This doctoral research comprises a practitioner-based reflective enquiry to bridge the gap between theory and practice and enhance my compositional output. In tandem with the composition of my chamber opera, The Exile, I have undertaken research into characterisation within the context of opera and musical theatre, with a focus on both the delineation of individual characters and the context in which they appear. Parameters of the work are discussed in comparison with canonic works of both opera and music theatre. Contemporary uses of leitmotif, representation of speech and folk music within operatic works are acknowledged and their influence on the composition is presented along with musical examples. The conventional composer-librettist partnership is discussed, along with suggestions for how respective roles for composer and librettist have evolved in recent times. An insight into the collaborative compositional process is presented in the final chapter, as my work with librettist Gillian Pencavel is discussed. The Exile is an original work informed by this research and is a contribution to the repertoire as well as an investigation into many compositional techniques presented in this thesis.

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The thesis is a record of the writing and rehearsal process which led to the British premiere of the full length Canadian play, Danceland, at The Old Red Lion Theatre, London, in November of 1994. The first chapter is a discussion of the dramatic theories and historical research which informed the initial creative writing process. The second chapter is the final draft of the play itself. The third chapter is a record of the rehearsal and production process, as well as an overview of the major dramaturgical problems which the actors, director and designers encountered during rehearsals of the play. A full cast and crew list and the reviews from the British press are contained in the appendices. The playwright's "experiment" which sits at the heart of this production record is that Aristotle's idea of "place" is essential to the creation of an indigenous, Canadian dramatic literature. The writing process, however, is only the beginning of the translation of drama from the page to the stage; and it is this final, rehearsal and production process which demands that all dramatic theory be placed within the context of believable characterization and dramatic action.

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Orientador: Antonio Fernando da Conceição Passos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T21:34:19Z (GMT). No. of bitstreams: 1 Henrique_MarinaGomes_M.pdf: 1393898 bytes, checksum: c3b6192a2da03a56185d3e6db5020ee0 (MD5) Previous issue date: 2010 / Resumo: Este trabalho é fruto do processo de transcriação do poema de Bertold Brecht "A infanticida Marie Farrar" em uma peça de teatro e um roteiro de curta metragem. Para isso outras fontes literárias e o filme documentário "Camelos também choram" foram fundamentais no processo criativo, assim como os ensaios constantes da peça "Marias". O processo empírico da criação revelou em primeiro plano as histórias a serem contadas no teatro e no cinema / Abstract: This work is a result of the recreation of Bertold Brecht's poem "The infanticide Marie Farrar" in a theater play and a short film. Other sources for this literary and movie-documentary "The story of the weeping camel" were crucial in the creative process as well as the rehearsal for the play "Marias". The empirical process of creation revealed in the foreground the stories to be told in the play and in the movie / Mestrado / Multimeios / Mestra em Multimeios

The thesis is a record of the writing and rehearsal process which led to the British premiere of the full length Canadian play, Danceland, at The Old Red Lion Theatre, London, in November of 1994. The first chapter is a discussion of the dramatic theories and historical research which informed the initial creative writing process. The second chapter is the final draft of the play itself. The third chapter is a record of the rehearsal and production process, as well as an overview of the major dramaturgical problems which the actors, director and designers encountered during rehearsals of the play. A full cast and crew list and the reviews from the British press are contained in the appendices. The playwright's "experiment" which sits at the heart of this production record is that Aristotle's idea of "place" is essential to the creation of an indigenous, Canadian dramatic literature. The writing process, however, is only the beginning of the translation of drama from the page to the stage; and it is this final, rehearsal and production process which demands that all dramatic theory be placed within the context of believable characterization and dramatic action. / Arts, Faculty of / Theatre and Film, Department of / Graduate

Statement of the problem. It was the purpose of this study (l) to determine and illustrate the influence of time, culture and production situation upon the form and content of two plays based on the Greek legend of Antigone; the texts in question were those of Sophocles and Anouilh; and (2) to determine and illustrate the same influence of time, culture, and production situation upon the means of producing Lewis Galantiere's adaptation of Anouilh's Antigone at the University of the Pacific Play box in the Spring of 1965.