English Theses and Dissertations
Permanent URI for this collectionhttp://hdl.handle.net/1903/2766
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Item Daggers of the Mind: Performing Madness and Mental Disorder on the Early English Stage(2023) Rio, Melanie; Passannante, Gerard; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Madness is such a popular device in early modern English drama that extant playscripts are littered with stage directions indicating that a character should enter “like a madman” or simply, “mad.” Because the public playhouse required the psychosomatic participation of actors and observers from every social class and category, it served as a unique cultural laboratory in which to explore questions of cognition, embodiment, identity, and interiority. Madness as a theatrical device also offers unique insight into the challenge of “performing” an invisible disability. This dissertation examines representations of madness in the early English playhouse—primarily in the works of works Shakespeare, but also considering works by Fletcher, Webster, Middleton, Armin, and others—as well as extradramatic primary sources such as court cases and physicians’ notebooks in order to demonstrate how intersecting indices of identity influence the construction and interpretation of early modern cognitive disorder.Item Visa Denied: U.S. Playwriting and the anti-Political Habitus post-"Angels in America"(2013) Pressley, Daniel Nelson; Bryer, Jackson R; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)"Visa Denied: U.S. Playwriting and the Anti-Political Habitus post-Angels in America," a dissertation by Daniel Nelson Pressley, argues that an anti-political prejudice operates across the points of the U.S. theater-making spectrum, with particularly inhibiting results for playwrights even in the two decades following Tony Kushner's influential political epic. Using a reception framework suggested by Susan Bennett and others, along with the memory and "ghosting" ideas of Marvin Carlson and Diana Taylor, the dissertation suggests unrecognized anti-political patterns in criticism and production, explores broken links with the traditions of the 1930s and the lost lessons of workers' theater movements from the 1920s and 1930s, and contrasts contemporary American and British practice and reception by examining dramatic technique in plays by David Hare, Sam Shepard, David Mamet, Arthur Miller and Wendy Wasserstein. The project acknowledges the absorption of political energy on the stage by the rising documentary forms since the emergence of solo performer Anna Deavere Smith, concluding that the acceptance and dominance of fact-based methods, while expanding the drama's vocabulary, contributes to an even greater outsider position for the playwright as political thinker.Item Ending and "Copping Out": Completeness and Closure in the Plays of Sam Shepard(2006-05-16) Couch, Joseph Dennis; Richardson, Brian; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This dissertation analyzes the interpretive dilemmas arising from treatments of completeness and closure in Sam Shepard's plays, an undertaking that raises two key questions about its own academic exigence. Shepard's plays expand the discourse on closure by providing dramatic texts to which the terms "the open work," "the sense of ending," "anti-closure," and the reading of texts in socio-political contexts can apply. More significantly, Shepard's theory of closure as a "cop-out" to resolution complicates the previous discourse on closure with texts that complementarily deny formal and thematic closure in ways that previous critics do not explore. The "unloosened ends," specifically, that each ending does not resolve not only draw attention to the unresolved status of an American socio-political theme but actually implicate the audience in the larger and false cultural assumption that the theme was closed before the start of the play and now need the audience's help offstage and therefore outside the boundaries of the text to resolve the issue. In terms of categories within the context of closure in drama, Shepard's endings combine Schmidt's categories of "unmediated" and "ironic" as a reflection of their thematic implication of the collective American audience's "cop-out" regarding the assumed closed discourse on a socio-political issue. Additionally, the endings "frustrate" the audience's expectations for closure thematically and formally even when they provide a moment of "cessation" in Schlueter's terms. The reason lies in the fact that the "consensus" required from the audience, as Schmidt claims, relies on the audience to close the work by closing the discourse on the issue that the endings suggest that the audience should recognize as open and unresolved. The issues of fate, home, family, and memory cannot truly reach a moment of cessation, Shepard's interrogations of closure reveal, until the audience makes the discourse cease by not "copping-out" to the false sense of closure that America's conventional society, both on and offstage, provides.Item A Stage for a Bima: American Jewish Theater and the Politics of Representation(2004-06-08) Solomon, David Lyle; Bryer, Jackson R.; English Language and Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This dissertation examines how contemporary American Jewish playwrights and performers have presented Jewish identities in light of multiculturalism. Although American Jews have by large been supporters of the multicultural movement, in practice multiculturalism has been problematic for Jews because of its privileging of race and gender: are Jews different enough to be included in a multicultural portrait? Jews see themselves as outsiders to an American establishment, but are viewed as insiders. I investigate how contemporary Jewish voices in American theater have portrayed "Jewishness" as a permanent attribute of Jewish identity. In doing so, they articulate Jewish difference through the rhetoric of multiculturalism so that Jews are clearly positioned as distinct from an American mainstream. Contemporary Jewish playwrights have responded to popular culture's schizophrenic representation of Jews, questioning its portrayal of Jews as everymen figures while revisiting its stereotypical representations of Jews that were intended to mark Jews as different from mainstream America. Though Jewish American culture has sought to escape stereotypes, Jewish playwrights continue to evoke them, even as they debate the value of such tropes. If stereotypes disappear, does an articulated Jewish difference disappear with them? In chapter one, I discuss my theoretical approach and the difficulties in defining stereotypical "Jewishness." In chapter two, I discuss how Jewish playwrights and performers have responded to the shifting definitions of race in their presentations of Jewish identity by portraying contemporary Jewish identity through the model of the African-American experience. In chapter three, I look at how Wendy Wasserstein has presented complicated female Jewish characters by rooting them, ironically enough, in the gender-based stereotypes that have surrounded Jewish women, stereotypes initially designed to differentiate Jewish women from idealized genteel American women. In chapter four, I discuss how playwrights Larry Kramer and Tony Kushner have linked Jewish and gay stereotypes and experiences in order to complicate contemporary political paradigms that tend to lump all traditionally disenfranchised groups under the same umbrella. Finally, in chapter five, I discuss how stage portrayals of Judaism have been associated with the body, a connection that denotes the problematic nature of defining Jews solely as a religious group.