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dc.contributor.authorLee, Vera,1923-en_US
dc.date.accessioned2015-07-02T20:59:36Z
dc.date.available2015-07-02T20:59:36Z
dc.date.issued1962
dc.date.submitted1962
dc.identifier.otherb14677593
dc.identifier.urihttps://hdl.handle.net/2144/11557
dc.descriptionAbstract: p. i-xi. Vita. Thesis (Ph. D.)--Boston University. Includes bibliography.en_US
dc.description.abstractBecause 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.language.isoen_US
dc.publisherBoston Universityen_US
dc.rightsBased on investigation of the BU Libraries' staff, this work is free of known copyright restrictions.en_US
dc.subjectTheateren_US
dc.titleRelationships in the modern French theatre.en_US
dc.typeThesis/Dissertationen_US
etd.degree.nameDoctor of Philosophyen_US
etd.degree.leveldoctoralen_US
etd.degree.disciplineFrenchen_US
etd.degree.grantorBoston Universityen_US


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