https://www.um.edu.mt/library/oar/handle/123456789/46030 Mon, 20 Apr 2026 19:07:00 GMT 2026-04-20T19:07:00Z https://www.um.edu.mt/library/oar/handle/123456789/46388 Title: Puppets in theatre : an investigation of the use of different forms of puppets Abstract: This dissertation focuses on different forms of using and engaging puppets in theatrical performances. It delves into the impact that puppets have on spectators and puppeteers. The dissertation begins with an overview of a range of puppet styles in time, space, and appeal, according to history, geography, and age groups. Dynamics and mechanisms of use (e.g. construction of puppets, animation of puppets, and reception of puppets in performance) are discussed. The dissertation addresses the topic of puppets in theatre with reference to three case studies. One case study focuses on marionette puppets by the Prague National Marionette Theatre company, specifically their performance Don Giovanni. The second case study looks at shadow puppets via the work of Richard Bradshaw and his short shadow performances. This case study focuses on multiple performances as they are all very short, approximately three minutes long. The third case study is dedicated to a Maltese production by Studio 18 called Dear Pete, in which a bunraku dog puppet was used. My involvement in Dear Pete provides practical insight based on my personal experience in the use of puppets in theatre. All three case studies explore the relevant specific style of puppetry that characterises each practice, as well as the relationship between the puppet and actor. The discussion on Dear Pete also explores the puppet and audience relationship. Description: B.(HONS)THEATRE Tue, 01 Jan 2019 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/46388 2019-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/46233 Title: Theatre lighting as another performer on stage : a technical account Abstract: The dissertation deals with the role that lighting plays in theatre production. It tackles the subject by focusing on the technicalities and the processes involved in lighting a show. The role of the light designer is defined vis-à-vis others that are involved in illuminating a production, which include the director, other designers, performers, and technicians. Within this context, the light design is considered as an active element that can be compared to ‘another performer on stage’ in terms of its meaning-making capacity. Moreover, the dissertation provides an overview of some of the technology that is available, the manner it can be used with regard to set design and performers, and the effects that can be generated. The dissertation addresses the topic of lighting a show in three main parts: (1) the procedure involved, (2) composing the light design, including preparatory work and research, and (3) its material actualisation in the theatre venue. In addition to publications on the subject and references to theatre history, the dissertation draws on practical experience in the field and an observation of light designs.  Description: B.(HONS)THEATRE Tue, 01 Jan 2019 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/46233 2019-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/46232 Title: The Stanislavsky/Grotowski connection : training and performance Abstract: This dissertation discusses the ‘connection’ between Stanislavsky and Grotowski. The word ‘connection’ is rooted in the application which Thomas Richards gives it in his book At Work with Grotowski on Physical Actions, and which I will use as my starting point. This study will be structured on the following areas of investigation: (i) Training Techniques, (ii) Method of Physical Actions by Stanislavsky and the work on Physical Actions by Grotowski, (iii) and the application of Physical Actions of both practitioners. Chapter 1 tackles Training with a focus on Stanislavsky’s First Studio and Grotowski’s Laboratory Theatre of 13 Rows. My discussion will include a section on Via Negativa. In Chapter 2 I will move on to discuss their work on Physical Actions, by starting with a comparison of Stanislavsky’s work on his Method of Physical Actions and Active Analysis, which sometimes are considered the same approach, but in reality are not. Then I will discuss how Grotowski was influenced by Stanislavsky to work on actions, and to see from where the ‘connection’ between them comes from. In Chapter 3 I will discuss concrete situations in which the two applied the work on Physical Actions. My focus will be on the application of the Method of Physical Actions in Stanislavsky’s production of Talents and Admirers in 1933, and how Grotowski applied his work on Physical Actions in the Objective Drama Program in 1984. Description: B.(HONS)THEATRE Tue, 01 Jan 2019 00:00:00 GMT https://www.um.edu.mt/library/oar/handle/123456789/46232 2019-01-01T00:00:00Z