Search

In this article, Hamza Hakimzadeh studied the path of Niyazi's creativity abroad, interested in his works. Hamza's performance, which he added to the theater and dramaturgy, cited the influence of the poet's works on the cultural processes of foreign countries. The role of Hamza Hakimzadeh Niyazi in this process is mentioned. The way of his work and his activities in the direction of youth education and people's consciousness to science are covered.

In this article, Hamza Hakimzadeh studied the path of Niyazi's creativity abroad, interested in his works. Hamza's performance, which he added to the theater and dramaturgy, cited the influence of the poet's works on the cultural processes of foreign countries. The role of Hamza Hakimzadeh Niyazi in this process is mentioned. The way of his work and his activities in the direction of youth education and people's consciousness to science are covered.

In this article, Hamza Hakimzadeh studied the path of Niyazi's creativity abroad, interested in his works. Hamza's performance, which he added to the theater and dramaturgy, cited the influence of the poet's works on the cultural processes of foreign countries. The role of Hamza Hakimzadeh Niyazi in this process is mentioned. The way of his work and his activities in the direction of youth education and people's consciousness to science are covered.

In this article, Hamza Hakimzadeh studied the path of Niyazi's creativity abroad, interested in his works. Hamza's performance, which he added to the theater and dramaturgy, cited the influence of the poet's works on the cultural processes of foreign countries. The role of Hamza Hakimzadeh Niyazi in this process is mentioned. The way of his work and his activities in the direction of youth education and people's consciousness to science are covered.

In this article, Hamza Hakimzadeh studied the path of Niyazi's creativity abroad, interested in his works. Hamza's performance, which he added to the theater and dramaturgy, cited the influence of the poet's works on the cultural processes of foreign countries. The role of Hamza Hakimzadeh Niyazi in this process is mentioned. The way of his work and his activities in the direction of youth education and people's consciousness to science are covered.

In this article, Hamza Hakimzadeh studied the path of Niyazi's creativity abroad, interested in his works. Hamza's performance, which he added to the theater and dramaturgy, cited the influence of the poet's works on the cultural processes of foreign countries. The role of Hamza Hakimzadeh Niyazi in this process is mentioned. The way of his work and his activities in the direction of youth education and people's consciousness to science are covered.

This works examines how the dramaturgical creative act varies according to the reality of the artist in exile, whether at home or abroad, in the context of Argentina’s last dictatorship (1976-1983). Our corpus examines three playwrights in exile at the time in Spain (Bortnik, Gambaro and Raznovich) and the works of two artists who considered the topic of exile while remaining in Argentina (Gris de ausencia by Cossa and Lejana tierra prometida by Halac). In turn, this allows us to consider an ontological perspective of theatre and uphold the vitality of contact between Argentina, Spain and Italy during this time., No contexto da última ditadura na Argentina (1976-1983), o objetivo de nosso artigo é analisar como o ato criativo dramatúrgico varia de acordo com a realidade do exílio ou insílio imposto aos dramaturgos. Por meio de nosso corpus, estudaremos três dramaturgos exilados na Espanha no momento (Bortnik, Gambaro e Raznovich) e as propostas de dois artistas que permaneceram na Argentina e refletiram sobre o exílio em suas obras (Gris de ausencia, de Cossa, e Lejana tierra prometida, de Halac). Por sua vez, isto nos permitirá refletir sobre o teatro em um sentido ontológico e corroborar a vitalidade dos contatos entre Argentina, Espanha e Itália durante esse período., En el contexto de la última dictadura argentina (1976-1983), el objetivo de nuestro artículo es analizar cómo el acto creador dramatúrgico varía según se impone en él la realidad del exilio o del insilio de los teatristas. A través de nuestro corpus, estudiamos a tres dramaturgas exiliadas en España (Bortnik, Gambaro y Raznovich) y las propuestas de dos artistas que permanecieron en Argentina y plasmaron el exilio en sus obras (Gris de ausencia de Cossa y Lejana tierra prometida de Halac). Esto permite, a su vez, reflexionar sobre el teatro en un sentido ontológico y corroborar la vitalidad de los contactos entre Argentina, España e Italia durante este tiempo.

In this article, Hamza Hakimzadeh studied the path of Niyazi's creativity abroad, interested in his works. Hamza's performance, which he added to the theater and dramaturgy, cited the influence of the poet's works on the cultural processes of foreign countries. The role of Hamza Hakimzadeh Niyazi in this process is mentioned. The way of his work and his activities in the direction of youth education and people's consciousness to science are covered.

An analysis of the characters in La pira (1972), by Óscar Villegas, is proposed from the theatrical theory of María del Carmen Bobes Naves. An approach is made to the relationship between this work and the playwright’s first pieces —The renaissance [El renacimiento] (1967), The Peace of the Good People [La paz de la buena gente] (1967), The Lord and the Lady [El señor y la señora] (1969)—, to explain the evolution of the characters in synecdotal actants —represented with pronouns, numbers or letters— that result in allegories of common social roles and behaviors, loss of identity, and certain moral, youth, and family problems in Mexican society in the 1960s and 1970s twentieth century., Se propone un análisis de los personajes de La pira (1972), de Óscar Villegas, desde la teoría teatral de María del Carmen Bobes Naves. Se hace una aproximación a la relación entre dicha obra y las primeras piezas del dramaturgo —El renacimiento (1967), La paz de la buena gente (1967), El señor y la señora (1969)—, para explicar la evolución de los personajes en actantes sinecdóticos —representados con pronombres, números o letras— que dan como resultado alegorías de comportamientos y papeles sociales comunes, pérdida de la identidad y ciertas problemáticas morales, juveniles y familiares de la sociedad mexicana de las décadas de los años sesenta y setenta del siglo XX.

This works examines how the dramaturgical creative act varies according to the reality of the artist in exile, whether at home or abroad, in the context of Argentina’s last dictatorship (1976-1983). Our corpus examines three playwrights in exile at the time in Spain (Bortnik, Gambaro and Raznovich) and the works of two artists who considered the topic of exile while remaining in Argentina (Gris de ausencia by Cossa and Lejana tierra prometida by Halac). In turn, this allows us to consider an ontological perspective of theatre and uphold the vitality of contact between Argentina, Spain and Italy during this time., No contexto da última ditadura na Argentina (1976-1983), o objetivo de nosso artigo é analisar como o ato criativo dramatúrgico varia de acordo com a realidade do exílio ou insílio imposto aos dramaturgos. Por meio de nosso corpus, estudaremos três dramaturgos exilados na Espanha no momento (Bortnik, Gambaro e Raznovich) e as propostas de dois artistas que permaneceram na Argentina e refletiram sobre o exílio em suas obras (Gris de ausencia, de Cossa, e Lejana tierra prometida, de Halac). Por sua vez, isto nos permitirá refletir sobre o teatro em um sentido ontológico e corroborar a vitalidade dos contatos entre Argentina, Espanha e Itália durante esse período., En el contexto de la última dictadura argentina (1976-1983), el objetivo de nuestro artículo es analizar cómo el acto creador dramatúrgico varía según se impone en él la realidad del exilio o del insilio de los teatristas. A través de nuestro corpus, estudiamos a tres dramaturgas exiliadas en España (Bortnik, Gambaro y Raznovich) y las propuestas de dos artistas que permanecieron en Argentina y plasmaron el exilio en sus obras (Gris de ausencia de Cossa y Lejana tierra prometida de Halac). Esto permite, a su vez, reflexionar sobre el teatro en un sentido ontológico y corroborar la vitalidad de los contactos entre Argentina, España e Italia durante este tiempo.

There is the problem of combining the narrative and the performative in modern drama in the article, which based on the material of the plays that included in the short-list of dramatic competitions. The author of the article considers the destructions of the classical "fourth wall" in the dramatic texts "Waiting for a Vote" by Roberto Frantini, "Dead Dog in the Dry Cleaner: Strong" by Angelica Liddell, "Ibsen's House" by Simon Stone and in the theatrical productions which includes the installation play "Meat" by Thomas Bo Nilsson, "Ignite the verb to live" by Vadji Muavad and others. The author describes the performative strategies of contemporary drama and post-dramatic theater. The direct appeal and provocation of the viewer, aestheticization of the ugliness, the rejection of inalienable anthropocentrism, digital performances used by modern theater are described in the broad context of dramatic and general literary processes taking place on the threshold of post-postmodernism. The viewer is deprived the usual role of an outside observer by the described forms of performative utterance and has to take an active ethical and aesthetic position., В статье на материале пьес, входящих в шорт-листы драматургических конкурсов, ставится проблема соединения нарративного и перформативного в современной драме. Опираясь на драматургические тексты "Ожидание голосования" Роберто Франтини, "Мёртвая собака в химчистке: сильные" Ангелики Лидделл, "Дом Ибсена" Саймона Стоуна и материал театральных постановок - спектакля-инсталляции "Мясо" Томаса Бо Нильссона, "Воспламенение глагола жить" Ваджи Муавада и других, - рассматриваются формы разрушения классической "четвертой стены". Описываются перформативные стратегии современной драматургии и постдраматического театра. Прямое обращение и провокация зрителя, эстетизация безобразного, отказ от неотъемлемого антропоцентризма, цифровые перформансы, используемые современным театром, описываются в статье в широком контексте драматургических и общелитературных процессов, происходящих на пороге пост-постмодернизма. Описываемые формы перформативного высказывания лишают зрителя привычной ему роли стороннего наблюдателя и вынуждают занимать активную этическую и эстетическую позицию.

The purpose of this paper is to call attention to the results of a research which analysed the presence of women in the didactic materials used in Spanish Compulsory Secondary Education. 109 text books from three different publishers were checked and the results were very disappointed: just 7,6 % of the names quoted were women (López-Navajas, 2014). In addition to this, in this paper two relevant female Mexican playwrights are used to exemplify the didactic proposals that are been developed within the framework of the project “Women in ESO” (Compulsory Secondary Education). Moreover, these proposals could become a suitable vehicle to publicise a greater number of voices and texts of Latin American origin, in general, and Mexican, in particular, among Spanish society., El presente trabajo es consecuencia de la investigación de la Universitat de València que analizó la presencia de las mujeres en los contenidos de todas las asignaturas de la ESO en tres editoriales distintas. Se revisaron 109 manuales y los resultados que se obtuvieron fueron desastrosos: solo un 7,6 % de los personajes citados eran mujeres (López-Navajas, 2014). En el presente trabajo se ejemplifica con dos relevantes dramaturgas, las propuestas didácticas que se están desarrollando en el marco del proyecto Las mujeres en la ESO. Estas podrían convertirse, además, en un vehículo adecuado para dar a conocer en las aulas un mayor número de voces femeninas., Cet article est le résultat de la recherche de l'Université de Valence qui a analysé la présence des femmes dans les contenus de toutes les matières de l'ESO, en 109 manuels qui appartiennent à trois éditeurs différents. Les résultats obtenus étaient désastreux: seulement 7,6% des personnages mentionnés étaient des femmes (López-Navajas, 2014). Dans ce travail nous avons illustré, avec deux importantes dramaturges, quelques approches didactiques sur littérature développées dans le cadre du projet Les femmes dans l'ESO. Ce proposition pourrait aussi devenir un véhicule approprié pour faire connaître des autres voix féminines dans les classes.

The purpose of this paper is to call attention to the results of a research which analysed the presence of women in the didactic materials used in Spanish Compulsory Secondary Education. 109 text books from three different publishers were checked and the results were very disappointed: just 7,6 % of the names quoted were women (López-Navajas, 2014). In addition to this, in this paper two relevant female Mexican playwrights are used to exemplify the didactic proposals that are been developed within the framework of the project “Women in ESO” (Compulsory Secondary Education). Moreover, these proposals could become a suitable vehicle to publicise a greater number of voices and texts of Latin American origin, in general, and Mexican, in particular, among Spanish society., El presente trabajo es consecuencia de la investigación de la Universitat de València que analizó la presencia de las mujeres en los contenidos de todas las asignaturas de la ESO en tres editoriales distintas. Se revisaron 109 manuales y los resultados que se obtuvieron fueron desastrosos: solo un 7,6 % de los personajes citados eran mujeres (López-Navajas, 2014). En el presente trabajo se ejemplifica con dos relevantes dramaturgas, las propuestas didácticas que se están desarrollando en el marco del proyecto Las mujeres en la ESO. Estas podrían convertirse, además, en un vehículo adecuado para dar a conocer en las aulas un mayor número de voces femeninas., Cet article est le résultat de la recherche de l'Université de Valence qui a analysé la présence des femmes dans les contenus de toutes les matières de l'ESO, en 109 manuels qui appartiennent à trois éditeurs différents. Les résultats obtenus étaient désastreux: seulement 7,6% des personnages mentionnés étaient des femmes (López-Navajas, 2014). Dans ce travail nous avons illustré, avec deux importantes dramaturges, quelques approches didactiques sur littérature développées dans le cadre du projet Les femmes dans l'ESO. Ce proposition pourrait aussi devenir un véhicule approprié pour faire connaître des autres voix féminines dans les classes.

This paper shows that the number of roles in theatre plays has decreased over time. Playwrights seem to internalize the costs of producing plays by downsizing the number of roles. This downsizing is not a recent phenomenon: it already started a long time ago. This is not surprising, since production costs increase over time and the Baumol cost disease is obviously one of the reasons, though one cannot exclude that fashion has changed given the time elapsed between William Shakespeare and Samuel Beckett., SCOPUS: ar.j, info:eu-repo/semantics/published

Full Text, Thesis (PhD Doctorate), Doctor of Philosophy (PhD), School of Hum, Lang & Soc Sc, Arts, Education and Law, The central purpose of this thesis is to explore the interconnections between historical, political, economic, and cultural context of a society and the creation of socio-cultural meaning through a specific theatrical style and genre. Known as In-Yer-Face (IYF) this genre of theatre became highly controversial and could be said to represent the zeitgeist of the 1990s in Britain, mainly through its reflection of post-Thatcherite concerns and anxieties relating to the increasingly precarious conditions of everyday life which dominated the British society at the time, particularly in the context of Britain’s youth. With regards to those anxieties, this study explores IYF theatre in light of Frank Furedi’s (1997, 2006) theories on culture of fear and Ulrich Beck (1992, 2001) and Anthony Giddens’ (1991, 1997) theories of individualization, risk society and late modern uncertainties. The thesis aims to align the forgoing sociological theories with the blatantly provocative, relentless, confrontational and aggressively shocking content of IYF theatre, the work of a group of young British playwrights that included Sarah Kane, Mark Ravenhill, and Anthony Neilson. In examining the texts of selected plays by these and other IYF playwrights, the thesis endeavours to understand how socio-economic circumstances can culminate in immense cultural shifts which in turn can alter the cultural products and artistic perspectives of a nation, in this case Britain during the early 1990s. To this end, the thesis is divided into two interconnected sections, the first of which begins by situating IYF in the broader tradition of avant-garde British theatre. This is followed by establishing the theoretical framework upon which I ground my own interpretation of IYF theatre as well as a brief examination of the socio-historical context of Britain in the 1990s. This first section is concluded by the study of IYF in alignment with other forms of cultural product, suggesting that the political and

En este trabajo se analiza, desde una lectura múltiple (textual, lingüística, social), el teatro de la poeta madrileña Ana Merino (Madrid, 1971) como una propuesta dramatúrgica para el siglo XXI. En una etapa de crisis del teatro actual, el análisis de sus piezas teatrales recogido en este estudio muestra su obra como una aportación novedosa en el contexto del teatro femenino español actual., This article discusses from a multiple reading (textual, linguistic, social) the theatre of the Spanish poet Ana Merino (Madrid, 1971) as a new dramaturgy proposal for 21st century. In context of crisis in the current theatre, the analysis of her theatre’s plays collected in this article shows her theatre as a singular contribution in context of the current Spanish female theatre.

En este trabajo se analiza, desde una lectura múltiple (textual, lingüística, social), el teatro de la poeta madrileña Ana Merino (Madrid, 1971) como una propuesta dramatúrgica para el siglo XXI. En una etapa de crisis del teatro actual, el análisis de sus piezas teatrales recogido en este estudio muestra su obra como una aportación novedosa en el contexto del teatro femenino español actual., This article discusses from a multiple reading (textual, linguistic, social) the theatre of the Spanish poet Ana Merino (Madrid, 1971) as a new dramaturgy proposal for 21st century. In context of crisis in the current theatre, the analysis of her theatre’s plays collected in this article shows her theatre as a singular contribution in context of the current Spanish female theatre.

The central purpose of this thesis is to explore the interconnections between historical, political, economic, and cultural context of a society and the creation of socio-cultural meaning through a specific theatrical style and genre. Known as In-Yer-Face (IYF) this genre of theatre became highly controversial and could be said to represent the zeitgeist of the 1990s in Britain, mainly through its reflection of post-Thatcherite concerns and anxieties relating to the increasingly precarious conditions of everyday life which dominated the British society at the time, particularly in the context of Britain’s youth. With regards to those anxieties, this study explores IYF theatre in light of Frank Furedi’s (1997, 2006) theories on culture of fear and Ulrich Beck (1992, 2001) and Anthony Giddens’ (1991, 1997) theories of individualization, risk society and late modern uncertainties. The thesis aims to align the forgoing sociological theories with the blatantly provocative, relentless, confrontational and aggressively shocking content of IYF theatre, the work of a group of young British playwrights that included Sarah Kane, Mark Ravenhill, and Anthony Neilson. In examining the texts of selected plays by these and other IYF playwrights, the thesis endeavours to understand how socio-economic circumstances can culminate in immense cultural shifts which in turn can alter the cultural products and artistic perspectives of a nation, in this case Britain during the early 1990s. To this end, the thesis is divided into two interconnected sections, the first of which begins by situating IYF in the broader tradition of avant-garde British theatre. This is followed by establishing the theoretical framework upon which I ground my own interpretation of IYF theatre as well as a brief examination of the socio-historical context of Britain in the 1990s. This first section is concluded by the study of IYF in alignment with other forms of cultural product, suggesting that the political and, Thesis (PhD Doctorate), Doctor of Philosophy (PhD), School of Hum, Lang & Soc Sc, Arts, Education and Law, Full Text

En este ensayo se explora el sentido de "El rencor" (1996), obra dramática del escritor y dramaturgo Esvón Gamaliel Calvillo Pérez (Colorines, 1955-Toluca, 2003). La obra es una farsa trágica sustentada fundamentalmente en la inversión de las figuras bíblicas de Jesús, Pablo y Magdalena.

Ensayo autobiográfico en el que la escritora Delfina Careaga describe el proceso de escritura de su obra de teatro Una tal Raimunda, ganadora del Premio Nacional de Teatro "Emilio Carballido".

En este ensayo se explora el sentido de "El rencor" (1996), obra dramática del escritor y dramaturgo Esvón Gamaliel Calvillo Pérez (Colorines, 1955-Toluca, 2003). La obra es una farsa trágica sustentada fundamentalmente en la inversión de las figuras bíblicas de Jesús, Pablo y Magdalena.

Ensayo autobiográfico en el que la escritora Delfina Careaga describe el proceso de escritura de su obra de teatro Una tal Raimunda, ganadora del Premio Nacional de Teatro "Emilio Carballido".

En este artículo se realiza un recorrido por el panorama teatral madrileño femenino. Se habla de autoras de teatro en español de actualidad, sus modos de creación, los temas y géneros trabajados y sus inquietudes. Se exponen también las diferentes compañías de teatro en las que todas o prácticamente todas las integrantes son mujeres, su funcionamiento, estilo de trabajo y medios, así como los espacios, las salas alternativas más importantes de Madrid. Se dedica un espacio a la danza y a los eventos dedicados a esta, como el Festival Internacional de Danza Miradas del Cuerpo, y también a los espacios de formación teatral no formales, cursos, seminarios y escuelas. La autora también analiza el teatro infantil o familiar, la presencia de mujeres en este y sus objetivos principales., This article takes a tour of the Madrid female theater scene. It talks about current Spanish theater authors, their modes of creation, the themes and genres worked on, and their concerns. The different theater companies in which all or practically all the members are women are also exposed, as well as their operation, work style and media, as well as the spaces, the most important alternative rooms in Madrid. A space is dedicated to dance and to the events dedicated to it, such as the International Dance Festival Miradas del cuerpo, and also to non-formal theatrical training spaces, courses, seminars and schools. The author also analyzes children's or family theater, the presence of women in it and its main objectives.

En este artículo se realiza un recorrido por el panorama teatral madrileño femenino. Se habla de autoras de teatro en español de actualidad, sus modos de creación, los temas y géneros trabajados y sus inquietudes. Se exponen también las diferentes compañías de teatro en las que todas o prácticamente todas las integrantes son mujeres, su funcionamiento, estilo de trabajo y medios, así como los espacios, las salas alternativas más importantes de Madrid. Se dedica un espacio a la danza y a los eventos dedicados a esta, como el Festival Internacional de Danza Miradas del Cuerpo, y también a los espacios de formación teatral no formales, cursos, seminarios y escuelas. La autora también analiza el teatro infantil o familiar, la presencia de mujeres en este y sus objetivos principales., This article takes a tour of the Madrid female theater scene. It talks about current Spanish theater authors, their modes of creation, the themes and genres worked on, and their concerns. The different theater companies in which all or practically all the members are women are also exposed, as well as their operation, work style and media, as well as the spaces, the most important alternative rooms in Madrid. A space is dedicated to dance and to the events dedicated to it, such as the International Dance Festival Miradas del cuerpo, and also to non-formal theatrical training spaces, courses, seminars and schools. The author also analyzes children's or family theater, the presence of women in it and its main objectives.

En este artículo se realiza un recorrido por el panorama teatral madrileño femenino. Se habla de autoras de teatro en español de actualidad, sus modos de creación, los temas y géneros trabajados y sus inquietudes. Se exponen también las diferentes compañías de teatro en las que todas o prácticamente todas las integrantes son mujeres, su funcionamiento, estilo de trabajo y medios, así como los espacios, las salas alternativas más importantes de Madrid. Se dedica un espacio a la danza y a los eventos dedicados a esta, como el Festival Internacional de Danza Miradas del Cuerpo, y también a los espacios de formación teatral no formales, cursos, seminarios y escuelas. La autora también analiza el teatro infantil o familiar, la presencia de mujeres en este y sus objetivos principales., This article takes a tour of the Madrid female theater scene. It talks about current Spanish theater authors, their modes of creation, the themes and genres worked on, and their concerns. The different theater companies in which all or practically all the members are women are also exposed, as well as their operation, work style and media, as well as the spaces, the most important alternative rooms in Madrid. A space is dedicated to dance and to the events dedicated to it, such as the International Dance Festival Miradas del cuerpo, and also to non-formal theatrical training spaces, courses, seminars and schools. The author also analyzes children's or family theater, the presence of women in it and its main objectives.

En este artículo se realiza un recorrido por el panorama teatral madrileño femenino. Se habla de autoras de teatro en español de actualidad, sus modos de creación, los temas y géneros trabajados y sus inquietudes. Se exponen también las diferentes compañías de teatro en las que todas o prácticamente todas las integrantes son mujeres, su funcionamiento, estilo de trabajo y medios, así como los espacios, las salas alternativas más importantes de Madrid. Se dedica un espacio a la danza y a los eventos dedicados a esta, como el Festival Internacional de Danza Miradas del Cuerpo, y también a los espacios de formación teatral no formales, cursos, seminarios y escuelas. La autora también analiza el teatro infantil o familiar, la presencia de mujeres en este y sus objetivos principales., This article takes a tour of the Madrid female theater scene. It talks about current Spanish theater authors, their modes of creation, the themes and genres worked on, and their concerns. The different theater companies in which all or practically all the members are women are also exposed, as well as their operation, work style and media, as well as the spaces, the most important alternative rooms in Madrid. A space is dedicated to dance and to the events dedicated to it, such as the International Dance Festival Miradas del cuerpo, and also to non-formal theatrical training spaces, courses, seminars and schools. The author also analyzes children's or family theater, the presence of women in it and its main objectives.

En este artículo se realiza un recorrido por el panorama teatral madrileño femenino. Se habla de autoras de teatro en español de actualidad, sus modos de creación, los temas y géneros trabajados y sus inquietudes. Se exponen también las diferentes compañías de teatro en las que todas o prácticamente todas las integrantes son mujeres, su funcionamiento, estilo de trabajo y medios, así como los espacios, las salas alternativas más importantes de Madrid. Se dedica un espacio a la danza y a los eventos dedicados a esta, como el Festival Internacional de Danza Miradas del Cuerpo, y también a los espacios de formación teatral no formales, cursos, seminarios y escuelas. La autora también analiza el teatro infantil o familiar, la presencia de mujeres en este y sus objetivos principales., This article takes a tour of the Madrid female theater scene. It talks about current Spanish theater authors, their modes of creation, the themes and genres worked on, and their concerns. The different theater companies in which all or practically all the members are women are also exposed, as well as their operation, work style and media, as well as the spaces, the most important alternative rooms in Madrid. A space is dedicated to dance and to the events dedicated to it, such as the International Dance Festival Miradas del cuerpo, and also to non-formal theatrical training spaces, courses, seminars and schools. The author also analyzes children's or family theater, the presence of women in it and its main objectives.

How can a playwright share authorial control with a group of actors when creating a new play script? How does the individual playwright address matters of genre, form, style and structure to create a unifying theme, while remaining true to the dramatic intention and aesthetics of the group? What impact will the collaborators have on a playwright's work? Will they help or hinder the writing process? This exegesis closely follows the creation of a new play, The Woods, in a process where the playwright intended to facilitate a collaborative process with the actors rather than act as sole author. Issues arising in this mode of working include the real meaning of sole authorship, aesthetic integrity and creative power balance. The analysis of these issues will have relevance for theatre practitioners working in collaborative contexts.

Full Text, Thesis (PhD Doctorate), Doctor of Philosophy (PhD), School of Vocational, Technology and Arts Education, Faculty of Education, This thesis investigates contemporary Australian script dramaturgy as a form of mentoring. It analyses conventional dramaturgical practices, and the forms of professional development for dramaturgs and playwrights currently used by the arts industry. These issues are explored through two case studies that are self-reflective descriptions of my dramaturgical practice in different playwrighting contexts. Although there is considerable international literature on the practice of production dramaturgy, there is extremely limited literature on the subject of Australian dramaturgy. While dramaturgy has often been the subject of industry debate, few dramaturgs have discussed or analysed the specificities of their practice. As an extensive investigation of personal dramaturgical practice my thesis is unique, and therefore makes a significant contribution to the literature on Australian dramaturgy. My research discovered that there were considerable congruencies between dramaturgy and mentoring, which constitute the main forms of development for writers and new work in the Australian arts industry. Mentoring theory therefore provides the conceptual framework of my research. My research uses a modified form of feminist phenomenography as its methodology. Data was analysed using a combination of feminist research and phenomenographic techniques. Data was primarily collected through interviews with the research participants; my own work notes; and personal reflections. An inclusive approach to my research invited the participants to comment on and contribute to the analysis of their own interviews and case studies. The first case study describes my experiences as dramaturg for Queensland playwright, Margery Forde in the development of X-Stacy (1998). The second case study describes my experiences in the collaborative development of a satirical cabaret Slings and Arrows (1999) with WIT, an unfunded, feminist theatre group. Each of these case studies represents, respectively, a m

This thesis investigates contemporary Australian script dramaturgy as a form of mentoring. It analyses conventional dramaturgical practices, and the forms of professional development for dramaturgs and playwrights currently used by the arts industry. These issues are explored through two case studies that are self-reflective descriptions of my dramaturgical practice in different playwrighting contexts. Although there is considerable international literature on the practice of production dramaturgy, there is extremely limited literature on the subject of Australian dramaturgy. While dramaturgy has often been the subject of industry debate, few dramaturgs have discussed or analysed the specificities of their practice. As an extensive investigation of personal dramaturgical practice my thesis is unique, and therefore makes a significant contribution to the literature on Australian dramaturgy. My research discovered that there were considerable congruencies between dramaturgy and mentoring, which constitute the main forms of development for writers and new work in the Australian arts industry. Mentoring theory therefore provides the conceptual framework of my research. My research uses a modified form of feminist phenomenography as its methodology. Data was analysed using a combination of feminist research and phenomenographic techniques. Data was primarily collected through interviews with the research participants; my own work notes; and personal reflections. An inclusive approach to my research invited the participants to comment on and contribute to the analysis of their own interviews and case studies. The first case study describes my experiences as dramaturg for Queensland playwright, Margery Forde in the development of X-Stacy (1998). The second case study describes my experiences in the collaborative development of a satirical cabaret Slings and Arrows (1999) with WIT, an unfunded, feminist theatre group. Each of these case studies represents, respectively, a m, Thesis (PhD Doctorate), Doctor of Philosophy (PhD), School of Vocational, Technology and Arts Education, Faculty of Education, Full Text

Arts & Architecture, Rachel Crother's reception; reception for New York playwright (born in Bloomington, IL), 1942

Arts & Architecture, Rachel Crother's reception; reception for New York playwright (born in Bloomington, IL), 1942

Arts & Architecture, Rachel Crother's reception; reception for New York playwright (born in Bloomington, IL), 1942

Arts & Architecture, Rachel Crother's reception; reception for New York playwright (born in Bloomington, IL), 1942

Arts & Architecture, Rachel Crother's reception; reception for New York playwright (born in Bloomington, IL), 1942

Arts & Architecture, Rachel Crother's reception; reception for New York playwright (born in Bloomington, IL), 1942

Arts & Architecture, Rachel Crothers, New York playwright and native of Bloomington, IL, 1935

Arts & Architecture, Rachel Crothers, New York playwright and native of Bloomington, IL, 1935

Arts & Architecture, Rachel Crothers, New York playwright and native of Bloomington, IL, and her sister, Bloomington, IL 1935

Arts & Architecture, Rachel Crothers, New York playwright and native of Bloomington, IL, and her sister, Bloomington, IL 1935

Arts & Architecture, Rachel Crothers, New York playwright and native of Bloomington, IL, 1935

Seibel, author of several plays, coaches the Men's Club of Temple Israel in a new play, 'In Old Vienna.'

Smith, Minneapolis attorney, is the author of the play 'Family Skeletons,' which is being produced at the Shubert theater.

0:25 - Introduction with Phill Lindsay; 1:02 - Joan Klaiber, Brad Smith, and Scott Sayre on the Fourth International Symposium on Electronic Art, hosted by the Minneapolis College of Art and Design, with Phill Lindsay; 13:04 - Clip from 'La Grande Rue' by Herve Huitic, Monique Nahas, and M. Hiline Tramus; 13:51 - Clip from 'Acuarinto' by Javier Mariscal; 15:14 - Mary Katherine Johnson on arts consultancy and the Minnesota Sinfonia, with Phill Lindsay; 27:54 - Phill Lindsay tours the renovations of the Orpheum Theater; 38:26 - Kevin Kling on storytelling and his career, with Phill Lindsay; 54:05 - Artifacts Events Calendar and Close, Originally recorded on VHS tape; Converted to mp4 format

00:34 - Introduction with Phill Lindsay; 2:29 - Video Clip on Minnesota Fringe Festival; 3:52 - Karen Naylor on Being a Glass Sculptor, with Phill Lindsay; 17:02 - Art Quote; 17:38 - Artifacts News; 20:23 - Video Clip of Playwright Lesyle Orr; 21:16 - Bob DeFlores on Films From His Archives, with Phill Lindsay; 35:16 - Video Flashback of Magical Mystical Michael (1994); 38:17 - Dawn Renee Jones on Theater Performances at Alchemy Theater, with Phill Lindsay; 50:45 - Preview of Youth Performing Company's Annual Young Artists Council Production; 56:32 - Artifacts Events Calendar; 58:32 - Close, Originally recorded on VHS tape; Converted to mp4 format

0:39 - Introduction with Phill Lindsay and Janet Zahn; 2:46 - Childhood Diabetes Public Service Announcement; 3:17 - David Moe and Lucinda Winter on Producing Television Spots for Charitable Organizations, with Janet Zahn; 14:22 - Video Spot for the We Can Ride Program of the Minnesota Equestrian Foundation by Lee Pictures; 17:10 - Arts News; 18:49 - Public Service Announcement on Fetal Alcohol Syndrome; 19:33 - Playwright Jaime Meyer on Religion, Theater and His Travel Among the Hmong in Thailand, with Phill Lindsay; 29:48 - Public Service Announcement for Catholic Charities; 30:59 - Joe Horse Capture on Being a Curator at the Minneapolis Institute of Art, with Phill Lindsay; 42:28 - Musical Performance 'Deep Magic' by Martha Rossiter and Todd Price; 46:07 - Public Service Announcement for the American Red Cross; 47:04 - Arts Calendar/Close, Originally recorded on VHS tape; Converted to mp4 format, This object is referenced in Umbra Search African American History

0:00 - Introduction and Art News with Phill Lindsay and Janet Zahn; 4:34 - Art Giveaway; 5:10 - Casey Stengel from Eye of the Storm Theater, with Phill Lindsay; 12:40 - Kjersti Monson on Her Art, with Phill Lindsay; 22:56 - Film Clip From Midwest Film and Video Showcase at Walker Art Center; 26:03 - James Byrne on Teaching Screenwriting at Metro State University, with Janet Zahn; 37:23 - Art Quote; 37:39 - Linda Z. Andrews and Susana Tambutti on Productions From the Zenon Dance Company, with Phill Lindsay; 51:23 - Film Clip From 'Werewolf' on Mystery Science Theater; 54:13 - Poetry Reading of 'Lamb' by Michael Dennis Brown; 56:10 - Arts Calendar/Close, Originally recorded on VHS tape; Converted to mp4 format

0:43 - Introduction with Phill Lindsay; 4:08 - Art Quote; 4:38 - Playwright and Actor Leslye Orr on Her Comedy Act 'Women Who Drink,' with Phill Lindsay; 15:43 - Artifacts News; 17:50 - Art Fact; 18:20 - Heather Ross and Jeffery Ross on Project Human, with Phill Lindsay; 30:15 - Video Flashback to American Cultural Arts Society at City Center (1993); 36:40 - Studio Artist Ken Wenzel, with Phill Lindsay; 47:38 - Michelle Myers Berg Reading from 'Night Is Coming' by W. Nikola-Lisa and Jamichael Henterly; 52:56 - Artifacts Events Calendar; 54:59 - Close, Originally recorded on VHS tape; Converted to mp4 format