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Staging Ireland
Title
Staging Ireland: The Sociopolitical Import of John O'Keeffe's Comedies.
Creator
Hause, Brittany, Department of English
Abstract/Description
Despite the current general lack of critical acclaim for the works of John O'Keeffe (1747-1833), this study suggests that the stage comedies of the Dublin-born, London-residing playwright merit examination within the context of the notoriously conflicted relationship between the perceived nations of Ireland and England. Where some have claimed that O'Keeffe's plays pander to their London audiences by supporting English-constructed, debilitating stereotypes of Irishness, this study instead...
Show moreDespite the current general lack of critical acclaim for the works of John O'Keeffe (1747-1833), this study suggests that the stage comedies of the Dublin-born, London-residing playwright merit examination within the context of the notoriously conflicted relationship between the perceived nations of Ireland and England. Where some have claimed that O'Keeffe's plays pander to their London audiences by supporting English-constructed, debilitating stereotypes of Irishness, this study instead demonstrates that the comedies implicitly argue against nationalistic prejudice, critique the British government of O'Keeffe's day, and promote a less restricting view of what it is to be Irish or English, thereby deflating arguments in favor of an antagonistic opposition between the two countries.
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Date Issued
2012
Identifier
FSU_migr_uhm-0122
Format
Thesis
Art of Adaptation through the Analysis of Stanley Kubrick Films
Title
The Art of Adaptation through the Analysis of Stanley Kubrick Films.
Creator
Sonenreich, Brooke, Department of English
Abstract/Description
This thesis examines Stanley Kubrick's novel-to-film adaptations and uses the auteur's strategies in the creative portion of the thesis: a full length, adapted screenplay. The study analyzes original texts, screenplays, films, and associating film theory of five Kubrick adaptations (Lolita, 2001: A Space Odyssey, A Clockwork Orange, The Shining, and Eyes Wide Shut). Since this is a creative project, it is split up into an explanative research preface and a full length, adapted screenplay. The...
Show moreThis thesis examines Stanley Kubrick's novel-to-film adaptations and uses the auteur's strategies in the creative portion of the thesis: a full length, adapted screenplay. The study analyzes original texts, screenplays, films, and associating film theory of five Kubrick adaptations (Lolita, 2001: A Space Odyssey, A Clockwork Orange, The Shining, and Eyes Wide Shut). Since this is a creative project, it is split up into an explanative research preface and a full length, adapted screenplay. The screenplay is an adaptation of Daphne du Maurier's short story "The Split Second." The preface component provides details on what Kubrick strategies were and were not used during the adapting process.
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Date Issued
2013
Identifier
FSU_migr_uhm-0278
Format
Thesis
Intimate Invasions
Title
Intimate Invasions: Examinations of the Idea of Home in Filipino-American Drama.
Creator
Banta, Vanessa L., Mayorga, Irma, Baldyga, Natalya, Salata, Kris, School of Theatre, Florida State University
Abstract/Description
This thesis' focus lies deep within the Filipino immigrant's "home" in the U.S. and offers an investigation of how different Filipino/Filipino-American homes in the texts examined challenge and confront the seeming viability and stability of U.S. boundaries that exclude them. Using postcolonial theory, critical scholarship on the "idea of home" and transnationalism, and guided by the metaphor of the local Philippine custom of the bayanihan, I argue that Filipino-American playwrights, rather...
Show moreThis thesis' focus lies deep within the Filipino immigrant's "home" in the U.S. and offers an investigation of how different Filipino/Filipino-American homes in the texts examined challenge and confront the seeming viability and stability of U.S. boundaries that exclude them. Using postcolonial theory, critical scholarship on the "idea of home" and transnationalism, and guided by the metaphor of the local Philippine custom of the bayanihan, I argue that Filipino-American playwrights, rather than writing homes solely rooted either as a point of origin or relocation, activate the Filipino-American home by rendering the home as open, mobile, and unfixed and constantly enacting the process of home-making. Chapter One focuses on Chris B. Millado's PeregriNasyon, a historical drama that provides an elaboration of how Filipino domestic space was invaded and managed during the earliest stages of U.S. occupation. By looking at how Millado's dramaturgy urges for an oscillating investigation of the two foregrounded homes in his play, I focus on how the domestic space gets activated in order to evince the relationship of the Philippines and the U.S. Chapter Two of my discussion looks at how the central Filipina maternal figure in Ralph Peña's Flipzoids, opens up the Filipino-American home as a provocative site where constitutive racial dimensions of "belonging" in the U.S. for Filipino immigrants may be interrogated. I argue for the rethinking of the Filipino-American home to foreground how home-making for Filipino immigrants involves a constant process of building and rebuilding. In Chapter Two, I then examine Han Ong's play Middle Finger, a differential assessment to Flipzoids. I examine how the play entraps the Filipino-American family and de-activates the home despite its attempts to highlight the systems of social control that negatively affects its young, male Filipino-American characters. The plays discussed in my thesis re-present homes marked by their transit from the Philippines to the United States. These plays stage the challenges in rebuilding new homes caused by the immigrants' uprooting and their struggles encountered as minorities in the U.S. As I argue, not only do these plays paint a picture of home as one that is constantly harrowed by its colonial past, ultimately, they ask what lies ahead for the Filipino-American home.
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Date Issued
2010
Identifier
FSU_migr_etd-1053
Format
Thesis
Southernness, Not Otherness
Title
Southernness, Not Otherness: The Community of the American South in New Southern Gothic Drama.
Creator
Boyd, J. Caleb, Sandahl, Carrie, Graham-Jones, Jean, Gonzalez, Anita, School of Theatre, Florida State University
Abstract/Description
The South is a region of mystery, of tradition, of shifting identity. As a cultural region within the United States, the South has always defined (and redefined) itself in such a way that it remains distinctive from, even oppositional to, mainstream American culture. All too often, however, this identity redefinition casts the South as an outsider culture, a comic extreme, or a tradition-bound cultural backwater. In recent years, this process has stagnated within Southern culture and the...
Show moreThe South is a region of mystery, of tradition, of shifting identity. As a cultural region within the United States, the South has always defined (and redefined) itself in such a way that it remains distinctive from, even oppositional to, mainstream American culture. All too often, however, this identity redefinition casts the South as an outsider culture, a comic extreme, or a tradition-bound cultural backwater. In recent years, this process has stagnated within Southern culture and the theatrical arts that simultaneously shape and reflect Southern identity. This dissertation reinvigorates the South's historical process of redefinition in the face of the postmodern complexity facing the region. As dramatic representations of the region are limited to a select historical canon, the first element of this reinvigoration is the need for contemporary representations of Southernness in the theatre and festivals of the region. Thus, this dissertation identifies several new Southern playwrights (including Hilly Hicks, Steve Murray, Shay Youngblood, Elizabeth Dewberry, Bob Devon-Jones, Glenda Dickerson, and Breena Clarke) and their plays' construction and reconstruction of Southern culture. These plays are then examined through framework of the New Southern Gothic (NSG) mode, a model of community representation that places seemingly contradictory or oppositional elements in a flexible structure of community and potential for social, cultural, and political development The characteristics of this NSG genre are then looked at in the larger cultural context of Southern history and the issues facing the region today. They are used to evaluate the limited potential of existing Southern representations (such as that put forth by the 1996 Olympic Arts Festival.) Then, newer, more flexible models of Southernness are drawn from NSG plays. These NSG models provide the basis for envisioning a future cultural identity for the South that preserves its distinctiveness while avoiding the trap of homogenization, fetishization, and historicization that characterize traditional representations of the region. These new models also provide a communal basis for Southerners to join forces while acknowledging their differences. From the stage to regional festivals to the public arena, these models can then be used to enact social and cultural change within the region.
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Date Issued
2004
Identifier
FSU_migr_etd-3452
Format
Thesis
Art of Immortality
Title
The Art of Immortality: Personal, Cultural, and Aesthetic Identity in the Plays of Arthur Kopit.
Creator
Bostian, Kyle, Degen, John, Laughlin, Karen, Sandahl, Carrie, School of Theatre, Florida State University
Abstract/Description
Arthur Kopit's plays express what I believe to be the dominant cultural anxiety of the latter half of the 20th century: the conflict between the human need for order and meaning and our existence in a chaotic and fragmented world. The playwright's works depict the traumatic impact of this conflict on people both individually and collectively; at the bottom of the dilemma is the human inability to accept our inevitable mortality. Kopit's plays also express deep cultural anxieties of their...
Show moreArthur Kopit's plays express what I believe to be the dominant cultural anxiety of the latter half of the 20th century: the conflict between the human need for order and meaning and our existence in a chaotic and fragmented world. The playwright's works depict the traumatic impact of this conflict on people both individually and collectively; at the bottom of the dilemma is the human inability to accept our inevitable mortality. Kopit's plays also express deep cultural anxieties of their particular social moment. Reductively summarized, the causes of those anxieties are family dysfunction (_Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad_ – 1960), the Vietnam War (_Indians_ – 1969), aging and disability (_Wings_ – 1978), nuclear proliferation (_End of the World With Symposium to Follow_ – 1987), obsessive materialism (_Road to Nirvana_ – 1991), and technological invasions of privacy (_BecauseHeCan_ – 2000). Kopit's works feature breakdowns in personal identity (through characters and action), cultural identity (through themes and settings), and aesthetic identity (through formal elements). At the heart of those breakdowns are the identity components of "commemoration" (memory, history/myth, artistic tradition), perception, and language. Ultimately, those components prove to be insufficient bases for identity – but the only ones available. The playwright puts his protagonists into crises that call into question their senses of self. Those crises expand from the personal to the cultural by virtue of their context in the turbulent late 20th-century U.S. society; individuals in crisis become emblematic of "America" in crisis. And the form reinforces this content. Each play combines and distorts established genres, techniques, and/or other works in ways that break down their aesthetic identities. Further, the theatrical effect of each play parallels the experience undergone by the characters, so that the causes – and cultural dimensions – of their personal crises are felt firsthand by audience members. Kopit's oeuvre thus provides tremendous insight into the complexities of existence in the contemporary age.
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Date Issued
2003
Identifier
FSU_migr_etd-3509
Format
Thesis
Performativity of the Creation of Visual Art
Title
The Performativity of the Creation of Visual Art.
Creator
Jordan, Jasmine, School of Theatre
Date Issued
2014
Identifier
FSU_migr_uhm-0319
Format
Thesis