http://hdl.handle.net/10125/2164 Tue, 21 May 2013 16:29:37 GMT 2013-05-21T16:29:37Z http://hdl.handle.net/10125/20908 Thesis (Ph.D.)--University of Hawaii at Manoa, 2008.; Hijikata Tatsumi (1928-1986) is the acclaimed founder of the performance art genre commonly known as buto. After an initial experimental period spanning the late 1950s to the mid 1960s he concentrated his artistic efforts on directing, choreographing and teaching buto using his own creative system, called buto-fu or "buto scrapbooks."; Like many visual artists Hijikata collected and arranged existing (found) images and composed sixteen scrapbooks. The scrapbooks served Hijikata as a medium to create, explore and reflect on his buto. While making up his scrapbooks Hijikata applied established fine art techniques such as collage, montage and pastiche to isolate, emphasize or synthesize visual and artistic qualities of the images. These techniques were also reflected in the structure of his performances, where Hijikata borrowed, adapted and adopted images from seemingly opposite worlds and genres to construct a genuinely new stage world.; This study is a visual analytical investigation of Hijikata's scrapbooks and exposes Hijikata's direct affinity with and assimilation of the visual arts.; Includes bibliographical references (leaves 288-297).; Also available by subscription via World Wide Web; 297 leaves, bound 29 cm Tue, 01 Jan 2008 00:00:00 GMT http://hdl.handle.net/10125/20908 2008-01-01T00:00:00Z Wurmli, Kurt http://hdl.handle.net/10125/20907 Thesis (Ph.D.)--University of Hawaii at Manoa, 2008.; Bangkok's Dass Entertainment and Patravadi Theatre are the epitome of professional lakhon phut samai mai, or modern spoken drama, in Thailand. These two pioneering professional troupes have survived for more than fifteen years where other theatres have failed after a few short years of operation. In this dissertation, I examine how the survival of these two professional troupes may be attributed to their primary focus on the depiction of phuying kraeng, or strong female characters. The term phuying kraeng is used in this study to refer to mentally strong and independent women who are the embodiment of samai mai, or modernity, within the Thai dramatic context.; Chapter two provides a brief historical overview of lakhon phut samai mai and the emergence of professional troupes, focusing on the social and economic factors that shaped the operations of Dass Entertainment and Patravadi Theatre. For the purposes of this study, I delineate three chronological periods based primarily on the historical narratives of these two companies in order to demonstrate the evolution of professional lakhon phut samai mai. The three periods are the Formative Period (1990--1993), the Popular Period (1994--1997), and the Recessive Period (1998--2002).; Chapters three through five examine the characterization of individual phuying kraeng in representative plays from the three periods. The core of the examination is the way in which each phuying kraeng testifies to women's pursuit of modern identity and how this increased the popularity of these two professional troupes output, thereby ensuring their survival. The analytical examination of individual phuying kraeng is based on well-established theoretical approaches to the study of phuying kraeng's depiction in mass media as developed by Thai scholars and integrates playwriting theory developed by Western scholars. I frame the analysis with four crucial playwriting elements: the phuying kraeng's goal, obstacle, action and outcome. For each period, I discuss the phuying kraeng function as criticism of women's position in modern society. The depiction of phuying kraeng in the selected plays serves to both expose unjust social expectations and restraints imposed on women and to advocate for women's equal rights.; The concluding chapter summarizes the functions of phuying kraeng and the basis for phuying kraeng's popularity with their middle-class audience. I conclude with the productions' contributions to the expansion of the troupes' audience base and a discussion of professional lakhon phut samai mai as both an alternative to mainstream entertainment and as a symbol of Bangkok's modern culture.; Includes bibliographical references (leaves 201-211).; Also available by subscription via World Wide Web; 211 leaves, bound 29 cm Tue, 01 Jan 2008 00:00:00 GMT http://hdl.handle.net/10125/20907 2008-01-01T00:00:00Z Maneerat, Kulthida http://hdl.handle.net/10125/20906 Thesis (M.A.)--University of Hawaii at Manoa, 2007.; Includes bibliographical references (leaves 60-62).; v, 62 leaves, bound 29 cm Mon, 01 Jan 2007 00:00:00 GMT http://hdl.handle.net/10125/20906 2007-01-01T00:00:00Z Wang, Chong http://hdl.handle.net/10125/11972 Mode of access: World Wide Web.; Thesis (Ph. D.)--University of Hawaii at Manoa, 2004.; Includes bibliographical references (leaves 190-194).; Electronic reproduction.; Also available by subscription via World Wide Web; xii, 194 leaves, bound ill. 29 cm Thu, 01 Jan 2004 00:00:00 GMT http://hdl.handle.net/10125/11972 2004-01-01T00:00:00Z Blumner, Holly A http://hdl.handle.net/10125/11971 Thesis (M.A.)--University of Hawaii at Manoa, 2005.; Includes bibliographical references (leaves 155-161).; v, 161 leaves, bound ill. 29 cm Sat, 01 Jan 2005 00:00:00 GMT http://hdl.handle.net/10125/11971 2005-01-01T00:00:00Z McDermott, Joshua http://hdl.handle.net/10125/11970 Thesis (M.A.)--University of Hawaii at Manoa, 2004.; Includes bibliographical references (leaves 66-72).; ii, 72 leaves, bound ill. 29 cm Thu, 01 Jan 2004 00:00:00 GMT http://hdl.handle.net/10125/11970 2004-01-01T00:00:00Z Sadakari, Rei http://hdl.handle.net/10125/7082 viii, 168 leaves Sun, 01 Dec 2002 00:00:00 GMT http://hdl.handle.net/10125/7082 2002-12-01T00:00:00Z Mauricio, David E http://hdl.handle.net/10125/6857 This dissertation examines the evolving role of the director in Xiqu (Chinese opera) innovation. Arguing that the status and function of the director within the Xiqu creative process is still developing, the author establishes a working understanding of the current situation by addressing it from several vantage points. First, observing that Western concepts of "postmodern" theatre, like Xiqu, often give more weight to the performance text than to the literary/dramatic text, the author employs concepts from semiotic performance theory to provide a basic understanding of the directorial function. In chapter 2 the author addresses historical, political, social, and economic forces shaping the development of the Xiqu director's role. To provide a baseline understanding of contemporary Xiqu directors' circumstances, in chapter 3 the author compares traditional Xiqu performance with the way such performances are occurring in the contemporary urban setting of Beijing. To deepen this understanding, in chapter 4 the author compares film versions of two Xiqu plays: one filrn created just before the Cultural Revolution that preserved traditional Xiqu aesthetic goals; and one film created soon after China's opening to the West that privileged cinematic technique over Xiqu aesthetic goals. Applying concepts developed in chapters 3 and 4, the author then analyzes a regional Xiqu form (Hebei Bangzi) adaptation of Medea, directed by a Huaju (spoken drama) trained director, in chapter 5; and a Jingju (Beijing opera) adaptation of Lao She's famous novel Camel Xiangzi (or The Rickshaw Boy), directed by a Xiqu trained director, in chapter 6. Shifting to a broader perspective, in chapter 7 the author analyzes results of a survey on working conditions and artistic goals of 32 Xiqu directors. In chapter 8, the curriculum at the only established training program for Xiqu directors is discussed. In conclusion, the author identifies five potential approaches to the director-performer creative process represented by previously discussed material and asserts that the situation of Xiqu directors and Xiqu generally is significantly improved over the situation at the end of the 1980s as evidenced by the high level of artistry and stylistic consistency exhibited at a recent National Jingju Festival. xvi, 342 leaves Fri, 01 Aug 2003 00:00:00 GMT http://hdl.handle.net/10125/6857 2003-08-01T00:00:00Z Evans, Anne Megan http://hdl.handle.net/10125/3016 The 1990s was a period of rapid transformation in China. Leaders Jiang Zemin and Zhu Rongji accelerated policies initiated by Deng Xiaoping, as China embraced "Socialism with Chinese Characteristics." Far-reaching socioeconomic and cultural change cut across every facet of Chinese society and had a tremendous impact on huaju ("spoken drama") and the State Theatre System. This study examines how and to what extent the conditions and challenges of the 1990s fostered a climate for experimentation and impacted the aesthetics of huaju. The research first establishes a context for huaju--its evolution and ideological background over the last century proceeding to a more detailed view of the 1990s. This decade witnessed significant new phenomena: a rising entrepreneurial class, a vibrant alternate "gray" culture, the proliferation of "little theatres," "free-lance" theatre artists, and the "independent theatre studios" of directors Lin Zhaohua, Meng Jinghui, and Mou Sen. Focusing on Beijing's prestigious China National Experimental Theatre (CNET), the research provides a detailed analysis of the inner workings of the State Theatre System--the transition from "iron rice bowl" to "contract system," new management, producing, and financing practices, and the endeavor to build an audience for huaju amid dwindling State subsidies. The study characterizes the range of styles and genres at CNET during the 1990s: "main melody," "personal realism," "nationalization," "foreign," and "experimental avant-garde" plays. Representative productions, embodying a variety of Western and indigenous Chinese performance styles, aesthetics, and techniques, are examined. The research highlights the experimental work of leading avant-garde directors, Lin Zhaohua and Meng Jinghui, and presents an in-depth analysis of four CNET productions: Lin's Go Man, Meng's The Nun and the Monk and Gossip Street, and Tian Qinxin's Fields of Life and Death. Following the production process--from conception; through rehearsal; to performance; and official, critical, and popular reception--the study explores directorial methods, acting techniques, director/actor/designer interactions, and current theatre practices as they impact dynamics of mise-en-scene. During the 1990s, the parameters of both form and content in huaju grew more complex, as experimental techniques, once the exclusive domain of the avant-garde, were increasingly appropriated by the mainstream. Thesis (Ph. D.)--University of Hawaii at Manoa, 2002.; Mode of access: World Wide Web.; Includes bibliographical references (leaves 396-479).; Electronic reproduction.; Also available by subscription via World Wide Web; xxi, 479 leaves, bound col. ill. 29 cm Tue, 01 Jan 2002 00:00:00 GMT http://hdl.handle.net/10125/3016 2002-01-01T00:00:00Z Entell, Bettina S