Relationships in the modern French theatre.
|dc.description||Abstract: p. i-xi. Vita. Thesis (Ph. D.)--Boston University. Includes bibliography.||en_US|
|dc.description.abstract||Because of the great emphasis placed on a need for a unity and harmony of all the relationships within the French theatre, an emphasis that has continued since the early part of this century to the present time, I have undertaken to analyze the nature of these associations, in an attempt to assess their significance for the present and future of the French theatre. Atte·r having provided an historical sketch of French theatre relationships since the Middle Ages, I began this study with an examination of the problem of the author and the director in the modern French theatre. It was seen that a schizm between these two elements exists in theory and practice, that conflicting ideals of a theatre geared to the author or one that is a vehicle for the director have been and continue to be represented by certain "animateurs," and that it is indeed the director who determines which of these two factors will have the primary stress in his theatre. [Truncated]||en_US|
|dc.rights||Based on investigation of the BU Libraries' staff, this work is free of known copyright restrictions.||en_US|
|dc.title||Relationships in the modern French theatre.||en_US|
|etd.degree.name||Doctor of Philosophy||en_US|
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