M.A. - Theatre

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Now showing 1 - 7 of 7
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    Nandan in the Ming Dynasty
    ([Honolulu] : [University of Hawaii at Manoa], [May 2012], 2012-05) Ma, Yan
    Nan means male, and dan is the generic name of female roles in xiqu (traditional Chinese theatre). The term nandan refers to a male actor who performs female roles in xiqu. Nandan play an important role in xiqu. In the Ming Dynasty (AD 1368-1644), nandan began to flourish with the rise of kunqu (Kun opera). The flourishing of nandan was related to the policies, philosophical context, and the literati culture of the Ming Dynasty. On the kunqu stage, nandan successfully performed the inner spirits of the characters through internalizing their inner feelings and utilizing sharp acting skills with various performance conventions. Off the stage, the relationship between nandan and the literati was that of a master-servant. Nandan satisfied their masters' demands in terms of performance and homosexual relations if necessary. At the heart of nandan's performance both on and offstage was the idea of qing.
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    Creating "mindful ensembles" : guiding emerging readers through the ensemble-based playwriting and physical theatre process
    ([Honolulu] : [University of Hawaii at Manoa], [May 2014], 2014-05) Gaines, Walter S.
    The proposed research involves an interactive approach to the study of effective pedagogical techniques involving applying theatre games and ensemble exercises as an alternative means of increasing literacy and reading comprehension. The target age groups will be dissected into two populations at Waikiki Elementary School: Kindergarten/ 1st grade ("emerging readers") and 2nd/ 3rd grade (self-directed "independent readers"). The past several years have seen an increase in the codification of "performing arts in education" programs, and I am investigating the connections between kinesthetic learning and group-based ensemble-building processes as effective agents in increasing literacy. This will be an experiential process in which I utilize and facilitate several renowned ensemble-building exercises in conjunction with literacy-building techniques, while still striving to maintain a sense of enjoyment and creativity during the lessons. To accommodate Waikiki Elementary School's P4C and "Habits of Mind" school-wide philosophical teachings, many of the short plays will be centered on Aesop's Fables, as well as other famous fairy tales that reinforce the school's approach to moral teachings and each individual child's developmental growth. The 28-lesson curriculum will be designed to culminate in two public presentations of theatre pieces selected, written, and ensemble-created by the students themselves. I will explore the relationship between the students' comprehension of the principles of written and performed dramatic structure at the beginning of the after-school program, and their comprehension at the end of the program, post-performance. It is my intention to eventually integrate physical theatre and storytelling as essential components for increasing functional literacy at the "emerging readers" level. It is my long-term goal to create a one-year curriculum that mandates kinesthetic learning paradigms and their integration into "arts in education" after school programs, available for all student populations.
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    Interpreting Zheng Chenggong : the politics of dramatizing a historical figure in Japan, China, and Taiwan (1700-1963)
    ( 2007) Wang, Chong
    Zheng Chenggong (1624 - 1662) was sired by Chinese merchant-pirate in Hirado, Nagasaki Prefecture, Japan. A general at the end of the Chinese Ming Dynasty, he was a prominent leader of the movement opposing the Manchu Qing Dynasty, and in recovering Taiwan from Dutch colonial occupation in 1661. Honored as a hero in Japan, China, and Taiwan, he has been dramatized in many plays in various theatre forms in Japan (since about 1700), China (since 1906), and Taiwan (since the 1920s). Yet his portrayals in these plays are drastically different, depending on the dramatists' intention of writing, view of history, and artistic tools. This research, in order to demonstrate the cultural and political construction of this historical figure, examines the history of the dramatization of Zheng, by comparing selected texts from Japan, China, and Taiwan, written between 1700 and the 1960s, with regard to the historical contexts.
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    "Fatherless girl and "Domineering mother" : Terayama Shuji's portrayal of women
    ( 2004) Sadakari, Rei
    When a girl gives birth, she starts her new life as a mother. In Terayama's theatrical world, a mother, an antithesis of a girl (prostitute), always dominates her own child. Similar to Terayama's own family history, his mother characters always have an only son without having a father figure in the family. In addition, the mother figures always control their sons' lives and dominate them. In addition to the absence of a father figure, the issue of a son who abandons his domineering mother and the images of incest between mother and son frequently show up in Terayama' splays. His portrayals of fatherless or husbandless girls and domineering mothers are especially unconventional compared to the stereotypical portrayals of these figures in many Japanese and Western plays. These two elements, the absence of a father figure and the reign of a ruling mother, are the most important factors and the core themes for the development of Terayama's unique theatrical world. In this essay, I categorize a girl who does not have any such domineering and powerful male figures as the "fatherless girl" and Terayama's powerful and dictatorial mother figure as the "domineering mother." Through these archetypes, I will examine how Terayama assails the traditional notion of female gender roles and their relationships to the male family members' roles.
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    Jaranan of East Java: An Ancient Tradition in Modern Times
    (University of Hawaii at Manoa, 2002-12) Mauricio, David E. ; Pauka, Kristen ; Theatre