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Theatre and Oral Interpretation DOCUMENT RESUME,. r CS'503 903 , __ TITLE. Theatre and ,OralIaterpretation: AbstracWof Doctoral Dissertations Published in "Dissertation" Abstracts. International," January .through June 1982 (Vol.. 42 Nos.7. through 12). INSTITUTION ERIC Clearinghouse onReading and. Communication Skills,Urbana,I11. PUB DATE 82 NOTE -.13p.; Pages may be marginally legible. ..- EDRS'PRICE 1.1E01/PC01 Plus Postage. .1 DESCRIPTOUS Acting; ArinotatedMbliographiesi-Art;%Blacks; ' *Communicatio-n-Research; *Doctoral Dissertations; Elementary Secondary Education; Foreign Countries; Educationr*Historyr Music; *Oral Interpretation; Photographs; *Production Techniques; Readers Theater; Staff Development; *TheaterArts; Theaters IDENTIFIERS °'Audience.Response. o ABSTRACT This collection of abstracts is part of a continuing series providing information on recent doctoral dissertations. The.25 titles deal with a variety of topids, incltiding the following: (1) the development of AMerican theatre management practices between 1830 and 1896; (2) the aepthetics of audience response;(3) P. Picasso as a theatriCal degigner; (4) six black performers in*relation to. the Federal Theatre; (5) Makon& oral narrati.ve%as theaire; (6) 'heroes, heroines, and villains 'n English 'and -American melodrama from 1.850 to 1900; (7) th'e effects of varying-focus in solo oral interpretation; (8) black perfout!ance in South Africa; (9) the traditional ballad as folksong; (10) freedbm and tyranny in the theatre.of late Franco Spain; (11) puppetry as a provocative medium in energy, aducation; (12) S: Eisenstein's methods of'mpetage as a paiedigm,for scripting Oocumentary readers theatre; (13) photographic transparencies, as a lkisual means for a visual subjgct; (14) tKeatre and therapyrind2(15) attitudes toward educational theatre--in two Nigerian colleges of educetion.-(FL) - o r F. ***** $*****************************'*************************,*********** , * 'Reproduct'ions supplied by EDRS are the best that can be made * '* * fromthe original document. .. ************************"c******************1************************** b r iv,: U.S. DEPARTMENT OF EDUCATION NATIONAL INSTITUTE OF EDUCATION EDUCATIONAL RESOURCES INFORMATION CENTER IERICI IC.The document has been reproduced as received- from the person or organization onginatingd 0 Minor changes have been Blade to improve reproduction quality. --...._ Points of view or opinions stated in this doc ment do not necessarily represent official NIE position or policy oa Theatre and Oral Interpretation: e Abstracts,of Doctoral Dissertations Published in Dissertation Abstracts International, January through June 1982 (Vol.-'42 Nos. 7 through 12) 5 compiled .by the Staff Qf the ERIC Cleer1nghmuse on Reading and Communication Skills "PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTED BY university Microfilms International TOTHE EDUCATIONAL RESOURCES INFORMATION CENTER IERIC).", . 0 A / .r 11' IP \ , 4- I c.. 4 . - t.,.., . r ,, , ., . .... e . ,r .... ,. ",,,,. .. ( , a i 0 t . ... ).;... , 0 0 .rroo, 1 4 . et '4 ..... r . 0 i 0 ..) 4 ; . .-** ; . .'s ... t , a 6 ' ., 6 The dissertati, n.titles contained here are pubiished with, -permissiOp of e'University Microfilms International, publishers of Dissertation Abstracts 'International ,. (copyright '982 by University Microfirts International) 7 . sand day noteeproduced-without, their proper permission. ^ St 4 3 S This bibliography his been compiled as,part of a cOntinuing series designed, - to makainfdrmation on relevant dissertations available to users of theERIC ;system. Monthly issues of Dissertation Abstracts International: are 'reviewed in orden'to compile abstracts of dissertations on related topics, whiCh thus become accessible id searches of the fERIC data base. Ordering information ti for tith dissertations.themselves is includedat the end of the bibliography.' , 4 ' o Abstracts of the following dissertations are in luded in this collection: ) Hill, Lyn Stiefel , Babniei, Judith Marie , A CONSCIOUSNESS RAISING. THEATRE -HEROES, HEROINES AND VILLAINS IN ENGLISIPAND AMERICAN MELODRAMA:1 * i IN,AMERICA: THE HISTORY OF THE .. r . 'OMAHA MAGIC TAEATRE FROM 1969- TO 1 ---' ,,1859-1900 '4, .: . 1980 Hinne;s;tiOird. Graham . ,- ._ Bfooks, Mona Rebkcca ' AN ANALTSYS'OF THE EFFECTS OF . THE DEVELOPMENT (1) AMERICA1 THEA- vARyilb FOCUS ITN .S9L0 ORAL INTER- ' TRE MANACE4ENT PRACTICES BETWEEN PRETAtION, ''. 1830/AND 1896 ..: Jo4nson, Evamarii Alexandria Daubert, Darlene' M.. ' . A PRODUCTION WTORY OF THE SEATTLE DISTANCE IN THE THEATRE:THE FEDERAL THEATRE PROJECT NEGRO AESTHETICS'OF AUDIENCE RESPONSE REPERTORY COMPANT: 1935-1939, DeArmdnd,'William Duncan, Jr. KershnerOilliam Robert 4 ' RAY BRADBURY AND ORAL INTER4PRETATION: THE THEATRE AS A SOCIAL INSTITUTION: AN INTERPRETERS THEATRE ADAPTATION OF ' A STUDYOF HARLEY GRANVILLE-BARKER'S FAHRENHEIT 451 THEORIES OF THEATRICAL ART - Dilweg$:JoAn Kisling Kroeber; RitaBer,nadt,te A HISTORY OF DRAMA: IDAHO STATE UNI- A COMPARATBVE ANALIMS OF THREE VERSITY 1901-1960 CON'MPORARY SOLO PERFORMANCES BASED ON THE LIVES AND WORKS OF WOMEN Emadiar, Mitra WRITERS ., rr THE EASEL AND THE STAGE: AN HISTORICAL STUDY OF PICASSO AS A THEATRICAL DESIGNER harlhaur, PeLr'Frank BLACKIERFORMAKE SOUTH AFRICA Gill, Glenda El'okse' SIX BLACK PERFORMERS IN RELATION TO THE Lynch, Twink; , 46 FEDERAL THEATRE RATIONALE AND.TEXT:FdR'A CORRESPONDENCE COURSE IN VOLUNTEER AND STAFF DEVELOP-. Green, Linda Lee MENT FOR COMMUNITY THEATRE A DESCRIPTION OF MAKONI) ORAL NARRATIVE AS-THEATRE 0 r. '4, $. 0 1 ° -2- 4-'A McEwen Burgess, Gloria Jean Zif, Yael Levy' . THE TRADITIONAL BALLAD AS.FOLKSONG: THEATER AND THERAPY: AN INTER- . THE INTERDEPENDENCE OF TEXT AND PERSONAL STUDY. TUNE AND GUIDELINES FOR PERFORMANCE Marcus, Maury Hal FREEDOM AND TYRANNY IN THE THEATER OF LATE FRANCO SPAIN 4 Merimman, Timothy Fred PUPPETRY AS A PROVOCATIVE MEDIUM IN-. ENERGY EDUCATION: TWELVE ORIGINAL PUPPET PLAYS ,FOR; GRADES 4 - -6 Nwamuo; Chris "Ifeanyt A;STUDY OF THE ATTITUDES. TOWARD EDUCATIONAL THEATRE IN TWO NIGERIAN COLLEGES OF EDUCATION Olszewski, Josephyrancis AMERICAN THEATERAN THE SIXTIES AND SEVENTIES: THE NON - BROADWAY STAGE AND ITS PLAYWRIGHTS, Pallen, Thomas Albert - PARA-DRAMATIC FORMS IN THE MONASTIC LITURGX OF MEDIEVAL EUROPE AND THEIR 1 PLACE IN THE DEVELOPMENT OF EUROPEAN' DRAMA Riffs, Thomas Laurence BLACK MUSICAL THEATRE IN NEW YORK, 1890-1915 Utterback, Ann Smith EISENSTEIN'S METHODS OF MONTAGE' AS A PARADIGM FOR SCRIPTING DOCUMENTARY _READERS TI5EATRE Utterback, James" Ware ASYSTEM TO TEACH STAGE LIGHTING: PHOTOGRAPHIC TRANSPARENCIES AS A a VISUAL MEANS FOR A VISUAL SUBJECT * et. These areas are dealt with in three chronological periods: 1830; A CONSCIOUSNESS RAISING THEATRE IN AMERICA: THE 1896, 1660-1879,-and 1880.1898. The first is the final.era of HISIORX OF THE OMAHA MAGIC TI4EATRE FROM 1969 TO domination of the repertory stock company. Thesecondisine period 1980 Order No. DA8206000 when Theatres depended upon stars who travelled from theatre to theatre. The third period was dominated by the touringcombination , BAeuicir, JUOITH MARIE, PH.D. University of California. Los'Angeles, companies. By 1896 the theatre was a mature, profitable industryand 1981 338 .Chair: Professor Ruth E. Schwartz the conditions were created, in an historical perioddominated by PPfll monopolies and trusts, for a take dyer by a theatre trust created by In thelen, years it has been in existence, the Omaha Magic Theatre 1, has proven to be one of theiew working alternative theatres in this businessmen interested only in efficiency and economyThus, thq country. This dissertation examines the history of the Magic Theatre changeSoccurred in four Stages: repertory stock company, touring syndicate The latter frOm its inception in 1969 to 1980 focusing on: (1) the theatre's star, combination company, and the Theatrical discussed in beginnings and developing structure, finances, plays, philosophies, stage has been explored in'several sources and is not and objectives; (2) a critical, historical, and descriptive comparison this study. This study was compiled from extant manuscripts of theatre with a previous alternative theatre, the Open Theatre; and (3) a . descnptive analysis of its-success in meeting its stated goals. records. theatrical histories of individual cities, ilistories of individua The method used in this study is primafily descriptive with the theatres, general histories of theatre, autobiographies and biographies of performers and managers, newspaper advertisements history presented chronologically. The methodology utilizes short of theatre term field research in which the author spent two months living in and articles; magazine articles, modern books op the theory Omaha participating in the activities of the Magic Theatre. All management, and dissertations and theses on nineteenth century necessary documents were gathered and personal interviews .theatre. conducted. This history is divided into five planters. The Introduction establishes the background egainst which alternative theatre developed by examining early European theatre movements and innovators, ttqAmentan Theatres of the 1930's, and the radical theatres of the 1960's. Chapter I examines the theatre's early DISTANCE IN THE THEATRE: THE AESTHETICS OF , experimental years from 1969 to 1973. Chapter 0 (1974.1976) .AUDIENCE RESPONSE Order No. DA8209976 concentrates on the theatre's feminist years. Chapter III covers the humanist years, 1977 to 1980, during which the theatre moved away DAuBERT, DARLENE M, PH D. The University
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