https://www.um.edu.mt/library/oar/handle/123456789/46018 2026-04-13T00:49:05Z 2026-04-13T00:49:05Z https://www.um.edu.mt/library/oar/handle/123456789/46261 2020-04-20T11:28:41Z 2019-01-01T00:00:00Z

Title: The birth of the spectator : a comparative analysis of Brecht and Boal Abstract: The dissertation focuses on the function, application, and thought processes behind the spectator in Bertolt Brecht’s Epic Theatre and Augusto Boal’s Theatre of the Oppressed, two prominent practitioners in the political stage of the twentieth century. It considers Brecht’s and Boal’s careers, their respective theatre practices, and the role of the spectator in the work they created. After focusing on each practitioner individually in their respective contexts, the dissertation engages in a comparative analysis of the two, discussing aspects where they converge and diverge from each other and how they empowered the spectator. The dissertation concludes with an overview of Brecht’s and Boal’s influence in twenty-first-century theatre in terms of their training/preparatory strategies and of the work being produced for today’s stages. Description: B.A.(HONS)THEATRE STUD.

2019-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/46259 2020-04-20T11:14:42Z 2019-01-01T00:00:00Z

Title: Theatricality and musicality as tools for the Introduction of theatre-making practices to primary school students Abstract: In this dissertation I will investigate theatricality and musicality as elements via which theatre-making practices may be introduced to primary school children. The aim of the study is to propose alternative approaches to current practices where young students between the ages of four and eight are introduced to theatre arts through dramatic methodologies. The study draws on contemporary theories and practices – including Lehmann’s postdramatic paradigm and Schechner’s performance theory where theatre making is framed beyond the limits of drama. These will be used to justify the need to inject into primary teaching methodologies theatricality and musicality as foundational performative elements that would allow students to develop an understanding of theatre beyond drama. Davis and Postlewait’s articulation of theatricality and Roesner’s definitions of musicality in theatre will be used as critical backdrops to develop my arguments. In the course of the study it will be argued that when students are introduced to theatre making via performative, rather than exclusive literary strategies, their perspective of theatre as an art form will be broader and more in line with contemporary developments. The dissertation will also shed light on possible methodologies that may be applied in primary-school classrooms whereby the above can be put into practice. It will be concluded that irrespective of whether students deal with dramatic texts or devised approaches in their curricula, theatricality and musicality as foundations to their studies will improve their understanding of theatre-making practices. Description: B.A.(HONS)THEATRE STUD.

2019-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/46230 2020-04-20T11:25:40Z 2019-01-01T00:00:00Z

Title: A Shakespearean affair : an intercultural appropriation Abstract: This dissertation focuses on the influence and productions of William Shakespeare’s plays throughout the overall development of Maltese theatre history and its cultural and social impact as a consequence thereof. In this way, it aims to follow the form of Shakespearean performance from its roots, to being adapted and used in a different cultural context in Malta since c. 1800, up until today. It goes on to survey exactly how and why this happened, and whether the form itself has since changed and adapted into something completely different to the source. In addition, it examines the core principles of culture, nation, and identity, largely found as part of the cultural framework and impression of Maltese theatre history as a whole. In this way, it formulates a clearer understanding on the development and history of the practice of Shakespearean theatre within the Maltese islands. Furthermore, this research acts as a historic evaluation and study of the use of different theatre styles, spaces, and communities in Malta, that have all provided a means for Shakespeare’s plays to be heard and seen. With added information provided by localised historical research and credible interviews, recent trends, changes and preferences towards Shakespeare and his works are also duly noted. This is done in order to enhance a detailed understanding of the ongoing theatrical development and how it is altering the presence of current and future performances of Maltese-produced Shakespearean theatre in any way. Finally, with additional importance given to postcolonialism and post-colonial theory, together with language and education, and other cultural and performance theories, this exposition acts as a miniature mapping of the renowned English playwright’s influence upon Maltese culture, together with providing a detailed analysis of the absorption of this influence within the Maltese theatrical framework as a whole. Description: B.A.(HONS)THEATRE STUD.

2019-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/46229 2020-04-26T05:08:08Z 2019-01-01T00:00:00Z

Title: The various manifestations and applications of oppression in theatre Abstract: The dissertation investigates the various manifestations and applications of oppression in theatre. Boal’s Forum Theatre and several of Shakespeare’s dramatic texts, implicitly and explicitly indicate an exploration of oppression’s presence within the theatrical framework. The study reflects on how in Boal’s Forum Theatre emphasis is made on the development of collective oppression with regards to the community whereas in Shakespeare’s dramatic texts more focus is made on the development of oppression with regards to the individual. The study also deals with how the application of oppression can be considered as a therapeutic phenomenon achieved via performative practices. Manifestations of oppression evident within both the practice of theatre and the dramatic text are discussed with regards to Applied Theatre processes. Beyond aesthetics, Applied Theatre deals with the effects that theatre practice and the dramatic text can have on the spectators as receivers of theatrical activity. Applied Theatre is effective both as a human development tool and as a function of relief. Oppression in Applied Theatre looks at how the musicality of the dramatic text and the explicit exposition of oppression further support the idea of theatre for development. Oppression’s use in Applied Theatre shows how theory can be of use in a more applicable scenario. Thus, a complete acknowledgment of oppression’s presence in theory and practice may lead to a deeper understanding of both dramatic texts and theatre practices. Description: B.A.(HONS)THEATRE STUD.

2019-01-01T00:00:00Z