Theatre, Dance & Performance Studies

Permanent URI for this communityhttp://hdl.handle.net/1903/2229

Effective July 1, 2010, the former departments of Dance and Theatre were combined to form the School of Theatre, Dance & Performance Studies.

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Subject: search.filters.subject.Ritual

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Now showing 1 - 5 of 5
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    Spoken Words, Embodied Words: A New Approach to Ancient Egyptian Theatre
    (2022) Hedges, Allison; Hildy, Franklin; Theatre; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    In this dissertation, the author advocates for an interdisciplinary approach to the study of dramatic texts and theatrical performances in ancient Egypt. Two primary lines of inquiry run through this study. The first is an in-depth historiography of ancient Egyptian drama and performance in the American discipline of theatre history over the last one hundred years, to better understand the positioning (or lack thereof) of ancient Egypt in American narratives of early theatre history. An important aspect of this historiographical approach is the observation of missed connections between twentieth century Egyptological advances in the discovery and interpretation of dramatic texts, and contemporary conversations in the field of theatre history about the role of ancient Egypt in the formation of the art form. The second line of inquiry follows a Performance as Research (PAR) approach, to evaluate theatrical practice as a useful tool in further interpreting dramatic texts and understanding theatrical performances in ancient Egypt. The goal of this study overall is to encourage collaboration between theatre practitioners, theatre historians, and Egyptologists for a more holistic understanding of the ancient Egyptian theatrical tradition, and to raise awareness of the potential for modern performance of ancient Egyptian dramatic texts.
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    STAGING SACRED SPACE: A Ritual Performance History of the UMD Memorial Chapel
    (2017) Cyr, Renee; Frederik, Laurie; Theatre; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    This study addresses the interconnections between belief, ritual, and space. Through an examination of the Memorial Chapel archive, I trace the history of Memorial Chapel from its founding in 1952 through today, focusing on the tension between sacred space and secularism. In this project I examine how religious groups have created and utilized sacred space in a non-denominational chapel as well as in a nontraditional worship spaces on and around campus. This investigates how the chapel itself performs and how participants of religious life perform their faith at a public university. I examine the role of theatricality in shaping religious rituals and giving them potency. In the second part I document my ethnographic research with Lutheran Campus Ministry.
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    Invoking Justice
    (2016) Stedge, Curtis; Phillips, Miriam; Dance; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    Invoking Justice, a performative work of dance-theater, is a social commentary, both on the failure of the American justice system to balance the scales, and on our individual and collective failings to balance our communities, and ourselves, while recognizing our inherent unity and interconnectedness. The show was performed on March 10th and 11th, 2016 in the Clarice Smith Performing Arts Center, at the University of Maryland, College Park. This document is a survey of the creative process through which this project was realized and serves as a record of the many obstacles and successes that one might encounter in directing a work of dance-theater.
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    SPIRITUALIST RITUAL AND THE PERFORMANCE OF BELIEF: SPIRIT COMMUNICATION IN TWENTY-FIRST CENTURY AMERICA
    (2013) Thompson, Robert Charles; Frederik Meer, Laurie; Theatre; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    Spiritualism is an alternative religion focused on establishing contact between living participants and the spirits of the dead, dating to the mid nineteenth century. Drawing on eighteen months of ethnographic research at the Center for Spiritual Enlightenment in Falls Church, Virginia, I analyze the three primary rituals of Spiritualist practice--spirit messages, spirit healing, and unfoldment--and argue that performance is central to Spiritualists' ability to connect with the spirit world in a way that can be intersubjectively confirmed by more than one participant. Spirit messages are performed by mediums to a congregation or audience in order to prove to individual spectators that their deceased loved ones have continued to exist as disembodied spirits after their deaths. Spirit healing is performed by healers who channel the energy of the spirits into participants in order to improve the participant's mental, physical, and spiritual condition. And unfoldment is the process whereby Spiritualists study and practice to be able to make their own direct personal contact with the spirit world. Spiritualism purports to be a science, religion, and philosophy. I consider the intersection between criticism of empirical evidence and entertainment in order to establish how Spiritualists attract newcomers and the intersection between religious belief and ritual participation in order to establish why newcomers choose to become converts. I consider Spiritualism's early history in order to discover the nature of the delicate balance that criticism and belief have established in Spiritualist practice. And, in my analysis of contemporary Spiritualist ritual, I trace the path of the convert from a newcomer with a primarily critical attitude toward Spiritualism to a believer pursuing an increasingly direct connection with the spirit world. I conclude that the live, personal interaction of Spiritualist performance is central to Spiritualists' ability to negotiate a cooperative integration of scientific criticism and religious belief.
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    Thinking, Scripting, and Performing: Constructing and Playing the Racial Synecdoche in the Antebellum North
    (2007-05-06) Jones, Douglas Anthony; Nathans, Heather S; Theatre; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    In my thesis, I argue that between the years of 1830-1842, free African Americans scripted and performed what I term, following historian Patrick Rael, the racial synecdoche. This "character" was a black performative identity that people of color should play on the public stage. The performance team--or those who scripted and performed this new black identity--believed that the performance of the synecdoche would grant free people of color eligibility to perform full civic participation in America's nascent democracy. In this study, I consider the national black conventions of the 1830s as ritualistic sites and as the primary loci where that self-scripting process took place. I characterize this thesis as an intellectual history and hope that it contributes to the vital and ever-growing bodies of African American history and African American theatre and performance history, as well as add contour and complexity to the well-charted Jacksonian period.