| Name | Thesis Title | Supervisor |
|---|---|---|
| Borochovitz, Ryan | Someone Else’s Story: Form, Authorship, and Fidelity in Stage Adaptations of Autobiography | Gallagher-Ross, Jacob & Switzky, Larry |
| Cole, Funmilola | The Dynamics of Cross-Cultural Theatrical Techniques: Using Playback Theatre with African Immigrants in Niagara | Cesare Schoztko, T. Nikki |
| Dubleena Tripathi, Munia | Effects and Affects of 'Indepedent' Theatre in Kolkata: A Practice-Research Inquiry | Gallagher, Kathleen |
| Gowans, Caitlin | Unstable Human and Posthuman Identities in Royal Court Theatre Dramaturgies in the 2010’s | Switzky, Larry |
| Grech, Alisha | #SayHerName: An intersectional feminist analysis of “default gender performativity” and the violence it maintains | Cesare Schoztko, T. Nikki |
| Greyson, John | The Limits of Cultural Solidarity: Queer Bodies, Queer Screens, and the Cultural Boycott of Israel | Cobb, Michael |
| Khanin, Ilana | Appending and Upending Blockchain Histories | Cesare Schoztko, T. Nikki |
| Koumarianos, Myrto | Apprentice to the Self: Research and Practice with the Open Program (Workcenter of Jerzy Grotowski and Thomas Richards) | |
| Mayo, Keira | Innovating and Incorporating Improv in Canada and the US | Gallagher-Ross, Jacob |
| Moritz, Evan | Performing Arctic Habitation: Mars Analogue Research and Inuit Katajjaq as Meso-level iterations of the planetary | Budde, Antje & Cervera, Felipe |
| Motum, Robert | Scripted Borders: The Political Performance of Micronationhood | Cesare Schoztko, T. Nikki |
| Nardi, Tony | Performing (in) the Multicultural Melting Pot (The impact of diverse cultures on actor training and performances in Canadian theatre, film and television) | Pietropaolo, Domenico |
| Norris, Sonia | Precarious Presence and the Trauma of Happiness: Positioning Contemporary Female Clown in a Globalised World | Budde, Antje |
| Paily, Anna | Moving Dance from Stage to Image: Ballet in Women's Visual Art, 1910-1930 | Gutsche-Miller, Sarah & Fan, Xing |
| Renyk, Grahame | From Green Gables to Gander: Canadian Musicals since 1965 | Gallagher-Ross, Jacob |
| Sunberg, Hillary | Stories to Live By: Embodying Ecocriticism with Process Drama | Andrea Most |
| Thorp, Jessica | Nerd Culture and Neo-burlesque Collide: An Ethnographic and Phenomenological Study of Nerdlesque in Toronto | Johnson, Stephen |
| Zhang, Yizhou | Gestural Revolutions: The Semiotics of the Acting Bodies in Modernist Theatres | Budde, Antje & Heinicke, Julius |
Completed Dissertations
| Year | Name | Thesis Title | Supervisor |
|---|---|---|---|
| 2024 | Pesic, Julija | Cultural Specificity, Global Dynamics: The Performance Art of Marina Abramović | Trojanowska, Tamara |
| 2023 | Diokno, Giorelle | Exceptional as Folk: The Radical Abject and Generative Possibility in Contemporary Filipino Canadian Performance | Cesare Schoztko, T. Nikki |
| 2023 | Matias, Julia | Revealing Citations: Matrixed Knowledge Production in Neo-Burlesque Striptease | Freeman, Barry |
| 2023 | Silver, Cassandra | Getting in on the Action: Spectatorship at the Technologized Interface of Live Performance | Cesare Schoztko, T. Nikki |
| 2023 | Skelton, Kevin | Breathe, Dance, Sing: Performing Arts Higher Education through a Transdisciplinary Counter-Critical Pedagogy | Cesare Schoztko, T. Nikki & L. Midgelow, Vida |
| 2023 | Wilkinson, Lydia | Humanities and Engineering Intersections | Freeman, Barry |
| 2022 | Martin, Montgomery | Performing Technology: Mapping Interface Metaphors and Interactive Dramaturgies | Budde, Antje |
| 2022 | Meindl, Maria | Reading Elsa Gindler: Tracing the Legacy of a Somatics Pioneer | Johnson, Stephen |
| 2022 | Reinhart, Michael | Devising Systems: Towards a Formal Appraisal of Group-Based Collaborative Devising | Johnson, Stephen |
| 2022 | Robbins, Sarah | Out of the Fringes: An intersectional feminist analysis of postsecondary acting training in English Canada | Cesare Schoztko, T. Nikki |
| 2022 | Watkin, Jessica | Disability Dramaturgy: Performance, Care, and Community | Cesare Schotzko, Nikki |
| 2021 | Akhtari, Nazli | Diasporic Constellations: Performing on the Periphery of the Archives | Sharma, Sarah |
| 2021 | Danckert, Paula | Speaking Truth to Historiography: The Power of Dramaturgy in Making Relationships Between Indigenous and Settler Peoples | Carter, Jill & Copeland, Nancy |
| 2021 | DeGrow, Dave | Reading the Theatre: A Lens-based Method for Reading Venued Theatre Companies | Johnson, Stephen |
| 2021 | Gagnon, Jeff | Tactical Dramaturgies: Media, the State, and the Performance of Place-Based Activism | Freeman, Barry |
| 2021 | Mazumdar, Christine | The Balancing Act: Negotiating Athleticism and Artistry in Rhythmic Gymnastics and Other Aesthetic Sports | Cesare Schoztko, T. Nikki |
| 2021 | Samur, Sebastian | The Rhythmic Voyage of the Performer: A Rhythmanalysis of Three Collectives | Trojanowska, Tamara & Fan, Xing |
| 2021 | Vodovnik, Sanja | Down the Rabbit Hole: Following Science Fiction into Theatre and Performance | Budde, Antje |
| 2021 | Windeyer, Richard | Black Box Exposures: Enriching Public Engagement with Human-Data Relations Through Intermedial Performance Strategies | Budde, Antje |
| 2020 | Leadley, Allison | Step Right Up! : (Re)Imagining the Freak Show in Contemporary Performance and Disability Theory | Cesare Schoztko, T. Nikki |
| 2020 | Mealey, Scott | Recollections of a Spectator: How intent, style, and familiarity may effect attitudinal change in the theatre spectator | Gallagher, Kathleen |
| 2020 | Salisbury, Jenny | Community-Engaged Theatre Audiences: The Seat of Interpretation | Freeman, Barry |
| 2019 | Aikman, Lisa | Dramaturging Research, Shaping Encounters: Working Methods and Dramaturgical Structures in Contemporary Canadian Documentary Theatre | Copeland, Nancy |
| 2019 | Crookston, Cameron | Yesterday’s News: Drag’s Performance of an Affective Queer Past | Johnson, Stephen |
| 2019 | Jones, Matthew | The Shock and Awe of the Real: Political Performance in an Age of War and Terror | Freeman, Barry |
| 2019 | Lior, Noam | Weak Kings, Jews, and Wizards: Performance Dramaturgy in Shakespeare and Marlowe | Lopez, Jeremy |
| 2019 | Moosavi, Marjan | Socio-Cultural Interventionism on the Iranian Stage: Themes and Aesthetics | Johnson, Stephen |
| 2019 | Thompson, Caitlin | Making Fritters of English: Aesthetic Functions of Early Modern Welsh Dialect Comedy | Astington, John |
| 2019 | Williamson, Ashley | The Performance of Canadian History: The Work of Historical Interpreters, Animators, and Re-Enactors | Copeland, Nancy |
| 2018 | Esling, Natalia | Adaptive Sense-Making: The Effects of Sensory Modification on Audience Reception | Barton, Bruce |
| 2018 | Frijia, Natalie | Representing Environmental Identities Through Geodrama | Freeman, Barry |
| 2018 | Jacobson, Kelsey | Locating the Real in Contemporary Canadian Performance | Gallagher, Kathleen |
| 2018 | Julien, Martin | Stubborn Subject: The Persistence of Self in Dramatic Acting | Johnson, Stephen |
| 2018 | Klassen, Sharon | Wilde and His Legacy: British Commercial Comedy 1892-1930 | Switzky, Lawrence |
| 2018 | Ortuzar, Jimena | Performing Invisible Labour: The Globalization of Care in Aesthetic and Everyday Practice | Quayson, Ato |
| 2018 | Smith, Grace | Models of Professionalism: Post WWI Strategies and Ideologies Towards a Canadian, Professional Theatre | Copeland, Nancy |
| 2018 | Tihanyi, Deborah | Conceiving Dramaturgical Practice in English Canada: Histories, Methods, and Models, Post-WWI to the 1990s | Pietropaolo, Domenico |
| 2018 | Zisman Newman, Laine | Placefull Spaces: Queer Women and Non-Binary Artists Resisting an Emptied Stage | Goldstein, Tara |
| 2017 |
Lucci, Laura |
Pirandello’s Dramaturgy of Time | Pietropaolo, Domenico |
| 2017 | Stowell-Kaplan, Isabel | They Did the Police in Different Voices: Representations of the Policeman and Private Detective in Victorian Drama, Theatre and Performance. | Johnson, Stephen |
| 2016 |
Babayants, Art |
"In Unknown Languages”: Investigating the Phenomenon of Multilingual Acting | Gallagher, Kathleen |
| 2016 |
Boye, Seika |
Looking for Social Dance in Toronto’s Black Population at Mid-century: A Historiography | Johnson, Stephen |
| 2016 |
Cole, Jenn |
Hysteria: Potential Dramaturgies Toward a Portrait of Ambiguity | Johnson, Stephen |
| 2016 |
Kovacs, Sasha |
“I may act till the world grows wild and tense”: The Performances of E. Pauline Johnson Tekahionwake | Johnson, Stephen |
| 2016 |
Liebembuk, Shelley |
The Choteadora’s Body in Performance: Carmelita Tropicana and the Intersectional Strategy of Choteo | Johnson, Stephen |
| 2016 |
Taucar, Jacqueline |
Acting (Outside) the Multicultural Script in Toronto’s Ethno-cultural Festivals | Budde, Antje |
| 2015 |
Ashby, James |
From the Inside Out, from the Outside In: Devising in Canadian Puppet Theatre | Barton, Bruce |
| 2015 |
Babiak, Paul |
Slapstick and Knockabout: Violence and Laughter in 19th-Century Theatre and Early Film | Johnson, Stephen / Keil, Charles |
| 2015 |
Blum, Justin |
Melodrama, Monstrosity and Modernity: The Theatrical Histories of Jack the Ripper | Johnson, Stephen |
| 2015 |
Campbell Melissa |
Acts of Resistance: The Reclaiming of Native Womanhood in Canadian Aboriginal Theatre | Barton, Bruce |
| 2015 |
Fitzsimmons Frey, Heather |
Young Adult Spectatorship and Theatre for Young Audiences | Gallagher, Kathleen |
| 2014 |
Cauthon, Courtney |
Moving Towards Thought: Theatricality, Technology, and the Theatre | Trojanowska, Tamara |
| 2014 |
Chung, Kathy |
Getting it Straight:” Ambivalent Misalignment and the Kinship Idiom in the Drama of Sharon Pollock | Plant, Richard |
| 2014 |
Jordão, Aida |
Iñes de Castro in Theatre and Film: A Feminist Exhumation of the Dead Queen | Copeland, Nancy |
| 2014 |
Osakwe, Chima |
Revolutionary Drama in Postcolonial Nigeria: The Theatre of Femi Osofisan | Esonwanne, Uzoma |
| 2013 |
Halferty, Paul J. |
Political Stages: Gay Theatre in Toronto, 1967-1985 | Most, Andrea |
| 2013 |
Houle, Gabrielle |
Masks and Masked Performance in Giorgio Strehler’s Vision of the Commedia dell’arte | Pietropaolo, Domenico |
| 2013 |
Jackman, Christopher |
Disciplined Mind: Implicit Cognition in Devised Performance | Barton, Bruce |
| 2013 |
MacArthur, Michelle |
Re-viewing Reception: Criticism of Feminist Theatre in Montreal and Toronto, 1976 to the Present | Copeland, Nancy |
| 2013 |
Turner, Mark |
Dissenting Shadows: A History of Film Policy and Production in Newfoundland and Labrador, 1933-1997 | Johnson, Stephen |
| 2012 |
Corbett McCallum, Natalie |
Staging Canlit: Reinterpreting the Canadian Literary in English-Language Stage Adaptations of Canadian Fiction and Poetry from 1975-2011 | Barton, Bruce |
| 2012 |
Rich, Alysse |
Re-configuring the Chorus: Adaptations of the Greek Tragic Chorus since WWII | Revermann, Martin |
| 2011 |
Jovanovic, Nenad |
Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins and Lars von Trier | Soldovieri, S. |
| 2011 |
Papoutsis, Natalie |
An Ear for an Eye: Greek Tragedy on Radio | Pietropaolo, Domenico |
| 2011 |
Zaiontz, Keren |
The Stagehands of Subversive Spaces: Site-specific Performance and Audience Labour | Copeland, Nancy |
| 2010 |
Benabu, Joel |
Shakespeare’s Openings in Action: A Study of Four Plays from the Period 1591- c.1602 | Levenson, J.L. |
| 2010 |
Carter, Jill |
Repairing the Web: Spiderwoman’s Children Staging the New Human Being | Sperdakos, Paula |
| 2010 |
Freeman, Barry |
Toward a Postmodern Ethnography of Intercultural Theatre: An Instrumental Case-study of the Prague-Toronto-Manitoulin Theatre Project | Gallagher, Kathleen |
| 2010 |
Manole, Diana |
Poetics of Denial: Expressions of National Identity and Imagined Exile in English-Canadian and Romanian Dramas | Plant, Richard |
| 2010 |
Stuart McKinnon, James |
The Dramaturgy of Appropriation: How Canadian Playwrights Use and Abuse Shakespeare and Chekhov | Copeland, Nancy |
| 2009 |
Borody, Claire |
Primus Theatre: Establishing an Alternative Model for Creating Theatre in English Canada | Barton, Bruce |
| 2009 |
Colli, Gian Giacomo |
The Impossible Tempest: Giorgio Strehler or the Director as Interpreter | Astington, John H. |
| 2009 |
Harrower, Natalie |
The Performance of Critical History in Contemporary Irish Theatre and Film | Keil, Charles |
| 2009 |
Malone, Toby |
Hast Thou Been Tampering? – Dramaturgical Adaptation in Richard III | Levenson, J.L. |
| 2009 |
Marquis, Elizabeth: |
Just Act Naturally: A Poetics of Documentary Performance | Keil, Charles |
| 2009 |
Melo, Sergio |
Deconstructing the Transhistorical in Contemporary Productions of The Merchant of Venice | Astington, John H. |
| 2009 |
Ovadija, Mladen |
The Dramaturgy of Sound in Futurist Performance | Pietropaolo, Domenico |
| 2009 |
Stathaki, Aktina |
Adaptation and Performance of Greek Drama in Post-Apartheid South Africa | Quayson, Ato |
| 2009 |
Whittaker, Robin |
Un/Disciplined Performance: Nonprofessionalized Theatre in the Professional Era | Barton, Bruce |
| 2009 |
Wolfe, Graham |
Encounters with the Real: A Žižekian Approach to the Sublime and the Fantastic in Contemporary Drama | Barton, Bruce |
| 2008 |
Gardiner, Jessica |
The Amusement World”: Theatre as Social Practice in Eighteen-Nineties Toronto | Plant, Richard |
| 2008 |
Schreyer Duarte, Birgit |
Made in Kanada? Perception and Construction of Canadianness in English-Canadian Drama on German Stages | Barton, Bruce |
| 2007 |
Adah, Anthony |
Embodying the Screen: Body and Identity in Aboriginal Cinemas | Armatage, K. |
| 2007 |
Alvarez, Natalie |
The Poetics of Regret: Performance as Nostalgia | Johnson, Stephen |
| 2007 |
Ashperger, Cynthia |
Michael Chekhov’s Acting Technique in Contemporary Pedagogy and Practice | Sperdakos, Paula |
| 2007 |
Del Degan, Dario |
The Staged Painting of Samuel Beckett | Howard, P. |
| 2007 |
Devine, Michael |
Necessary Evils: Strangers, Outsiders, and Outposts in Newfoundland Drama | Barton, Bruce |
| 2007 |
Olayia, Kolawole |
The Poetics and Politics of Wole Soyinka and Athol Fugard | Kortenaar, Neil ten |
| 2007 |
Racette, Anna |
Shakespeare in the Body: An Exploration of Student Audiences at the Stratford Festival | Astington, John H. |
| 2007 |
Stedman, Samuel |
Always Already Almost: Levinas, Derrida, and An Ethico-Political Theatre | Johnson, Stephen |
| 2007 |
Stoesser, Paul J. |
Hart House and the International Art Theatre | Pietropaolo, Domenico |
| 2006 |
Gilbert, Schuyler (Sky) |
Noel Coward and the Queer Feminine | Johnson, Stephen |
| 2005 |
Gluhovic, Milija |
Memory-Theatre of Harold Pinter, Tadeusz Kantor, and Heiner Müller | Trojanowska, Tamara |
| 2004 |
Case, Mary |
The Lost Plays of the Beat Generation: Dramaturgical Strategies for the Production of Plays by Kenneth Rexroth, Kenneth Patchen, Lawrence Ferlinghetti, and Diane Diprima | Blostein. D.A. |
| 2004 |
Duchesne, Scott |
‘Fitful Excellence’: The Great Canadian Theatre Company and English-Speaking Ottawa Theatre, 1975-1983 | Plant, Richard |
| 2004 |
Lindgren, Allana |
Dance as Social Activism: The Theory and Practice of Franziska Boas, 1933-1965 | Johnson, Stephen |
| 2004 |
Ormsby, Robert |
Staging and Receiving Shakespeare: Four Late Twentieth-Century Productions of Coriolanus | Levenson, J.L. |
| 2004 |
Quint, Cordula |
Dramaturgy and Mise en Scene of the Post Modern Abyss: Subjectivity in Robert Wilson’s Theatre, 1967-1987 | Pietropaolo, Domenico |
| 2004 |
Rusch-Drutz, Corinne |
Interviewing the Mothers of Invention: A Qualitative Analysis of Women Theatre Practitioners in Toronto | Murray, H. / Plant, Richard |
| 2004 |
Schweitzer, Marlis |
Becoming Fashionable: Actresses, Fashion, and the Development of American Consumer Culture, 1893-1919 |
Johnson, Stephen |
| 2004 |
Solga, Kimberley |
Invisible Acts: Performing Violence Against Women in Early Modern and Contemporary Drama in English |
Copeland, Nancy |
| 2003 |
D’Anger, Tanya |
New World Visions: A Textual Analysis of the Plays of Normand Chaurette, René-Daniel Dubois, and Jean-Marc Dalpé, from 1975-1996, Exploring Their Growing Preoccupation with the Status and Role of the Individual in Western Society | Doucette, L.E. |
| 2003 |
Fitzpatrick, Elizabeth |
The Emergence of a Post-National Aesthetic in Contemporary Irish Drama 1980-2000 | Sidnell, M.J. |
| 2003 |
Meerzon, Yana |
Actor, Stage Figure and Dramatic Character Semiosis in Michael Chekhov’s Theatre Practice and Theory | Ambros, Veronika |
| 2003 |
Stephenson, Jennifer |
Uplifted to the View: A Phenomenology of Shakespearean Metatheatre | Leggatt, A.M. |
| 2003 |
Walkinshaw, Anges |
A Foundation of Knowledge About Drama within the Primary and Junior Education System | Wilkinson, J. |
| 2002 |
Beddows, Joël |
L’institution Théâtrale Franco-Ontarienne (1971-1991): Entre Mission Communautaire et Ambition Professionnelle |
O’Neill-Karch, M. |
| 2002 |
Coulthard, Lisa |
Trauma Talk: Theorizing Violence and Victimization in Contemporary Performance | Copeland, Nancy |
| 2002 |
Kydd, Zorana |
From Vaudeville to Broadway: The Theatre of George Kelly | Hayne, B. |
| 2002 |
Reid, Sharon |
The Stages of Augustin Daly | Domenico Pietropaolo |
| 2002 |
Simm, Teresa |
Antonia Pulci and the Practice of Convent Performance in Renaissance Italy | Pietropaolo, Domenico |
| 2002 |
Skidmore, James |
A Critical Analysis of Cirque du Soleil, 1987-2001 | Bouissac, P. |
| 2001 |
Akalin, Esin |
Discovering Self and Other: Representation of Ottoman Turks in English Drama (1656-1792) | Corman, B. |
| 2001 |
Carpenter, Ian |
Comic Violence: from Commedia dell’Arte to Contemporary Cinema | Hayne, B.S. |
| 2001 |
Jestrovic, Silvija |
Making the Familiar Strange in Theatre and Drama: From Russian Formalist Avant-Garde to Brecht | Ambros, Veronika |
| 2001 |
Johnston, Kirsty |
Staging Madness: Dramatic Modes of Representing Mental Illness at the Workman Theatre Project, 1989-2001 | Plant, Richard |
| 2000 |
Cockett, Peter |
Incongruity, Humour and Early English Comic Figures: Armin’s Natural Fools, the Comic Vices, and Tarlton The Clown | Astington, John H. |
| 2000 |
Costello, Charles |
For any Spirringes in Pat Space: The Theatrical Game of the York Plays | Johnston, A.F. |
| 2000 |
Galery, Maria-Clara |
Identifying Strategies for the Production and Reception of Shakespeare in Brazil and Argentina | Neglia E./ Sternberg, R. |
| 2000 |
Sivak, Nadine |
‘Howwe gonna find my Me?’: Situating the Self in Contemporary North American Drama and Film | Flinn, C. |
| 1999 |
Bendikas, Kristina |
Opera Productions of Jean-Pierre Ponnelle: The American Years (1958- 1986) | Marker, Lise-Lone |
| 1999 |
Ceolin, Mark |
Francesco Algarotti and Francesco Milizia: Architectural and Dramatic Theorists of the Italian Enlightenment | Pietropaolo, Domenico |
| 1999 |
Harries, Rebecca |
The Monstrous World and its Shadow – The Grotesque Aesthetic and the Apocalyptic in German Expressionist Drama and Film | Hayne, B.S. |
| 1999 |
Shih, Wen-Shan |
Intercultural Theatre: Two Bejing Opera Adaptations of Shakespeare | Leggatt, A.M. |
| 1999 |
Weiss, Peter |
Forgotten Reality, Remembered Fiction: Production Values and Court Opera, 1598-1608 | Pietropaolo, Domenico / Parker, M.A |
| 1998 |
Appleford, Robert |
The Indian ‘Act’: Postmodernism and Native Canadian Performance | Plant, Richard |
| 1998 |
Golomb, Liorah |
Peter Barnes and the Nature of Authority | Leggatt, A.M. |
| 1998 |
Herr, Christopher |
Life Printed on Dollar Bills: The Idea of the Marketplace in Clifford Odets | Marker, Frederick J. |
| 1998 |
Jaffe, Erith |
Towards a Paradigm of the Polylingual Performance: Linguistic and Metalinguistic Functioning in the Commedia dell’Arte | Pietropaolo, Domenico |
| 1998 |
Mann, Laurin |
Actor Training in Toronto: Theory in Practice | Sidnell, M.J. |
| 1998 |
Moser, Marlene |
Postmodern Performance and Feminist Practice in the Canadian Context: A Study of Identity in Selected Plays of Judith Thompson and Margaret Hollingsworth and Selected Films of Patricia Gruben | Kerckhove, D. de |
| 1998 |
Piccolo, Cynthia |
The Characterization of the Judge in English Medieval and Tudor Drama | Klausner, D.N. |
| 1998 |
Rusnak, Stephen |
A Phenomenology of Dramatic Dialogue | Pietropaolo, Domenico |
| 1998 |
Scovell, Dawn |
A Performance History of Christopher Marlowe’s Edward II on the British Stage and Screen | Levenson, J.L. |
| 1998 |
Shiller, Romy |
A Critical Exploration of Cross-Dressing and Drag in Gender Performance and Camp in Contemporary North American Drama and Film | Flinn, C. |
| 1997 |
Andrews, Una |
Tyrone Guthrie and the Open Stage Controversy in Post-War Britain | Bryden, Ronald |
| 1997 |
Freeman, Sarah Jane |
‘Speake That I May See Thee’: Figures of Rhetoric in Shakespeare’s Comedies | Levenson, J.L. |
| 1997 |
Hanson, Richard |
Principal Witness: Herbert Whittaker and Canadian Drama | Bryden, Ronald |
| 1997 |
Little, Edward |
Theatre and Community: A Case Study of Four Colway-Style Plays Performed in Canada | Parker, R. Brian |
| 1997 |
Scott, Shelley |
Feminist Theory and Nightwood Theatre | Sidnell, M.J. |
| 1997 |
Sokalaski, Joseph |
The Theatre of Steele MacKaye: Pictorial Illusion on the American Stage | Marker, Lise-Lone |
| 1997 |
Stoeber, Colette |
Harold Pinter’s Play with Form: a Cross-Media Analysis of His Texts | Marker, Frederick J. |
| 1996 |
Migliarisi, Anna |
Theories of Directing in Late Renaissance and Early Baroque Italy | Pietropaolo, Domenico |
| 1996 |
Tallman, Kenneth |
Challenges to Representation in Selected Stage Plays of Samuel Beckett | Saddlemyer, Ann |
| 1995 |
Barton, Bruce |
Changing Frames: Medium Matters in Selected Plays and Films of David Mamet | Bryden, Ronald |
| 1995 |
Rae, Elizabeth |
Christopher Newton’s Years at the Shaw Festival, 1980-1993 | Saddlemyer, Ann |
| 1995 |
Redondo, Susana |
The Female Spectator as Subject in Contemporary British Drama | Saddlemyer, Ann |
| 1995 |
Scott, Robert |
Professional Companies and Performers in Ontario, 1914 to 1967 | Saddlemyer, Ann |
| 1995 |
Silversky, Sandra |
The Role of the Designer in Canadian Theatre | Saddlemyer, Ann |
| 1995 |
Steinacker, Wiltrud |
Georg Fuchs and the Concept of the Relief Stage | Jaumann, H. |
| 1995 |
Underhill, Jacqueline |
The Staging of Biblical Plays in Coventry, 1392 to 1579 | Johnston, A.F. |
| 1995 |
Wise, Jennifer |
Prolegomenon to the Study of Dramatic and Theatrical Theory | Kerckhove, D. de |
| 1994 |
Defraeye, Piet |
Shocking the Audience: A Study of Audience Provocation in the Theatre with Special Reference to Arrabal, Handke and Brenton | Sidnell, M.J. |
| 1994 |
Press, Anita |
Sadler’s Wells Theatre under Charles Dibdin the Younger from 1800 to 1819: When Britannia Ruled the Stage | Marker, Lise-Lone |
| 1993 |
Kerr, Rosalind |
The Actress as Androgyne in the Commedia dell’Arte Scenarios of Flaminio Scala | Pietropaolo, Domenico |
| 1993 |
Trojanowska, Tamara |
Slawomire Mrozek and Vaclav Havel: Moral Theatre of Identity in Crisis | Bryden, Ronald |
| 1992 |
Bain, Theodore |
The Theme of Intellectual Dandyism in Modern British Drama: A Study of Simon Gray | Bryden, Ronald |
| 1992 |
Cottreau, Deborah |
Text, Context and Decentring the ‘I’: Beckett’s Later Stage Plays | Saddlemyer, Ann |
| 1992 |
Gantar, Jure |
Dramaturgical Strategies for Producing Laughter | Sidnell, M.J. |
| 1992 |
Gibson, Sarah |
Canadian Plays for Young Audiences: James Reaney, Carol Bolt and Dennis Foon | Saddlemyer, Ann |
| 1992 |
Nichols, Glen |
Textual Adaptations for Amateur Performances in Quebec, 1875-1908 | Doucette, L.E. |
| 1992 |
Nichols, Louise |
Silent Characters in Shakespeare’s Plays: Texts and Productions | Astington, John H. |
| 1992 |
Sloniowski, Jeannette |
Cinema of Cruelty: Affective Rhetoric in Film | Skvorecky, J. / Bryden, Ronald |
| 1992 |
Smigel, Elizabeth |
Dance as a Dramaturgical Device in Victorian Drama: the Plays of Charles Selby, 1802-1863 | Bryden, Ronald |
| 1992 |
Walker, Craig |
Versions of the ‘Poetic’ in Canadian Drama | Blostein, D.A. |
| 1992 |
Weaver, Bronwyn |
Empowering the Children: Theatre for Young Audiences in Canada | Courtney, R. |
| 1991 |
Hauck, Gerhard |
Reductionism in Drama and the Theatre: the Case of Samuel Beckett | Blostein, D.A. |
| 1991 |
Jones, Sally L. |
The Original Characters of Edwin Forrest and his American Style | Marker. Lise-Lone |
| 1991 |
Michel, Barbara |
Orchestration of Light, Space and Form: The Role of the Art Director in the Classical Hollywood Cinema | Tolton, C.D.E. |
| 1990 |
Dwyer, Ruth |
Malcolm St. Clair, 1897-1957 | Skvorecky, J. |
| 1990 |
Kirkley, R. Bruce |
Theatre into Television: Practice and Theory in English-Canadian Drama, 1951-1987 | Saddlemyer, Ann |
| 1990 |
Smith, Catherine |
Parody in the Plays and Productions of George F. Walker | Parker, R. Brian |
| 1990 |
Sperdakos, Paula |
Dora Mavor Moore: Her Career in Canadian Theatre | Bryden, Ronald |
| 1989 |
Blasting, Ralph |
The Kunzelsau Corpus Christi Play: A Dramaturgical Analysis | Johnston, A.F. |
| 1989 |
Chiba, Yoko |
The Influence of the Noh In Yeats’s Theatre | Sidnell, M.J. |
| 1988 |
Fort, Timothy |
Incandescence and the Birth of Modern Lighting Design, 1895-1925 | Marker, Lise-Lone |
| 1988 |
Pilkington, Lionel |
The Northern Ireland Crisis in Contemporary Irish and British Drama | Saddlemyer, Ann |
| 1988 |
Rockett, William |
The Savage Cinema: Transcendence in the Film of Terror | Skvorecky, J. |
| 1988 |
Walsh, Paul |
Strindberg’s New Naturalism | Marker, Lise-Lone |
| 1987 |
Day, Moira |
The Influence of Elizabeth Sterling Hayes on the Alberta Theatre Movement | Saddlemyer, Ann |
| 1987 |
Johnston, Denis |
Toronto’s Alternate Theatres in the 1970s | Saddlemyer, Ann |
| 1987 |
Peel, William |
The Role of the Dramatic Text in the Theory and Practice of Jacques Copeau | Marker, Lise-Lone |
| 1987 |
Rewa, Natalie |
Amateur and Garrison Theatricals in Kingston and Quebec City, 1800-1880 | Saddlemyer, Ann / Doucette, L.E. |
| 1987 | Schiller, Chris | Dramatic Language in the Plays of Stoppard, Shaffer, Bond and Arden | Sidnell, M.J. |
| 1985 |
Abel, Douglas |
The Acting of Edmund Kean, Tragedian | Marker, Lise-Lone |
| 1985 |
Copeland, Nancy |
Spranger Barry, Garrick’s ‘Great Rival’: His Contribution to 18th-Century Acting | Marker, Lise-Lone |
| 1985 |
Filewood, Alan |
The Development and Performance of Documentary Theatre in English-Speaking Canada, 1959-1980 | Sidnell, M.J. |
| 1985 |
Wagner, Anton |
Herman Voaden’s Symphonic Expressionism | Saddlemyer, Ann |
| 1985 |
Westley, Meg |
A Stage History of Troilus and Cressida | Marker, Lise-Lone |
| 1984 |
Blagrave, Mark |
Playwriting in the Maritime Provinces, 1845-1903 | Saddlemyer, Ann |
| 1984 |
Forbes Park, Alan |
The Dramas of Edward Bulwar, First Lord Lytton: An Historical, Thematic and Stylistic Evaluation | Davies, Robertson |
| 1984 |
Kleber, Pia |
The Influence of Bertolt Brecht on Roger Planchon’s Mises en Scene | Blostein, D.A. |
| 1984 |
Lenton, Gerald Bartley Bruce |
The Development and Nature of Vaudeville in Toronto, 1899-1915 | Saddlemyer, Ann |
| 1984 |
Lynde, Denyse C |
Myth and Image-Makers: A Study of the Plays of Gwen Pharis Ringwood and Lady Gregory | Saddlemyer, Ann |
| 1984 |
Westfall, Suzanne R. |
The Entertainment of a Noble Patron: Early Tudor Household Revels | Lancashire, D.I. |
| 1983 |
Gardner, David Emmett |
An Analytic History of the Theatre in Canada: The European Beginnings to 1760 | Davies, Robertson |
| 1983 |
Parry, David Mackenzie |
The Castle of Perseverance: a Critical Edition | Leyerle, J. |
| 1983 |
Rudakoff, Judith D. |
Characterization and Interaction in the Plays of David French, David Freeman, Michel Tremblay and David Fennario | Saddlemyer, Ann |
| 1983 |
Skene, Reginald R. |
Theatre and Community: Development Toward a Professional Theatre in Winnipeg, 1897-1958 | Bryden, Ronald |
| 1982 |
Butler, Susan Hardy |
A Shakespeare Scrutiny | Parker, R. Brian |
| 1982 |
Elliott, Hilary M. |
Images of Society in English-Canadian Drama, 1919-1975 | Saddlemyer, Ann |
| 1982 |
Gaskell, Ian |
The Ironic Perspective in Marlowe’s Plays | Maclure, M. |
| 1982 |
O’Dell, Leslie Ann |
Theatrical Events in Kingston, Ontario: 1879-1897 | Davies, Robertson |
| 1981 |
Much, Rita E. |
The Staging of Ibsen’s Modern Plays in England | Marker, Lise-Lone |
| 1981 |
Salter, Denis William Salter |
A Stylistic Analysis of Henry Irving’s Non-Shakespearean Productions, 1870-1905 | Marker, Lise-Lone |
| 1980 |
Cooper, Thomas William |
Pioneers in Communicating: The Lives and Thought of Harold Innis and Marshall McLuhan | Skvorecky, J. |
| 1980 |
Hendrickx, Johan R. |
Ben Travers and the English Farce Tradition | Bryden, Ronald |
| 1980 |
Levine, Ira |
Theatre in Revolt: Left-Wing Dramatic Theory in the United States (1911-1939) | Saddlemyer, Ann |
| 1980 |
Redfern, Jon |
To Refine and Reform the English Stage: A Study of James Robinson Planche’s Scenic Reforms, 1820-1850 | Marker, Lise-Lone |
| 1980 |
Rittenhouse, Jonathan |
A Critical Edition of 1 Sir John Oldcastle | Lancashire, A.C. |
| 1980 |
Usin, Lea V. |
From Scatology to Eschatology: Religious Elements in the Drama of Michel de Ghelderode | Riese, L. |
| 1979 |
Binnie, Eric |
A Critical Examination of the Theatrical Designs of Charles Ricketts (1866-1931) | Saddlemyer, Ann |
| 1979 |
Diamond, Marc Leslie |
English Theatre Lighting in the Nineteenth Century | Marker, Lise-Lone |
| 1979 |
Fulks, Wayne M. |
The Seasonal Comedies of Christopher Fry: The Lady’s Not for Burning, Venus Observed, The Dark is Light Enough, A Yard of Sun | LePan, D.V. |
| 1979 |
Plant, Richard L. |
Leaving Home: A Thematic Study of Canadian Literature with Special Emphasis on Drama, 1606-1977 | Margeson, J. |
| 1978 |
Craven, Marilyn A. |
The Theatre of Peter Terson: An Examination of the Playwright’s Evolving Style, with Emphasis on Selected Plays Performed at the Victoria Theatre, Stoke-on-Trent | Saddlemyer, Ann |
| 1978 |
Dugan, James |
A Critical Study of the Plays of Elizabeth Inchbald | Davies, Robertson |
| 1978 |
Schonberg, Michael |
The Osvobozene Divadlo (The Liberated Theatre) of Voskovec and Werich: A History | Skvorecky, J. |
| 1977 |
Braid, Angus |
The Adelphi Drama (1825 to 1858): A Theatrical Tradition | Marker, Lise-Lone |
| 1977 |
Elchen, Sylvia V. |
Costume in the Theatre of Edward Gordon Craig | Leggatt, A.M. |
| 1977 |
Hannaford, Stephen |
The Significant Object in Western Comedy | Leggatt, A.M. |
| 1977 |
Kelly, Veronica |
A Study of the Theatre of Eugene Ionesco | Riese, L. |
| 1977 |
Mlodzik, Ronald Antony |
Stephen Philips: An Investigation of his Career in London’s West End, 1899-1906 | Davies, Robertson |
| 1976 |
Froelich, Alfred |
N.F. Simpson and the Aesthetics of Nonsense | Saddlemyer, Ann |
| 1976 |
Lane, Harold |
The Continuity of Strindberg’s Damascus Cycle | Marker, Lise-Lone |
| 1976 |
Lytle, Thomas Allen |
A Critical and Interpretative Edition of More Dissemblers Besides Women, by Thomas Middleton | Parker, R. Brian |
| 1976 |
van Dijk, Maarten |
Sinking the Villain: John Philip Kemble, Neo-Classical Acting Style and the Interpretation of Villains | Marker, Lise-Lone |
| 1975 |
Aikens, James |
The Rival Operas: Toronto Theatre, 1874-1884 | Davies, Robertson |
| 1975 |
Medjuck, Joseph A. |
Film and the Illusion of Reality | Skvorecky, J. |
| 1975 |
Stephenson, Anthony |
The Impossibilists: Alternatives to the Commercial Theatre in London, 1890-1914 | Davies, Robertson |
| 1974 |
Astington, John Harold |
The Staging of the Beaumont and Fletcher Collaborations, 1606-1616 | Van Fossen, R.W. |
| 1974 |
Stuart, Euan Ross |
An Analysis of Productions on the Open Stage at Stratford, Ontario | Marker, Frederick J. |
| 1972 |
Whitehead, Graham |
The Craftsmanship of Sean O’Casey | Saddlemyer, Ann |
| 1970 |
Brigg, Peter |
Time in the Plays of J.B. Priestley, Samuel Beckett and Harold Pinter | Davies, Robertson |
| 1970 |
Kaplan, Joel |
Some Uses of Exuberance in Jacobean Comedy | Parker, R. Brian |