The Candidate Confirms That the Work Submitted Is His Own Work and That Appropriate Credit Has Been Given Where Reference Has Be
Clowning in the Brechtian Tradition Daniel Neil Bye Submittedin accordancewith the requirementsfor the degreeof Doctor of Philosophy University of Leeds, School of Performanceand Cultural Industries January 2008 The candidateconfirms that the work submittedis his own work and that appropriate credit hasbeen given wherereference has been made to the work of others This copy hasbeen supplied on the understandingthat it is copyright material and that no quotationfrom the thesismay be publishedwithout proper acknowledgement. 1 Acknowledgements Special thanks must first of all go to my supervisors in this research, first Richard Boon and subsequently,jointly, Sita Popat and Kara McKechnie. I'd also like to thank ProfessorsJonathan Pitches and Chris McCullough for their very valuablefeedback. The ResearchDegrees and ScholarshipsOffice at the University provided me with a bursarywithout which the researchcould not have beenundertaken. John Wright and Philippe Gaulier taught me more than it is reasonable to expect to learn in such a short space of time. They showed me what clowning is and can be. I would like to thank all of thosewho were involved in my production of Mr Puntila and His Man, Matti (discussedin ChapterFour), without whom this researchwould remain between pages when it was meant for stages: Jamie Blair, Bobby Brook, Gillian Bryan, Ben Cutler, Charlie Dodd, Amy Draper, Joanna Fleck, Andrew Hogan, Rebecca Morris, Will Railton, Claire Riley, Rich Wall and Paul Whickman. And my huge respect,affection and thanks go to my colleaguesat StrangeBedfellows (discussedin ChapterFive), Nick Jesperand Paul Mundell. Finally, I would like to thank my wife SarahPunshon, not only for proofreading,but also for putting up with me while I've been writing this thesis.Any errors that remain are, of course,my own.
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