DOCSLIB.ORG

Transformational Drama: Theatre for Community and Social Change

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Transformational Drama: Theatre for Community and Social Change University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 2001 Transformational drama: theatre for community and social change Bridget Mary Aitchinson University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Aitchinson, Bridget Mary, Transformational drama: theatre for community and social change, Doctor of Creative Arts thesis, Faculty of Creative Arts, University of Wollongong, 2001. https://ro.uow.edu.au/ theses/943 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] NOTE This online version of the thesis may have different page formatting and pagination from the paper copy held in the University of Wollongong Library. UNIVERSITY OF WOLLONGONG COPYRIGHT WARNING You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. TRANSFORMATIONAL DRAMA: THEATRE FOR COMMUNITY AND SOCIAL CHANGE A thesis submitted in fulfilment of the requirements for the award of the degree DOCTOR OF CREATIVE ARTS From UNIVERSITY OF WOLLONGONG By BRIDGET MARY AITCHISON, BA(HONS), MACE FACULTY OF CREATIVE ARTS 2001 THESIS CERTIFICATION I, Bridget Mary Aitchison, declare that this thesis, submitted in fulfilment of the requirements for the award of Doctor of Creative Arts, in the Faculty of Creative Arts, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Bridget Mary Aitchison 17 December 2001 ABSTRACT Transformational Drama is theatre which acts as a catalyst for change in communities and in society. It addresses issues of social importance and changes people’s perceptions, attitudes and reactions to those issues. This thesis explores the foundational theory behind transformational drama, including the use of drama as an applied art as found in the work of Jacob Moreno (the founder of psychodrama), Richard Scheckner and Augusto Boal. It then examines the reclamation of the transformational properties of drama from the behavioural sciences back into the conventional theatre by looking at the community theatre and Theatre-In-Education movements. Three plays are examined for their transformational effect - Aftershocks, Property of the Clan/Blackrock, and Runaways. Each had their own particular methodology (verbatim, scripted and devised) which leant itself toward theatre which caused social change. Each created transformations in the communities for which they were originally produced but each also went on to affect wider, main-stream audiences. In researching these three plays, the author combined elements of each, as well as the foundational theory, to create a new methodology for the production of transformational drama. This method was trialled in Back From Nowhere, a production based on the issue of youth-suicide. The thesis details the process used to create this play and an analysis of the resulting product. ACKNOWLEDGMENTS I would like to thank several key people, without whose help and support this thesis would not exist: My parents, James and Donna Calcandis. Without their constant love, support and encouragement (not to mention babysitting!) I never would have started this process, much less finished it. You are a blessing from God to me! My children, Marion and Heather. You kept me grounded in reality and reminded me of who I really was when I got lost in the haze of work. Your simple, child-like faith in your mother meant more to me than I can tell you. My supervisors: Maurie Scott, John Senczuk and Janys Hayes. To Maurie, who has walked a very long and difficult road with me for ten long years and made sure I returned to my research every time I wanted to give up, I couldn’t have done this without you. I owe you so much. Thank you! My thanks also to Janys, whose encouraged me to strive for excellence with the production. And to John, who stepped in when things were looking bleak and got me over the finish line, your encouragement and support over the last two years has been invaluable. Rev Dr Gordon Moyes, Dr David H Johnston, Wesley Mission, and Wesley Institute for Ministry & the Arts for their incredible support (financial and emotional), encouragement and faith in me. I will never forget. God bless you enormously. Iain Court for his encouragement when I needed it most, his invaluable professional assistance with the show, and his support with the thesis. You are very special! Randall Pieterse and LifeForce for all the time and information they gave us in the research of the material for the play. You do such special work - keep going! The Sydney Opera House for their generous support of Back From Nowhere. The cast and crew of Back From Nowhere, especially Clive King and Linden Jones, for their unflagging commitment and belief in the value of what we were trying to . achieve. The Queen’s Trust for supporting my work and playing such an important part of the journey that brought me here. My colleagues at Wesley Institute who continually supported myself, the cast and crew o f Back From Nowhere with prayer and encouragement; especially Hilda Caine (always the encourager!) and Dennis Nutt for his beneficial advice. Ann B for never doubting that I could do it (even when I did!). And finally, my thanks for God for being the centre of my life and holding me in His hands to protect and guide me no matter what has gone wrong around me. TABLE OF CONTENTS CHAPTER 1........................................................................................................................... 1 DRAMA AS THERAPY: THE THEORETICAL BACKGROUND PART 1.........1 D r Jacob M oreno...................................................................................................................... 7 Psychodrama............................................................................................................................ 7 Sociodrama............................................................................................................................. 12 Augusto B oal and Richard Schechner.........................................................................15 Richard Schechner: The Entertainment-Efficacy Braid............................................... 15 Augusto Boal: Theatre of the Oppressed.........................................................................18 Three Theories of Catharsis.............................................................................................23 Conclusion............................................................................................................................... 26 CHAPTER 2 .........................................................................................................................28 CURRENT PRACTICE IN TRANSFORMATIONAL DRAMA:............................28 THREE MODELS..............................................................................................................28 Community Theatre..............................................................................................................28 Claims for Efficacy of Community Theatre and the TIE/Community Theatre Crossover/N e x u s....................................................................................................................31 TRANSFORMATIONAL D R A M A ...............................................................................................34 V erbatim theatre: aftershocks.....................................................................................36
Load more

Recommended publications
  • Monday Matinée Study Guide
    Zoellner Arts Center 420 East Packer Avenue Lehigh University Bethlehem, PA 2016-17 Season Monday Matinée Study Guide Alice in Wonderland Tout à Trac Monday, March 20, 2017 at 10 a.m. Baker Hall, Zoellner Arts Center, Lehigh University 420 E Packer Ave, Bethlehem, PA 18015 12/27/16 Study Guide: Tout à Trac Alice in Wonderland, page 1 Using This Study Guide On Monday, March 20 your class will attend a performance of Alice in Wonderland at Lehigh University’s Zoellner Arts Center in Baker Hall. You can use this study guide to engage your students and enrich their Zoellner Arts Center field trip. Materials in this guide include information about the performance, what you need to know about coming to a show at Zoellner Arts Center and interesting and engaging activities to use in your class room prior to, as well as after the performance. These activities are designed to connect with disciplines in addition to arts including: Physical activities Communication (verbal and non-verbal) Leadership Architecture Trust building Physics Teamwork Physical Sciences Before attending the performance, we encourage you to: • Review with your students the Know Before You Go items on page 4. • Discuss with your students the information on pages 5-8: About the Story and About the Company. • Check out the definitions & explanations in Elements of Stagecraft on page 9. • Engage your class in two or more activities on pages 10-16. At the Performance • Encourage your students to stay focused on the performance. • Encourage the students to remember what they know or learned about the story.
    [Show full text]
  • The Contribution of the Arts Association to Theatre
    THE CONTRIBUTION OF THE ARTS ASSOCIATION TO THEATRE IN THE THEN SOUTH WEST AFRICA, 1947 - 1967 A DISSERTATION SUBMITTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY OF THE UNIVERSITY OF NAMIBIA BY S.A. VAN DER SMIT 8451443 DECEMBER 2018 MAIN SUPERVISOR: PROF. CHRISTO BOTHA CO – SUPERVISOR: PROF. JAIROS KANGIRA ABSTRACT This dissertation offers a comprehensive account of the origin, nature and development of theatre under the auspices of the Arts Association as a cultural activity in South West Africa as it was called until 1968. In 1947 a branch of the South African Association of Arts, a Fine Arts organisation in South Africa was established in Windhoek, South West Africa. The association organised and developed the Performing Arts in addition to the Visual Arts. The Arts Association saw theatre as a neutral area where they could foster closer mutual relationships between the different European language groups. The biggest achievement of the Arts Association was undoubtedly the sustained development of theatre in Windhoek, which culminated in the erection of the Arts Theatre (1960) and the Art Centre and Gallery (1965). The research revealed that the Arts Association practiced theatre similar to that of South Africa, e.g., the South West Africa theatre practitioners relied heavily on South African playwrights for available texts. Data for this research was gathered from the available primary sources in the archives and newspapers. The significance of this investigative research lies in the fact that this study marks a beginning in the historiography of Namibian theatre, setting up an official database for a portion of Namibian theatre history.
    [Show full text]
  • Fill in the Blank, Multiple Choice, Short Answer • Costume Design Usually Involves Researching, D
    Costume/Set Design notes – fill in the blank, multiple choice, short answer Costume design usually involves researching, designing and building the actual items from conception. Four types of costumes are used in theatrical design, Historical, fantastic, dance, and modern. Designs are first sketched out and approved In its earliest form, costumes consisted of theatrical prop masks The leading characters will have more detail and design to make them stand out Scenic design (also known as stage design, set design or production design) is the creation of theatrical scenery. Scenic designers are responsible for creating scale models of the scenery, renderings, and paint elevations as part of their communication with other production staff. Theatrical scenery is that which is used as a setting for a theatrical production. Flats, short for Scenery Flats, are flat pieces of theatrical scenery which are painted and positioned on stage so as to give the appearance of buildings or other backgrounds. Soft covered flats (covered with canvas or muslin) A fly system is a system of lines, counterweights, pulleys Improv Notes – short answer Describe what shapes the action of an Improv scene? Audience suggestions or unknown topics List two things that make Improv different from traditional theatre? The elements of spontaneity, unpredictability and risk of not knowing if the scene will work out Why do you think there is no guarantee that an Improv scene will work? You never know what the suggestions or topics will be ahead of time List at least three ways that an actor defines the reality of the scene? Giving someone a name, identifying a relationship, identifying a location, using space object work to define the physical environment Describe what “Blocking” means.
    [Show full text]
  • Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms
    Vanderbilt Journal of Entertainment & Technology Law Volume 16 Issue 2 Issue 2 - Winter 2014 Article 3 2014 Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms Carol M. Kaplan Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Intellectual Property Law Commons Recommended Citation Carol M. Kaplan, Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms, 16 Vanderbilt Journal of Entertainment and Technology Law 297 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol16/iss2/3 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms Carol M. Kaplan* ABSTRACT In recent decades, studios that own film and television properties have developed business models that exploit the copyrights in those materials in every known market and in all currently conceivable forms of entertainment and merchandising. For the most part, uniform laws and parallel industry cultures permit smooth integration across formats. But theater is different. The work-made-for-hire provisions that allow corporations to function as the authors of the works they contract to create do not easily align with the culture and standard contract provisions of live theater. Conflicts arise when material that begins as a Hollywood property tries to make Carol M.
    [Show full text]
  • A Sourcebook of Interdisciplinary Materials in American Drama: JK Paulding," the Lion of the West." Showcasing American Drama
    DOCUMENT RESUME ED 236 723 CS 504 421 AUTHOR Jiji, Vera M., Ed. TITLE A Sourcebook of InterdisciplinaryMaterials in American Drama: J. K. Paulding, "TheLion of the West." Showcasing American Drama. INSTITUTION City Univ. of New York, Brooklyn, N.Y.Brooklyn Coll. SPONS AGENCY National Endowment for the Humanities(NFAH), Washington, D.C. PUB DATE 83 NOTE 28p.; Produced by the Program for Cultureat Play: Multimedia Studies in American Drama,Humanities Institute, Brooklyn College. Print is smalland may not reproduce well. Cover title: AHandbook of Source Materials on The Lion of the West by J. K. Paulding. AVAILABLE FROMMultimedia Studies in American Drama, Brooklyn College, Bedford Ave. and Ave. H,Brooklyn, NY 11210 ($2.00). PUB TYPE Guides Non-Classroom Use (055) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS American Studies; *Drama; HigherEducation; Integrated Activities; InterdisciplinaryApproach; *Literary History; *Literature Appreciation;Research Skills; *Resource Materials; SecondaryEducation; *United States History; *United StatesLiterature IDENTIFIERS *Lion of the West (Drama); Paulding (JamesK) ABSTRACT Prepared as part of a project aimed atredressing the neglect of American drama in college andsecondary school programs in drama, American literature, and Americanstudies, this booklet provides primary and secondary sourcematerials to assist teachers and students in the study of James K.Paulding's nineteenth century comedy, "The Lion of the West." Thefirst part of the booklet contains (1) a discussion of the Yankeetheatre, plays written around a character embodyinguniquely American characteristics andfeaturing specialist American actors;(2) a review of the genesis of the play; (3) its production history;(4) plot summaries of its various versions; (5) its early reviews;(6) biographies of actors appearing in various productions; and (7) adiscussion of acting in period plays.
    [Show full text]
  • New Actresses and Urban Publics in Early Republican Beijing Title
    Carnegie Mellon University MARIANNA BROWN DIETRICH COLLEGE OF HUMANITIES AND SOCIAL SCIENCES DISSERTATION Submitted in Partial Fulfillment of the Requirements Doctor of Philosophy For the Degree of New Actresses and Urban Publics in Early Republican Beijing Title Jiacheng Liu Presented by History Accepted by the Department of Donald S. Sutton August 1, 2015 Readers (Director of Dissertation) Date Andrea Goldman August 1, 2015 Date Paul Eiss August 1, 2015 Date Approved by the Committee on Graduate Degrees Richard Scheines August 1, 2015 Dean Date NEW ACTRESSES AND URBAN PUBLICS OF EARLY REPUBLICAN BEIJING by JIACHENG LIU, B.A., M. A. DISSERTATION Presented to the Faculty of the College of the Marianna Brown Dietrich College of Humanities and Social Sciences of Carnegie Mellon University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY CARNEGIE MELLON UNIVERSITY August 1, 2015 Acknowledgements This dissertation would not have been possible without the help from many teachers, colleages and friends. First of all, I am immensely grateful to my doctoral advisor, Prof. Donald S. Sutton, for his patience, understanding, and encouragement. Over the six years, the numerous conversations with Prof. Sutton have been an unfailing source of inspiration. His broad vision across disciplines, exacting scholarship, and attention to details has shaped this study and the way I think about history. Despite obstacle of time and space, Prof. Andrea S. Goldman at UCLA has generously offered advice and encouragement, and helped to hone my arguments and clarify my assumptions. During my six-month visit at UCLA, I was deeply affected by her passion for scholarship and devotion to students, which I aspire to emulate in my future career.
    [Show full text]
  • Theatrical Insurance Supplemental Application
    APPLICATION FOR: Theatrical Supplemental Application SECTION I. GENERAL INFORMATION 1. Contact Person: Contact Person Title: Phone No.: Fax No.: Email: 2. Name of proposed Insured (“Applicant”): Address: City, State, Zip: Website: SECTION II. REQUESTED INSURANCE LIMITS 1. GENERAL LIABILITY GENERAL AGGREGATE: $ PER OCCURRENCE: $ PERSONAL/ADVERTISING $ PRODUCTS/OPERATIONS $ FIRE DAMAGE: $ MEDICAL EXPENSE $ 2. EXCESS: AGGREGATE LIMIT: $ EACH OCCURRENCE LIMIT: $ SECTION III. DESCRIPTION OF RISK 1. Brief description of production and story line. Also indicate if Drama, Comedy or Musical. If Musical, with Dancing? 2. Describe any and all special stunts and/or acrobatics or hazardous activity and/or pyrotechnics or equipment: Theatrical Supplemental Application 022521 Page 1 of 3 aliverisk.com 3. Are Players: Employees of Production Company or Independent Contractors Nature of Stunt(s): Safety Precaution(s): 4. Name and Address of Theater: a. Is show touring? Yes No If yes, please attach schedule. IF TOURING, ATTACH COMPLETE ITENERARY INCLUDING TRAVEL DATE, NAME OF VENUE AND ESTIMATED ADMISSIONS OF APPLICABLE AND/OR PAYROLL. 5. Attach copies of insurance requirements of theater lease(s) (Theater Contracts). Are you assuming liability for Audience/Spectators? Yes No Attach copies of any other contract wherein you assume liability. 6. Are you responsible for parking areas, vendors or ticket collection? Yes No 7. Schedule Date Description Location Auditions Begin Rehearsal Begins First Public Performance Official Opening Earliest date on which construction of set or costume creation begins: 8. Theatrical Property Replacement Values: Set/Scenery: Props: Costumes/Wardrobe: Mechanical Winches, etc.: Lighting Equipment: Musical Instruments: On separate sheet, list any antique, object of art, furs, jewelry, or precious stones and metals.
    [Show full text]
  • Theatrical Production Application
    THEATRICAL PRODUCTION APPLICATION 1. Name of Production Company (Applicant) 2. Address Street City County State Zip Code 3. Applicant is: Individual Partnership Corporation Limited Liability Corporation (list officers and others) President Vice President Secretary Treasurer Director Producer General Manager Choreographer 4. Experience of Applicant, General Manager and Choreographer (examples) 5. Title of Production 6. Type of Production: Drama Comedy Musical Other Storyline Dancing? Yes No 7. Describe all special stunts, acrobatics, dancing, skating, scenes involving animals or special equipment needed. 8. Name and address of: Scenic Shop Costume Shop Rehearsal Studio Theatre Note: Attach copy of contract with Theatre owner. 9. Indicate Theatres for Pre-Broadway tryouts (if applicable). Include city and state and inclusive dates at each. 10. Number of Production Staff who are members of: Actors Equity Association Other Unions Non-Union APP E05 08 04 a W. R. BERKLEY COMPANY 11. Production Schedule (dates) Auditions Start Payroll Starts Rehearsals Start Theatre License Effective Construction of Sets Starts Preview Start Construction of Costumes Starts Opening Date/First Performance 12. If production is touring, complete the following: a. Number of performers b. Means of transportation of performers c. Means of transportation of property d. Are there any owned or long-term hire vehicles including buses and trucks? Yes No If yes, provide details. e. Name and Address of provider of driver(s) f. Does the insured use aircraft other than well known commercial airlines? Yes No If yes, provide details. Attach copy of itinerary showing dates, names and addresses of theatre and capacity. 13. For inspection, contact Phone No.
    [Show full text]
  • Leah R. Gallant-Mcfall
    Leah R. Gallant-McFall Principia College One Maybeck Place 618-374-5412 Elsah, IL 62028 [email protected] I have designed and taught at the university level for 12 years and have served in administrative and leadership positions such as Division Head of Creative Arts and Communication and Faculty Council. My creative work/research is wide-ranging, but focuses on theatrical costume and set design as textile art/sculpture/storytelling. Education 2017 MFA in Textile Arts (studied costume design, lighting and set design, fiber arts, art history, drawing and painting) – Southern Illinois University at Edwardsville Thesis and Show Title: Surface as Story: Tracing the Journey in Theatrical Design 2006 MSEd in Art Education (studied education, art history, fine art) – SIUE 1993 BA - Principia College, Elsah, IL - Studio Art and Art History majors (liberal arts) 1992 Boston University- Sea Education Association- Sea Semester (science and liberal arts) Academic and Artistic Appointments 2020-present Division Head, Creative Arts and Communication division- Principia College, Elsah, IL 2020-present Associate Professor/Theatrical Designer/Costume Director- Principia College, Elsah, IL 2019-2020 Chair, Committee on Committees 2018-2019 Faculty Promotion Committee 2017-2020 Faculty Council representative for Creative Arts and Communication division 2016-2020 Assistant Professor/Theatrical Designer/Costume Director - Principia College, Elsah, IL 2014-2016 Visiting Faculty/Costume Director - Principia College, Elsah, IL 2009-2015 Costume Designer/Director
    [Show full text]
  • The Stage Life of Props the Stage Life of Props
    The Stage Life of Props The Stage Life of Props by Andrew Sofer The University of Michigan Press Ann Arbor Copyright © by the University of Michigan 2003 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2006 2005 2004 2003 4321 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Sofer, Andrew, 1964– The stage life of props / Andrew Sofer. p. cm. Includes bibliographical references and index. ISBN 0-472-09839-X (cloth : alk. paper) — ISBN 0-472-06839-3 (pbk. : alk. paper) 1. Theaters—Stage-setting and scenery. 2. Stage props. 3. European drama—History and criticism. I. Title. PN2091.S8 S616 2003 792'.025—dc21 2002154228 Preface: Appropriations Physical objects have received short shrift in the study of drama. Ever since Aristotle, the analysis of plays has focused on subjects rather than objects, mimesis rather than the material stuff of the stage. Indeed, in what can be seen as the founding manifestation of the antitheatrical prejudice within dramatic criticism itself, Aristotle’s Poetics divorces “the power of Tragedy” from theatrical representa- tion entirely. Aristotle dismisses “spectacle” (which presumably includes such elements as props, setting, and mechanical effects) as the least important element of tragedy: The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry.
    [Show full text]
  • The Rise of the Costume Designer: a Critical History of Costume on the New York Stage from 1934 to 1950
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1968 The Rise of the Costume Designer: a Critical History of Costume on the New York Stage From 1934 to 1950. Eelin Stewart Harrison Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Harrison, Eelin Stewart, "The Rise of the Costume Designer: a Critical History of Costume on the New York Stage From 1934 to 1950." (1968). LSU Historical Dissertations and Theses. 1444. https://digitalcommons.lsu.edu/gradschool_disstheses/1444 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received 68-16,312 HARRISON, Eelin Stewart, 1915- THE RISE OF THE COSTUME DESIGNER: A CRITICAL HISTORY OF COSTUME ON THE NEW YORK STAGE F R O M 1934 TO 1950. Louisiana State University and Agricultural and Mechanical College, Ph.D., 1968 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan Co) EELIN STEWART HARRISON 1968 ALL RIGHTS RESERVED THE RISE OF THE COSTUME DESIGNER: A CRITICAL HISTORY OF COSTUME ON THE NEW YORK STAGE FROM 1934 TO 1950 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech by Eelin Stewart Harrison B.A., Brooklyn College, 1945 M.A., Louisiana State University, 1946 May, 1968 , ACKNOWLEDGMENTS The author wishes to express gratitude to all those who have so graciously given of their time and skill in the accomplishment of this task: To my esteemed professor, Claude L.
    [Show full text]
  • Non-Metaphorical Objects As Alternate Means of Literary Communication in Selected Plays of A
    ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 11, No. 2, pp. 119-128, February 2021 DOI: http://dx.doi.org/10.17507/tpls.1102.02 Non-metaphorical Objects as Alternate Means of Literary Communication in Selected Plays of A. B. Chukuezi Chioma M. Akaeze Department of Linguistics, Igbo and Other Nigerian Languages, University of Nigeria, Nsukka, Nigeria Chinedu C. Ezebube Department of Linguistics, Igbo and Other Nigerian Languages, University of Nigeria, Nsukka, Nigeria Ogechukwu F. U. Chukwuneke Department of Linguistics, Igbo and Other Nigerian Languages, University of Nigeria, Nsukka, Nigeria Chioma J. Ikechukwu–Ibe Department of Linguistics, Igbo and Other Nigerian Languages, University of Nigeria, Nsukka, Nigeria Abstract—Emphasis on effective communication has become the concern of many literary scholars. The need to explore where the burden of communication lies in the literary arts resounds among literary critics and beyond. The study sets out to examine how ordinary intentional dramatic objects in selected Igbo plays of A. B. Chukuezi; Udo Ka Mma, Aku Fechaa and Akwa Nwa are utilised to influence and communicate the intents of the drama texts to the audience. The theoretical framework is based on the viewpoint of theatre semiotics. The belief of theatre semiotics is that every part of a play is relevant in the actualisation of the complex whole called the text. The findings suggest that dramatic objects are not mere symbols for stage beautification, but are objects that can connect a text to its audience. They can also illuminate and illustrate the content and context of a text; as well as develop and extend a storyline.
    [Show full text]