https://www.um.edu.mt/library/oar/handle/123456789/2740 Mon, 03 Aug 2026 23:04:11 GMT 2026-08-03T23:04:11Z https://www.um.edu.mt/library/oar/handle/123456789/148122 Title: The evolution of drama schools in Malta from MTADA till today Abstract: The aim of this study is to assess the progression that drama schools and actor training have gone through in the past fifty years since the Manoel Theatre Academy of Dramatic Art (MTADA), the first formal academy of its kind in Malta, was founded in 1977. It starts by defining the word ‘evolution’ in a biological sense and frames this around three key reference points, namely extinction, adaptability, and plasticity. The dissertation applies these terms in the local cultural and theatrical context and demonstrates how these have affected actor training in Malta. It explains that the term extinction does not necessarily mean that drama schools or theatre no longer exist in Malta but rather focuses on what has been lost or weakened within Maltese drama education. It will go on to demonstrate how schools had to adapt and constantly find ways to balance different pressures in order to survive while staying true to their values. Finally, the dissertation will also look into the future and enquire what Maltese theatre practitioners who are, or were, owners, educators, or leaders of their respective schools or academies envisage the future will hold for theatre and actor training in Malta. Description: B.A. (Hons)(Melit.) Thu, 01 Jan 2026 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/148122 2026-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/148121 Title: Integrating modal and melodic structures of ethio-jazz with Irish traditional music : portfolio of original compositions with commentary Abstract: The aim of this dissertation is to explore the similarities and differences between Ethio-jazz and Irish traditional music by comparing the scales and modes used within each of these styles, and inspire the composition of new music that fuses elements from these disparate musical traditions. The dissertation includes a portfolio comprised of twenty-one musical scores of compositions arranged into eight ‘sets’. Each set is comprised of three ‘tunes’ except for the first and final set, which contain two pieces and one singular piece respectively. The compositions are arranged for small ensembles commonly found in contemporary Irish traditional music performance. These works are the product of a fusion between two individual fields of musical study. Each composition features a melody composed using a specific pentatonic mode from the Ethiopian system of modes such as Tezeta, Bati, Ambassel or Anchihoye set within a musical form traditionally found in Irish music such as a reel, jig, slip jig or slide. The commentary analyses the modal and melodic properties of my compositions. This portfolio of compositions represents a fusion between two musical styles rooted in folkloric musical tradition. It aims to demonstrate how shared features can bridge culturally disparate musical idioms. Despite significant investigation over many years, ‘folk music’, and what it implies remains a contested concept, and its study has developed differently in different countries and contexts (Carole 2001). Exploring the similarities and differences between two different genres of folk music will help to provide insights into cultural expression, history, and traditions offering an insight to the practices of different groups. Comparing a musical tradition rooted in my own heritage with another that I have a deep affinity for, offers a particular insight into the cultural traditions and implicit meanings of that tradition. While clearly articulated and definitive literature classifying Ethiopian pentatonic scales is scarce, the forms are audible within the music and ripe for analysis. This dissertation will aim to close the gap in literature, and create a clear and concise catalogue of these scales and investigate their versatility within a contrasting style of music. Description: M.Mus(Melit.) Thu, 01 Jan 2026 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/148121 2026-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/147074 Title: Karate-dō as an actors’ guide to performance : an exploration of karate in actor training Abstract: This research explores the advantages and limitations of incorporating karate-dō in actor training by means of (1) a comprehensive literature and practice review of the subject, (2) the identification of different categories of training and performance principles, and (3) the proposal of a practical Karate for Actor Training (KAT) programme. The research starts from the premise that if the adapted application of karate-dō in actor training improves a practitioner’s relationship with their body, mind, and the surrounding world, then such training also benefits an actor’s ability to express themselves physically and mentally during a performance. There is a lack of research directed toward theatre practitioners who wish to use Shotokan Karate for the preparation of actors in physical theatre. However, various institutions have used different martial arts as part of their theatre programmes. This research is conducted in conjunction with actor workshops to create an approach that uses karate-dō for actor training. The project’s long-term outcome is to provide a resource and practical guide for actors. Description: Ph.D.(Melit.) Wed, 01 Jan 2025 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/147074 2025-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/145574 Title: Stage expressiveness in romantic ballet : investigating how a dancer’s gestural vocabulary can contribute to a more authentic and emotional performance Abstract: This dissertation analyses how introducing each dancer’s personal expressiveness and gestural vocabulary, making room for individuality and diversity in interpretation, influences romantic ballet performance by allowing dancers to showcase authenticity, which can lead to a more emotional performance. The paper also analyses the way nonverbal communication is perceived by the artists on stage, as well as audience, and how can that offer insights about the current pantomime used in ballet performances. Moreover, it is questioning whether dancers could express themselves more freely on stage if the choreographed gestures would be eliminated from ballet. The aim of this research is to discover whether ballet performances could become more meaningful by changing the approach on ballet pantomime and the dancers’ training. This study contains insights on the connection between gestures and the psychology behind them. It analyses the link between the details of nonverbal communication and how the brain perceives it and creates emotional responses to it. Another important aspect presented is the introduction of actor training techniques into the dancers’ training which, alongside to the analysis coming from psychology, would detect if that results into a more emotional response in terms of expression. Therefore, half of the practical research was concentrated on exposing ballet dancers to techniques that help the performer connect to their characters, access emotions easier and help them connect to and actively respond to a partner, inspired by the Rasaboxes exercises and the Orazio Costa Mimic Method. In order to collect data, I created and analysed the results of an online survey about original ballet pantomime in comparison to the reconstructed pantomime created during the practical research inspired by actor training. Furthermore, by reconstructing a scene from the ballet Giselle, as well as choreographing a short piece that followed the structure of a ballet performance, valuable data was registered about how gestural vocabulary affects performance, from both the performers point of view as well as the audience’s. This research is of great significance as it promotes the revision of ballet pantomime, as well as the introduction of acting for dancers as part of dance schools’ curriculum. Moreover, it underlines that important parts of a dancer’s training are neglected that should be more worked upon. Description: M.A.(Melit.) Wed, 01 Jan 2025 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/145574 2025-01-01T00:00:00Z