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Dissertations

Dissertations-in-Progress [Supervisor]

ESLING, Natalia:
“Adaptive Sense-Making: The Effects of Sensory Modification on Audience Reception.” [B. Barton]

FRIJIA, Natalie:
“Representing Environmental Identities Through Geodramas.” [S.Johnson]

GREYSON, John:
“The Limits of Cultural Solidarity: Queer Bodies, Queer Screens, and the Cultural Boycott of Israel.” [Michael Cobb]

JANSEN, David:
“Cultural Study of Directorial Adaptation.” [M. Revermann]

JONES, Matthew:
“The Shock and Awe of the Real: Political Aesthetics and Theatre of the War on Terror.” [B. Freeman]

LAWRIE, Johanna:
“Appraising the Arts: Multiplicity of Value in Toronto’s Theatre Industry.” [B. Freeman]

LIOR, Noam:
“Weak Kings, Jews, and Wizards: Performance Dramaturgy in Shakespeare and Marlowe.” [J.H. Astington]

LUCCI, Laura:
“Pirandello’s Dramaturgy of Time.” [D. Pietropaolo]

MATHIESON, Natalie:
“Witnessing Trauma, Enacting Resistance: Concentration Camp Cabaret as Creative Testimony.” [M. Kingwell]

ORTUZAR, Jimena:
“Performing Affective Citizenship: Latina Migrant Workers and the Politics of Belonging.” [A. Quayson]

REINHART, Michael:
“Towards a Systems-Based Understanding of Devised Theatre.” [S. Johnson]

SHEPHERD, Lauren:
“‘Somewhat Crossed in the Braine’: Diagnosing Performed Distraction on the Early Modern Stage.” [J. Lopez]

SILVER, Cassandra:
“Getting in on the Action: Intermedial Technology and the Empowered Spectator.” [T. Trojanowska]

SMITH, Grace:
“Models of Professionalism: Post WWI Strategies and Ideologies Towards a Canadian, Professional Theatre.” [N. Copeland]

STOWELL-KAPLAN, Isabel:
“They Did the Police in Different Voices: Representations of the Policeman and Private Detective in Victorian Drama, Theatre and Performance.” [S. Johnson]

VERDECCHIA, Guillermo:
“Staging Latin-American Revolutionary Memory in Canada.” [S. Johnson]

VIVASH, Kelsy:
“Blood, Sweat, and Tears (etc.): Bodily Fluids in Theatre, Drama and Performance.” [S. Johnson/T.N. Cesare Shotzko]

WILLIAMSON, Ashley:
“Living Canada’s History: Troubling the Narratives of Canadian History Through Museum Performance.” [N. Copeland]

2016

BABAYANTS, Art:
“In Unknown Languages”: Investigating the Phenomenon of Multilingual Acting [K. Gallagher]

BOYE, Seika:
Looking for Social Dance in Toronto’s Black Population at Mid-century: A Historiography [S. Johnson]

COLE, Jenn:
Hysteria: Potential Dramaturgies Toward a Portrait of Ambiguity [S. Johnson]

KOVACS, Sasha:
“I may act till the world grows wild and tense”: The Performances of E. Pauline Johnson Tekahionwake [S. Johnson]

LIEBEMBUK, Shelley:
The Choteadora’s Body in Performance: Carmelita Tropicana and the Intersectional Strategy of Choteo [S. Johnson]

TAUCAR, Jacqueline:
Acting (Outside) the Multicultural Script in Toronto’s Ethno-cultural Festivals [A. Budde]

2015

ASHBY, James:
“Ideas in Motion: New Work Development at Puppetmongers Theatre Company.” [B. Barton]

BABIAK, Paul:
“Slapstick and Knockabout: Violence and Laughter in 19th-Century Theatre and Early Film.” [S. Johnson/ C. Keil]

BLUM, Justin:
“Melodrama, Monstrosity and Modernity: The Theatrical Histories of Jack the Ripper.” [S. Johnson]

CAMPBELL, Melissa:
“Acts of Resistance: The Reclaiming of Native Womanhood in Canadian Aboriginal Theatre.” [B. Barton]

FITZSIMMONS FREY, Heather:
“Young Adult Spectatorship and Theatre for Young Audiences.” [K. Gallagher]

2014

CAUTHON, Courtney:
“Moving Towards Thought: Theatricality, Technology, and the Theatre” [T. Trojanowska]

CHUNG, Kathy:
“Getting it Straight:” Ambivalent Misalignment and the Kinship Idiom in the Drama of Sharon Pollock” [R. Plant]

JORDÃO, Aida:
“Iñes de Castro in Theatre and Film: A Feminist Exhumation of the Dead Queen” [N. Copeland]

OSAKWE, Chima:
“Revolutionary Drama in Postcolonial Nigeria: The Theatre of Femi Osofisan.” [U. Esonwanne]

2013

HALFERTY,  Paul J.:
“Political Stages: Gay Theatre in Toronto, 1967-1985” [A. Most]

HOULE, Gabrielle:
“Masks and Masked Performance in Giorgio Strehler’s Vision of the Commedia dell’arte.” [D. Pietropaolo]

JACKMAN, Christopher:
“Disciplined Mind: Implicit Cognition in Devised Performance.” [B. Barton]

MacARTHUR, Michelle:
“Re-viewing Reception: Criticism of Feminist Theatre in Montreal and Toronto, 1976 to the Present.” [N. Copeland]

TURNER, Mark:
“Dissenting Shadows: A History of Film Policy and Production in Newfoundland and Labrador, 1933-1997” [S. Johnson]

2012

CORBETT MCCALLUM, Natalie:
“Staging Canlit: Reinterpreting the Canadian Literary in English-Language Stage Adaptations of Canadian Fiction and Poetry from 1975-2011” [B. Barton]

RICH, Alysse:
“Re-configuring the Chorus: Adaptations of the Greek Tragic Chorus since WWII [M. Revermann]

2011

JOVANOVIC, Nenad:
“Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins and Lars von Trier” [S. Soldovieri]

PAPOUTSIS, Natalie:
“An Ear for an Eye: Greek Tragedy on Radio” [D. Pietropaolo]

ZAIONTZ, Keren:
“The Stagehands of Subversive Spaces: Site-specific Performance and Audience Labour ” [N. Copeland]

2010

BENABU, Joel:
“Shakespeare’s Openings in Action: A Study of Four Plays from the Period 1591- c.1602,” [J.L. Levenson]

CARTER, Jill:
“Repairing the Web: Spiderwoman’s Children Staging the New Human Being.” [P. Sperdakos]

FREEMAN, Barry:
“Toward a Postmodern Ethnography of Intercultural Theatre: An Instrumental Case-study of the Prague-Toronto-Manitoulin Theatre Project.” [K. Gallagher]

MANOLE, Diana:
“Poetics of Denial: Expressions of National Identity and Imagined Exile in English-Canadian and Romanian Dramas.”
[R. Plant]

STUART MCKINNON, James:
“The Dramaturgy of Appropriation: How Canadian Playwrights Use and Abuse Shakespeare and Chekhov.” [N. Copeland]

 2009

BORODY, Claire:
“Primus Theatre: Establishing an Alternative Model for Creating Theatre in English Canada.” [B. Barton]

COLLI, Gian Giacomo:
“The Impossible Tempest: Giorgio Strehler or the Director as Interpreter.” [J.H. Astington]

HARROWER, Natalie:
“The Performance of Critical History in Contemporary Irish Theatre and Film.” [C. Keil]

MALONE, Toby:
“Hast Thou Been Tampering? – Dramaturgical Adaptation in Richard III.” [J.L. Levenson]

MARQUIS, Elizabeth:
“Just Act Naturally: A Poetics of Documentary Performance.” [C. Keil]

MELO, Sergio:
“Deconstructing the Transhistorical in Contemporary Productions of The Merchant of Venice.” [J.H. Astington]

OVADIJA, Mladen:
“The Dramaturgy of Sound in Futurist Performance.” [D. Pietropaolo]

STATHAKI, Aktina:
“Adaptation and Performance of Greek Drama in Post-Apartheid South Africa.” [A. Quayson]

WHITTAKER, Robin:
“Un/Disciplined Performance: Nonprofessionalized Theatre in the Professional Era” [B. Barton]

WOLFE, Graham:
“Encounters with the Real: A Žižekian Approach to the Sublime and the Fantastic in Contemporary Drama.” [B. Barton]

2008

GARDINER, Jessica:
“The Amusement World”: Theatre as Social Practice in Eighteen-Nineties Toronto.” [R. Plant}

SCHREYER DUARTE, Birgit:
“Made in Kanada? Perception and Construction of Canadianness in English-Canadian Drama on German Stages.” [B. Barton]

2007

ADAH, Anthony:
“Embodying the Screen: Body and Identity in Aboriginal Cinemas.” [K. Armatage]

ALVAREZ, Natalie:
“The Poetics of Regret: Performance as Nostalgia.” [S. Johnson]

ASHPERGER, Cynthia:
“Michael Chekhov’s Acting Technique in Contemporary Pedagogy and Practice.” [P. Sperdakos]

DEL DEGAN, Dario:
“The Staged Painting of Samuel Beckett.” [P. Howard]

DEVINE, Michael:
“Necessary Evils: Strangers, Outsiders, and Outposts in Newfoundland Drama.” [B. Barton]

OLAYIA, Kolawole:
“The Poetics and Politics of Wole Soyinka and Athol Fugard.” [N. ten Kortenaar]

RACETTE, Anna:
“Shakespeare in the Body: An Exploration of Student Audiences at the Stratford Festival.” [J.H. Astington]

STEDMAN, Samuel:
“Always Already Almost: Levinas, Derrida, and An Ethico-Political Theatre.” [S. Johnson]

STOESSER, Paul:
“Hart House and the International Art Theatre.” [D. Pietropaolo]

2006

GILBERT, Schuyler (Sky):
“Noel Coward and the Queer Feminine.” [S. Johnson]

2005

GLUHOVIC, Milija:
“Memory-Theatre of Harold Pinter, Tadeusz Kantor, and Heiner Müller.” [T. Trojanowska]

2004

CASE, Mary:
“The Lost Plays of the Beat Generation: Dramaturgical Strategies for the Production of Plays by Kenneth Rexroth, Kenneth Patchen, Lawrence Ferlinghetti, and Diane Diprima.” [D.A. Blostein]

DUCHESNE, Scott:
“‘Fitful Excellence’: The Great Canadian Theatre Company and English-Speaking Ottawa Theatre, 1975-1983.” [R. Plant]

LINDGREN, Allana:
“Dance as Social Activism: The Theory and Practice of Franziska Boas, 1933-1965.” [S. Johnson]

ORMSBY, Robert:
“Staging and Receiving Shakespeare: Four Late Twentieth-Century Productions of Coriolanus.” [J.L. Levenson]

QUINT, Cordula:
“Dramaturgy and Mise en Scene of the Post Modern Abyss: Subjectivity in Robert Wilson’s Theatre, 1967-1987.” [D. Pietropaolo]

RUSCH-DRUTZ, Corinne:
“Interviewing the Mothers of Invention: A Qualitative Analysis of Women Theatre Practitioners in Toronto.”
[H. Murray/ R. Plant]

SCHWEITZER, Marlis:
“Becoming Fashionable: Actresses, Fashion, and the Development of American Consumer Culture, 1893-1919.”
[S. Johnson]

SOLGA, Kimberley:
“Invisible Acts: Performing Violence Against Women in Early Modern and Contemporary Drama in English.”
[N. Copeland]

2003

D’ANGER, Tanya:
“New World Visions: A Textual Analysis of the Plays of Normand Chaurette, René-Daniel Dubois, and Jean-Marc Dalpé, from 1975-1996, Exploring Their Growing Preoccupation with the Status and Role of the Individual in Western Society.”
[L.E. Doucette]

FITZPATRICK, Elizabeth:
“The Emergence of a Post-National Aesthetic in Contemporary Irish Drama 1980-2000.” [M.J. Sidnell]

MEERZON, Yana:
“Actor, Stage Figure and Dramatic Character Semiosis in Michael Chekhov’s Theatre Practice and Theory.” [V. Ambros]

STEPHENSON, Jennifer:
“Uplifted to the View: A Phenomenology of Shakespearean Metatheatre.” [A.M. Leggatt]

WALKINSHAW, Anges:
“A Foundation of Knowledge About Drama within the Primary and Junior Education System.” [J. Wilkinson]

2002

BEDDOWS, Joël:
“L’institution Théâtrale Franco-Ontarienne (1971-1991): Entre Mission Communautaire et Ambition Professionnelle.”
[M. O’Neill-Karch]

COULTHARD, Lisa:
“Trauma Talk: Theorizing Violence and Victimization in Contemporary Performance.” [N. Copeland]

KYDD, Zorana:
“From Vaudeville to Broadway: The Theatre of George Kelly.” [B. Hayne]

REID, Sharon:
“The Stages of Augustin Daly.” [R. Bryden]

SIMM, Teresa:
“Antonia Pulci and the Practice of Convent Performance in Renaissance Italy.” [D. Pietropaolo]

SKIDMORE, James:
“A Critical Analysis of Cirque du Soleil, 1987-2001.” [P. Bouissac]

2001

AKALIN, Esin:
“Discovering Self and Other: Representation of Ottoman Turks in English Drama (1656-1792.” [B. Corman]

CARPENTER, Ian:
“Comic Violence: from Commedia dell’Arte to Contemporary Cinema.” [B.S. Hayne]

JESTROVIC, Silvija:
“Making the Familiar Strange in Theatre and Drama: From Russian Formalist Avant-Garde to Brecht.” [V. Ambros]

Johnston, Kirsty:
“Staging Madness: Dramatic Modes of Representing Mental Illness at the Workman Theatre Project, 1989-2001.” [R. Plant]

 2000

COCKETT, Peter:
“Incongruity, Humour and Early English Comic Figures: Armin’s Natural Fools, the Comic Vices, and Tarlton The Clown.” [J.H. Astington]

COSTELLO, Charles:
“For any Spirringes in Pat Space: The Theatrical Game of the York Plays.” [A.F. Johnston]

GALERY, Maria-Clara: “Identifying Strategies for the Production and Reception of Shakespeare in Brazil and Argentina.” [E. Neglia/ R. Sternberg]

SIVAK, Nadine:
“‘Howwe gonna find my Me?’: Situating the Self in Contemporary North American Drama and Film.” [C. Flinn]

1999

BENDIKAS, Kristina:
“Opera Productions of Jean-Pierre Ponnelle: The American Years (1958- 1986).” [L.-L. Marker]

CEOLIN, Mark:
“Francesco Algarotti and Francesco Milizia: Architectural and Dramatic Theorists of the Italian Enlightenment.”
[D. Pietropaolo]

HARRIES, Rebecca:
“The Monstrous World and its Shadow – The Grotesque Aesthetic and the Apocalyptic in German Expressionist Drama and Film.” [B.S. Hayne]

SHIH, Wen-Shan:
“Intercultural Theatre: Two Bejing Opera Adaptations of Shakespeare.” [A.M. Leggatt]

WEISS, Peter:
“Forgotten Reality, Remembered Fiction: Production Values and Court Opera, 1598-1608.” [D. Pietropaolo/ M.A. Parker]

1998

APPLEFORD, Robert:
“The Indian ‘Act’: Postmodernism and Native Canadian Performance.” [R. Plant]

GOLOMB, Liorah:
“Peter Barnes and the Nature of Authority.” [A.M. Leggatt]

HERR, Christopher:
“Life Printed on Dollar Bills: The Idea of the Marketplace in Clifford Odets.” [F.J. Marker]

JAFFE, Erith:
“Towards a Paradigm of the Polylingual Performance: Linguistic and Metalinguistic Functioning in the Commedia dell’Arte.” [D. Pietropaolo]

MANN, Laurin:
“Actor Training in Toronto: Theory in Practice.” [M.J. Sidnell]

MOSER, Marlene:
“Postmodern Performance and Feminist Practice in the Canadian Context: A Study of Identity in Selected Plays of Judith Thompson and Margaret Hollingsworth and Selected Films of Patricia Gruben.” [D. de Kerckhove]

PICCOLO, Cynthia:
“The Characterization of the Judge in English Medieval and Tudor Drama.” [D.N. Klausner]

RUSNAK, Stephen:
“A Phenomenology of Dramatic Dialogue.” [D. Pietropaolo]

SCOVELL, Dawn:
“A Performance History of Christopher Marlowe’s Edward II on the British Stage and Screen.” [J.L. Levenson]

SHILLER, Romy:
“A Critical Exploration of Cross-Dressing and Drag in Gender Performance and Camp in Contemporary North American Drama and Film.” [C. Flinn]

1997

ANDREWS, Una:
“Tyrone Guthrie and the Open Stage Controversy in Post-War Britain.” [R. Bryden]

FREEMAN, Sarah Jane:
“‘Speake That I May See Thee’: Figures of Rhetoric in Shakespeare’s Comedies.” [J.L. Levenson]

HANSON, Richard:
“Principal Witness: Herbert Whittaker and Canadian Drama.” [R. Bryden]

LITTLE, Edward:
“Theatre and Community: A Case Study of Four Colway-Style Plays Performed in Canada.” [R.B. Parker]

SCOTT, Shelley:
“Feminist Theory and Nightwood Theatre.” [M.J. Sidnell]

SOKALASKI, Joseph:
“The Theatre of Steele MacKaye: Pictorial Illusion on the American Stage.” [L.-L. Marker]

STOEBER, Colette:
“Harold Pinter’s Play with Form: a Cross-Media Analysis of His Texts.” [F.J. Marker]

1996

MIGLIARISI, Anna:
“Theories of Directing in Late Renaissance and Early Baroque Italy.” [D. Pietropaolo]

TALLMAN, Kenneth:
“Challenges to Representation in Selected Stage Plays of Samuel Beckett.” [A. Saddlemyer]

1995

BARTON, Bruce:
“Changing Frames: Medium Matters in Selected Plays and Films of David Mamet.” [R. Bryden]

RAE, Elizabeth:
“Christopher Newton’s Years at the Shaw Festival, 1980-1993.” [A. Saddlemyer]

REDONDO, Susana:
“The Female Spectator as Subject in Contemporary British Drama.” [A. Saddlemyer]

SCOTT, Robert:
“Professional Companies and Performers in Ontario, 1914 to 1967.” [A. Saddlemyer]

SIVERSKY, Sandra:
“The Role of the Designer in Canadian Theatre.” [A. Saddlemyer]

STEINACKER, Wiltrud:
“Georg Fuchs and the Concept of the Relief Stage.” [H. Jaumann]

UNDERHILL, Jacqueline:
“The Staging of Biblical Plays in Coventry, 1392 to 1579.” [A.F. Johnston]

WISE, Jennifer:
“Prolegomenon to the Study of Dramatic and Theatrical Theory.” [D. de Kerckhove]

1994

DEFRAEYE, Piet:
“Shocking the Audience: A Study of Audience Provocation in the Theatre with Special Reference to Arrabal, Handke and Brenton.” [M.J. Sidnell]

PRESS, Anita:
“Sadler’s Wells Theatre under Charles Dibdin the Younger from 1800 to 1819: When Britannia Ruled the Stage.” [L.-L. Marker]

1993

KERR, Rosalind:
“The Actress as Androgyne in the Commedia dell’Arte Scenarios of Flaminio Scala.” [D. Pietropaolo]

TROJANOWSKA, Tamara:
“Slawomire Mrozek and Vaclav Havel: Moral Theatre of Identity in Crisis.” [R. Bryden]

1992

BAIN, Theodore:
“The Theme of Intellectual Dandyism in Modern British Drama: A Study of Simon Gray.” [R. Bryden]

COTTREAU, Deborah:
“Text, Context and Decentring the ‘I’: Beckett’s Later Stage Plays.” [A. Saddlemyer]

GANTAR, Jure:
“Dramaturgical Strategies for Producing Laughter.” [M.J. Sidnell]

GIBSON, Sarah:
“Canadian Plays for Young Audiences: James Reaney, Carol Bolt and Dennis Foon.” [A. Saddlemyer]

NICHOLS, Glen:
“Textual Adaptations for Amateur Performances in Quebec, 1875-1908.” [L.E. Doucette]

NICHOLS, Louise:
“Silent Characters in Shakespeare’s Plays: Texts and Productions.” [J.H. Astington]

SLONIOWSKI, Jeannette:
“Cinema of Cruelty: Affective Rhetoric in Film.” [J. Skvorecky/ R. Bryden]

SMIGEL, Elizabeth:
“Dance as a Dramaturgical Device in Victorian Drama: the Plays of Charles Selby, 1802-1863.” [R. Bryden]

WALKER, Craig:
“Versions of the ‘Poetic’ in Canadian Drama.” [D.A. Blostein]

WEAVER, Bronwyn:
“Empowering the Children: Theatre for Young Audiences in Canada.” [R. Courtney]

1991

HAUCK, Gerhard:
“Reductionism in Drama and the Theatre: the Case of Samuel Beckett.” [D.A. Blostein]

JONES, Sally L.:
“The Original Characters of Edwin Forrest and his American Style.” [L.-L. Marker]

MICHEL, Barbara:
“Orchestration of Light, Space and Form: The Role of the Art Director in the Classical Hollywood Cinema.”
[C.D.E. Tolton]

1990

DWYER, Ruth:
“Malcolm St. Clair, 1897-1957.” [J. Skvorecky]

KIRKLEY, R. Bruce:
“Theatre into Television: Practice and Theory in English-Canadian Drama, 1951-1987.” [A. Saddlemyer]

SMITH, Catherine:
“Parody in the Plays and Productions of George F. Walker.” [R.B. Parker]

SPERDAKOS, Paula:
“Dora Mavor Moore: Her Career in Canadian Theatre.” [R. Bryden]

1989

BLASTING, Ralph:
“The Kunzelsau Corpus Christi Play: A Dramaturgical Analysis.” [A.F. Johnston]

CHIBA, Yoko:
“The Influence of the Noh In Yeats’s Theatre.” [M.J. Sidnell]

1988

FORT, Timothy Fort:
“Incandescence and the Birth of Modern Lighting Design, 1895-1925.” [L.-L. Marker]

PILKINGTON, Lionel:
“The Northern Ireland Crisis in Contemporary Irish and British Drama.” [A. Saddlemyer]

ROCKETT, William:
“The Savage Cinema: Transcendence in the Film of Terror.” [J. Skvorecky]

WALSH, Paul:
“Strindberg’s New Naturalism.” [L.-L. Marker]

1987

DAY, Moira:
“The Influence of Elizabeth Sterling Hayes on the Alberta Theatre Movement.” [A. Saddlemyer]

JOHNSTON, Denis:
“Toronto’s Alternate Theatres in the 1970s.” [A. Saddlemyer]

PEEL, William:
“The Role of the Dramatic Text in the Theory and Practice of Jacques Copeau.” [L.-L. Marker]

REWA, Natalie:
“Amateur and Garrison Theatricals in Kingston and Quebec City, 1800-1880.” [A. Saddlemyer/ L.E. Doucette]

SCHILLER, Chris:
“Dramatic Language in the Plays of Stoppard, Shaffer, Bond and Arden.” [M.J. Sidnell]

1985

ABEL, Douglas:
“The Acting of Edmund Kean, Tragedian.” [L.-L. Marker]

COPELAND, Nancy:
“Spranger Barry, Garrick’s ‘Great Rival’: His Contribution to 18th-Century Acting.” [L.-L. Marker]

FILEWOOD, Alan:
“The Development and Performance of Documentary Theatre in English-Speaking Canada, 1959-1980.” [M.J. Sidnell]

WAGNER, Anton:
“Herman Voaden’s Symphonic Expressionism.” [A. Saddlemyer]

WESTLEY, Meg:
“A Stage History of Troilus and Cressida.” [L.-L. Marker]

1984

BLAGRAVE, Mark:
“Playwriting in the Maritime Provinces, 1845-1903.” [A. Saddlemyer]

FORBES PARK, Alan:
“The Dramas of Edward Bulwar, First Lord Lytton: An Historical, Thematic and Stylistic Evaluation.” [R. Davies]

KLEBER, Pia:
“The Influence of Bertolt Brecht on Roger Planchon’s Mises en Scene.” [D.A. Blostein]

LENTON, Gerald Bartley Bruce:
“The Development and Nature of Vaudeville in Toronto, 1899-1915.” [A. Saddlemyer]

LYNDE,  Denyse C:
“Myth and Image-Makers: A Study of the Plays of Gwen Pharis Ringwood and Lady Gregory.” [A. Saddlemyer]

WESTFALL, Suzanne R.:
“The Entertainment of a Noble Patron: Early Tudor Household Revels.” [D.I. Lancashire]

1983

GARDNER, David Emmett:
“An Analytic History of the Theatre in Canada: The European Beginnings to 1760.” [R. Davies]

PARRY, David Mackenzie:
“The Castle of Perseverance: a Critical Edition.” [J. Leyerle]

RUDAKOFF, Judith D.:
“Characterization and Interaction in the Plays of David French, David Freeman, Michel Tremblay and David Fennario.” [A. Saddlemyer]

SKENE, Reginald R.:
“Theatre and Community: Development Toward a Professional Theatre in Winnipeg, 1897-1958.” [R. Bryden]

1982

BUTLER, Susan Hardy:
“A Shakespeare Scrutiny.” [R.B. Parker]

ELLIOTT, Hilary M.:
“Images of Society in English-Canadian Drama, 1919-1975.” [A. Saddlemyer]

GASKELL, Ian:
“The Ironic Perspective in Marlowe’s Plays.” [M. Maclure]

O’DELL, Leslie Ann:
“Theatrical Events in Kingston, Ontario: 1879-1897.” [R. Davies]

1981

MUCH, Rita E.:
“The Staging of Ibsen’s Modern Plays in England.” [L.-L. Marker]

SALTER, Denis William Salter:
“A Stylistic Analysis of Henry Irving’s Non-Shakespearean Productions, 1870-1905.” [L.-L. Marker]

1980

COOPER, Thomas William:
“Pioneers in Communicating: The Lives and Thought of Harold Innis and Marshall McLuhan.” [J. Skvorecky]

HENDRICKX, Johan R.:
“Ben Travers and the English Farce Tradition.” [R. Bryden]

LEVINE, Ira:
“Theatre in Revolt: Left-Wing Dramatic Theory in the United States (1911-1939).” [A. Saddlemyer]

REDFERN, Jon:
“To Refine and Reform the English Stage: A Study of James Robinson Planche’s Scenic Reforms, 1820-1850.” [L.-L. Marker]

RITTENHOUSE, Jonathan:
“A Critical Edition of 1 Sir John Oldcastle.” [A.C. Lancashire]

USIN, Lea V.:
“From Scatology to Eschatology: Religious Elements in the Drama of Michel de Ghelderode.” [L. Riese]

1979

BINNIE, Eric:
“A Critical Examination of the Theatrical Designs of Charles Ricketts (1866-1931).” [A. Saddlemyer]

DIAMOND, Marc Leslie:
“English Theatre Lighting in the Nineteenth Century.” [L.-L. Marker]

FULKS, Wayne M.:
“The Seasonal Comedies of Christopher Fry: The Lady’s Not for Burning, Venus Observed, The Dark is Light Enough, A Yard of Sun.” [D.V. LePan]

PLANT, Richard L.:
“Leaving Home: A Thematic Study of Canadian Literature with Special Emphasis on Drama, 1606-1977.” [J. Margeson]

1978

CRAVEN, Marilyn A.:
“The Theatre of Peter Terson: An Examination of the Playwright’s Evolving Style, with Emphasis on Selected Plays Performed at the Victoria Theatre, Stoke-on-Trent.” [A. Saddlemyer]

DUGAN, James:
“A Critical Study of the Plays of Elizabeth Inchbald.” [R. Davies]

SCHONBERG, Michael:
“The Osvobozene Divadlo (The Liberated Theatre) of Voskovec and Werich: A History.” [J. Skvorecky]

1977

BRAID, Angus:
“The Adelphi Drama (1825 to 1858): A Theatrical Tradition.” [L.-L. Marker]

ELCHEN, Sylvia V.:
“Costume in the Theatre of Edward Gordon Craig.” [A.M. Leggatt]

HANNAFORD, Stephen:
“The Significant Object in Western Comedy.” [A.M. Leggatt]

KELLY, Veronica:
“A Study of the Theatre of Eugene Ionesco.” [L. Riese]

MLODZIK, Ronald Antony:
“Stephen Philips: An Investigation of his Career in London’s West End, 1899-1906.” [R. Davies]

1976

FROEHLICH, Alfred:
“N.F. Simpson and the Aesthetics of Nonsense.” [A. Saddlemyer]

LANE, Harold:
“The Continuity of Strindberg’s Damascus Cycle.” [L.-L. Marker]

LYTLE, Thomas Allen:
“A Critical and Interpretative Edition of More Dissemblers Besides Women, by Thomas Middleton.” [R.B. Parker]

VAN DIJK, Maarten:
“Sinking the Villain: John Philip Kemble, Neo-Classical Acting Style and the Interpretation of Villains.” [L.-L. Marker]

1975

AIKENS, James:
“The Rival Operas: Toronto Theatre, 1874-1884.” [R. Davies]

MEDJUCK, Joseph A.:
“Film and the Illusion of Reality.” [J. Skvorecky]

STEPHENSON, Anthony:
“The Impossibilists: Alternatives to the Commercial Theatre in London, 1890-1914.” [R. Davies]

1974

ASTINGTON, John Harold:
“The Staging of the Beaumont and Fletcher Collaborations, 1606-1616.” [R.W. Van Fossen]

STUART, Euan Ross:
“An Analysis of Productions on the Open Stage at Stratford, Ontario.” [F.J. Marker]

1972

WHITEHEAD, Graham:
“The Craftsmanship of Sean O’Casey.” [A. Saddlemyer]

1970

BRIGG, Peter:
“Time in the Plays of J.B. Priestley, Samuel Beckett and Harold Pinter.” [R. Davies]

KAPLAN, Joel:
“Some Uses of Exuberance in Jacobean Comedy.” [R.B. Parker]


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