable to modern audiences. My dissertation examines how these themes emerge in various critical modes of study: Foucauldian ideas of power and self-identity, post-colonialism, feminism, and original-practice theory. By pairing these approaches with performance studies, I reveal the ways in which literary theories have been translated for and consumed by a greater public. Included in this project are four case studies of American theater groups: Shakespeare Behind Bars at the Luther Luckett Correctional Complex in LaGrange, Kentucky and Hank Rogerson's 2005 documentary that follows the group's production of The Tempest; Indiana University theater professor Murray McGibbon's 2007 Tempest project that joined together students from Bloomington with students from the University of KwaZulu Natal in Pietermaritzburg, South Africa to stage a post-apartheid production of the play; the Weird Sisters Women's Theater Collective's 2010 production of Sycorax, a prequel to The Tempest written by the group's founder Susan Gayle Todd; and the American Shakespeare Center, an original-practice Shakespearean company, and the 2006 production of The Tempest at their reconstructed Blackfriars Playhouse in Staunton, Virginia.

During his fifty-year career, the Italian director Giorgio Strehler (1921-1997) staged more plays by Shakespeare than by any other playwright, but only a few of his most recent and successful Shakespearean productions have received international critical attention, and The Tempest he directed in 1978 is among them. Thirty years before however, in 1948, he directed a first, completely different production of the same text. Starting from the theoretical assumption that a theatre performance, as object, exists only in the moment in which it is actually produced, that is, in its reception by the audience, this dissertation has a twofold purpose: to explore the different contexts in which the two productions directed by Strehler were staged, and to underline how, from the beginning of his career he developed a crucial attention for interpretative techniques culminating in the 1978 Tempest. Aside from being based on the same text and from being produced by the same ensemble, the Piccolo Teatro of Milan, though with two radically different acting and technical troupes, the two productions of The Tempest directed by Strehler enlighten the variety of dynamics – from historical, political, and cultural, to more specifically theatrical, technical, and dramaturgical – which interacted within him while he was working at the staging of the play, and emphasizes the centrality of the director in contemporary theatre. Finally, this dissertation examines how the pragmatic process of rehearsal might modify the director's theoretical approach to a text, and shows how the study of a performance consists not just in the quest for its meaning, but in the investigation of how the text is brought to the stage, to that coalescent point that, in order to materialize, demands active participation and involvement from both interpreters and spectators.

This thesis examines the complex relationship between drama and royalist politics during the English Restoration, and how power is translated through language and space. I focus primarily on Dryden and Davenant's adaptation of Shakespeare's Tempest, re-titled The Enchanted Island (1667), but also draw connections to Thomas Shadwell's operatic version of 1674 and Thomas Duffet's Mock Tempest of 1675. I argue that the new adaptations reinforced the superiority of a monarchical rule over an English commonwealth and republic and subverted radical political movements that had arisen during the English Civil War. I do so by applying Guy Debord’s theory of spectacle to the Restoration stage. He defines spectacle is a "diplomatic representation of hierarchic society to itself, where all other forms of expression are banned" (Debord 23). Ultimately, conservative powers co-opted and appropriated subversive ideas and used the stage as direct access to public discourse. By separately examining the low and high plot I will show how spectacle functions through language and images and works to reinforce Prospero as the ultimate vision of a 'father-king'. By drawing from Debord, I will attempt to draw connections between modern day power structures, such as mass-media, and the Restoration stage. I argue that the means by which power is translated through mass media is analogous to how playwrights of the Restoration captured the attention of their audiences. / Thesis / Master of English

Literature is always in a state of evolution. Words change; the way writers write changes. Even actual literary works transform. William Shakespeare manipulated numerous classic works of literature to make extraordinary dramas for both his lifetime and eras since. Much as Shakespeare adapted literature to suit his purposes, writers today are constantly utilizing story lines introduced by the bard over four-hundred years ago in various modern-day mediums. Shakespeare wrote most of his works for the entertainment of the masses; Shakespeare's works are adapted today for both entertainment and academic endeavors. Certainly, a Klingon (Star Trek) version of arguably one of the greatest tragedies of all time, Hamlet, may not seem appropriate in an academic debate on the original. However, there are some truly engaging adaptations that do have some legitimacy in academia. Using past and current trends in adaptations, this thesis will explore the concept that Shakespearean adaptations are, in fact, their own school of literary theory. It will examine the academic climate surrounding an assortment of adaptations in regards to how literary theory correlates to each example. Multiple genres of adaptations exist (i.e. film, novels, plays, etc.) and will thus be addressed along with multiple time periods. This thesis will examine why certain changes were made from the original text and how literary theory may have affected those changes. Finally, the thesis will establish a process for the creation of a theory-based adaptation and, utilizing this process, develop a one-act play based on William Shakespeare's The Tempest.

Thesis (M.A.)--University of Nevada, Reno, 2005. / "May, 2005." Includes bibliographical references (leaves 109-113). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2005]. 1 microfilm reel ; 35 mm.

There are no public records that give an idea of how much emanation monitoring is actually taking place. However, there are a few data points that lead us to believe there is a real threat. One of these is that TEMPEST industry is over a billion dollars a year business. Reports like the ”Redefining Security” by Joint Security Commission stated that electronic equipment such as computers, printers, and electronic typewriters give off electromagnetic emanations and that this has long been a concern for various industries. An attacker using the latest and most efficient equipment can monitor and retrieve classified or sensitive information as it is being processed without the user being aware that a loss is occurring. But new information states that the attacker doesn’t need to have access to the latest equipment. This master thesis is based on the three statements below:  It exists a cheap and simple TEMPEST technique that is a security risk.  A downloadable TEMPEST virus is a powerful tool when conducting TEMPEST attacks.  It does not exist a cheap and simple solution that protects common users from TEMPEST attacks. In the experiment I use a program called Tempest_for_eliza and a simple Philips radio receiver. In this thesis I prove that it exist a TEMPEST technique, that is cheap and relatively simple and still is a security risk. I prove this with facts from literature studies and an experiment. Today there is only one way to protect yourself against TEMPEST attacks and that is by metal shielding. This is expensive and home users have the option but not often the resources to finance this type of protection.

The purpose of this dissertation is two-fold. First of all it aims at finding a unified philosophical basis for The Tempest. Commentators have widely acknowledged the diversity of the moral and political discourses present in this play: there is the idea of divine providence; there is the Stoic discourse about restraining one’s anger and desire for revenge; there is the Machiavellian teaching which lays strong emphasis on power and illusion as the only means to make men obedient; there is a deep concern with the question of whether virtue is teachable or not and how it should be taught; and there is also a preoccupation with the golden world and the ideal commonwealth. But is there a unity to be found amid this diversity? My answer to this question is that there indeed is an integrated philosophical framework in which all these discourses can find their proper places and reinforce one another in a way that contributes, together with the strictly observed unity of action, place and time, to the overall coherence of the play. This underlying basis, I will try to demonstrate, has a close affinity with Plato’s moral and political thought which centers around the question of teaching virtue; meanwhile, it could also be shown that, either historically or conceptually, the discourses identifiable in the play are all closely related to Plato’s philosophy. The examination of this basis will allow us to better appreciate the depth and nuances of The Tempest, but it will also shed some new light—hence the second task of this research—on the meaning of five other Shakespearean plays starting from Hamlet, As You Like It, Measure for Measure, to Timon of Athens and Coriolanus. In my dissertation, all these works (and Timon of Athens in especial, which, I believe, is a play where all the philosophical themes I will explore in this dissertation converge) will be treated at some length, with emphasis laid respectively on the use of power, the taming of anger, and Shakespeare’s idea about the golden world. Though a considerable part of my dissertation will be devoted to the tracing of this intellectual basis with reference to the template of ideas provided by Plato’s philosophy, I do not mean to suggest that it is through reading Plato directly that Shakespeare consciously develops a philosophy. My point is rather that all the discourses he makes use of in these plays could lead him of their own accord to the Platonic template. In this sense, what Shakespeare did is no more than just to allow the philosophical potentials of his motifs to work out themselves and meanwhile faithfully register their intricate interaction. In accordance with this assumption, my study will be half speculative rather than stringently historical in nature. I will proceed, though, strictly on an empirical line, that is, to presume nothing about the existence of philosophical patterns, and base my conclusion as much as possible on close readings of the text.