Studiens övergripande syfte är att undersöka förutsättningarna för ämnet teater/drama inom kulturskolan. Till grund för uppsatsen ligger tre fokusgruppsamtal med lärare i teater/drama i kulturskolan i en svensk stad samt ett stödjande dokument för kulturskolorna i samma stad och ett styrdokument för Norges kulturskola. Allt material har bearbetats och granskats utifrån en socialkonstruktivistisk ansats genom diskursanalytiska glasögon.  Informanterna är eniga om att ämnet teater/drama i kulturskolan i Staden inte betraktas som en konstform, utan huvudsakligen som verktyg och metod. De beskriver en verksamhet som har knappa resurser att nå konstnärlig höjd och beskriver ett ämne som på grund av okunskap kring praktikens tidskrävande processer är marginaliserat i kulturskolans verksamhet. Det framgår att ämnet är i stort behov av att formuleras verbalt. Det tycks nödvändigt att skapa en gemensam terminologi för att möjliggöra en konstruktiv kommunikation mellan lärare i teater/drama och chefer i syfte att utveckla en hållbar verksamhet.

La tesi è dedicata allo studio sistematico del ruolo del drammatico nell’ermeneutica teologica di H.U. von Balthasar. Essa non ricostruisce i riferimenti alla storia del teatro, al suo rapporto con le istituzioni ecclesiastiche o a tematiche di singoli autori, bensì intende verificare la potenzialità del drammatico da un punto di vista di ermeneutica teologica. Si è così studiata la funzione del drammatico non nei prolegomena alla teologia o dal punto di vista della comprensione dell’esistenza storica del soggetto umano, bensì là dove Balthasar tratta specificamente il cuore dei misteri cristiani (cristologia, soteriologia, escatologia), verificando se il riferimento al drammatico è esteriore o invece intrinseco. Si è inteso quindi determinare il concetto di dramma che unifica la riflessione balthasariana (dramma come incontro di libertà) e infine indagare quale modello teatrale sia concretamente impiegato nella teologia dogmatica dell’autore. La tesi sostiene che, nella misura in cui Balthasar si volge a descrivere i concetti cardine della dogmatica cattolica, il paradigma di riferimento non è più il teatro della rappresentazione, bensì la drammaturgia della performance. Conclude la tesi un’appendice in cui si confronta la proposta balthasariana con le opere di Artaud (nella lettura di Derrida e Nancy), Stanislavskij e Grotowski. / The thesis is a systematic study of the role of theatre and drama in the theological hermeneutics of H.U. von Balthasar. The aim is not to explain the history of theatre, the relationship between theatre and ecclesiastical institutions, or themes of particular playwrights, but to expose the relevance of dramatics for theological investigation. The work studies the scope of dramatics neither in the theological prolegomena, nor in the historical existence of human beings; it studies its function in the exposition of Christian dogmatic (Christology, soteriology, eschatology), verifying if its role is external or intrinsic. The work investigates which concept of drama is adopted in the theology of von Balthasar (drama as encounter of freedoms), and which model of theatre is used in his dogmatic. When Balthasar exposes the key concepts of catholic theology, he leaves the traditional “theatre of representation” and refers to dramatic performance. The appendix compares the theatrical model of von Balthasar to the works of Artaud (following Derrida and Nancy), Stanislavskij and Grotowski.

This thesis aims to further our understanding of the emergent phenomenon of Theatre for Early Years (TEY) in Scotland. It interrogates a series of artistic practices – traditional, postdramatic, participatory – with the aim of proposing a possible dramaturgy of arts for the very young. Practice typically precedes theory in new fields of performance. TEY currently lacks a coherent theoretical framework or dramaturgy, instead drawing on interdisciplinary strands of psychology, pedagogy and existing dramaturgical practices from older forms of theatre for children. This study explores artists' embodied knowledge as a repository of skill, while also recognising external factors that impact on creative production, from belief systems to training, the search for funding and the struggle for recognition. Using Grounded Theory as a method to analyse interviews with 26 leading Scottish practitioners, this project undertakes a qualitative investigation of current practice in the devising and production of performing arts for very young audiences. The thesis also considers debates around legitimation and human rights for the very young, as well as cognitive models of infant development from psychology. The process points towards a Grounded Theory which proposes that Scottish Early Years artists undergo an attitudinal shift towards a belief that children should access high-quality cultural experiences on the same basis as adults. Secondly, it suggests that these artists believe they possess a unique skill-set worthy of recognition. The theory points towards an associated dramaturgy centring on equality, and the generalisability of both is then assessed via an innovatory Practice-as-Research case study converting a TEY production into a digital app. While the project is geographically limited to Scotland, its findings may have international applicability. This study could contribute to a wider praxis of arts for the very young beyond theatre, giving practitioners across the cultural sphere the opportunity to engage with the proposed dramaturgy.

The aim of the thesis is to present a complex view of theatrical activies in the Děčín region in 1900-1938 (the then Sudetenland). The author focuses both on professional and amateur theatres and contextualizes them within Bohemian-German relations at that time. The thesis builds upon social relations between Czech and German people and points to their theatrical co-existence, with its peak in 1938. One particular chapter is devoted to theatre in Děčín in which both German and Czech performances took place. In the conclusion, the author tries to compare this situation to other importnant North-Bohemian stages (Liberec, Ústí nad Labem, Teplice, Cheb).

Der Artikel beschäftigt sich mit der Frage, inwiefern Theater und Drama als Schrift begriffen werden können. Dabei wird auf den Schriftbegriff Bezug genommen, der in der Diskussion um die "Kulturtechnik Schrift/Schreiben" propagiert wurde.:Miniexkurs: Zur Problemgeschichte aus Sicht der Theaterwissenschaft Drama als Schriftvariante Ist die Theateraufführung als „Schrift“ begreifbar? Gedanken zum Schreiben

El teatro de Pavlovsky está por una parte enraizado desde su comienzo y a través de los años 70 con las utopías político-sociales que marcan este período, mas también, desde su primer momento comienza a cristalizarse una tendencia a neutralizar una mimesis abiertamente referencial, reemplazándola por aquéllo que podríamos llamar un estado “espacio-temporal cero” o “débil” que abarca tanto la acción como los personajes. Dentro de esta evidente abstracción, no se convierte lo representado en algo semánticamente neutral, sino que se universaliza, dando espacio a la reflexión teórica y a la experimentación teatral. Esta nueva fórmula de hacer teatro en Latinoamérica evita el uso directo de lo que Pavlovsky llama "la línea dura político-mensajista" y "ese imperialismo de la identidad acá nació, de allá viene, están tomando mate, como es por lo general el teatro ríoplatense", entendiendo el teatro como "un viaje de nuevos planteamientos" que lleva a la creación de "nuevos territorios existenciales, nuevas identidades, nuevas formas corporales estéticas".:Trayectoria de una infinita reinvención y renovación del teatro: Pavlovsky "El Hacedor". - Poroto o el drama de la ausencia de la representabilidad: la implosión de la comunicación

Makala haya yanachunguza mtindo wa usimulizi katika tamthilia za Kithaka wa Mberia na kutoa ufafanuzi wake. Tamthilia zenyewe ni Natala (1997), Kifo Kisimani (Death at the Well, 2001) na Maua Kwenye Jua la Asubuhi (Flowers in the Morning Sun, 2004). Vipera vya usimulizi vinavyo-chunguzwa ni methali, nyimbo/ngoma, sauti na hadithi. Usimulizi ni mbinu ya fasihi simulizi iliyo na jadi ndefu. Kutokana na msingi huu, wa Mberia alioanisha usimulizi na ujumbe wa tamthilia zake ana¬powasawiri wahusika wake kupitia matendo yao na mazungumzo yao jukwaani. Umuhimu wa matu¬mizi ya mbinu ya usimulizi katika tamthilia teule unaonekana kupuuzwa na wahakiki wengi. Kwa hivyo, madhumuni ya makala haya ni kuangazia umuhimu wa usimulizi katika usawiri wa maudhui mbalimbali na kuthibitisha kuweko kwa matumizi ya usimulizi katika tamthilia teule. Ni makala ambayo yatawafaidi wanafunzi katika vyuo vinavyotoa masomo ya fasihi. Makala haya yanamdhihi¬risha wa Mberia kama mtunzi shupavu, anayeteka makini ya hadhira yake kwa kuiwezesha kutafakari zaidi kuhusu masuala anayojadilia tamthiliani, kwa matumizi ya usimulizi. / This paper analyses narrative style in Kithaka wa Mberia’s plays. The plays analysed are Natala (1997), Kifo Kisimani (Death at the Well, 2001) na Maua Kwenye Jua la Asubuhi (Flowers in the Morning Sun, 2004). The elements of narrative style analysed are proverbs, songs/dances, voice and epic. Narrative style has a long history in oral literature. It has been integrated into written literature and thus lost its initial outlook which had led to its disregard by many analysts in the past. The objectives of this essay are to discuss narrative style in the selected plays, and to show how it functions to create empathy on the part of the reader which helps her/him to internalyse the themes conveyed. Furthermore, this essay intends to stimulate further research on narrative style in Swahili drama.

If from God’s perspective ‘all the world’s a stage’, theology invites one to think and act according to the view afforded from this height. To speak theologically of a ‘world stage’ as many contemporary theologians have done has required rethinking the Church’s long-established antagonism towards the stage. Of late, theology has opened up academic exchange with the drama’s understanding of ‘the great theatre of the world’. Hans Urs von Balthasar’s theo-drama in particular has given Christians a means for entering into discussion with dramatic forms. Contemporary theological engagements with ‘drama’, however, have been limited to its most literary/metaphorical aspects; less attention has been paid to the potentialities in theology’s exchange with the performance aesthetics of live theatre. Pressed to its logical ends, however, von Balthasar’s idea of a ‘theological dramatics’ and its advances made in contemporary theology, suggest the need for sustained engagement with other modes of dramaturgy, including performance theory and the stage. This thesis attempts to instantiate this theological engagement through the aesthetics of theatrical performance.

The goal of this thesis is to explore African American theatre through the lens of performativity and to show how the performative concepts of passing and entrenchment affected the writing of African American playwrights in the 1950s and 1960s. To this end, the first part of the work is focused on establishing performativity as a concept, starting with its origins in linguistics and then tracing its development. The main influences for this section are the works of Judith Butler, Nadine Ehlers, Andrew Parker and Eve Sedgewick. Butler's work on performativity is used as the main source for understanding performativity in its contemporary sense and to establish "passing" as a performative act. Ehlers' work serves to connect performativity to race and to show the use of "entrenchment" in performativity. Finally, Parker and Sedgewick's work provides a bridge between performativity and theatrical performance as they describe the "relations of spectatorship" necessary for the existence of theatre. Since performativity, in theatre or anywhere else, is based on discourse, the thesis will show the images and relations of spectatorship that defined African American theatre and performance since its inception. These include slave performance, black minstrelsy, but also the first attempts at quintessentially...