Relevant bibliographies by topics / All-level dramaturgy

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  1. Journal articles
  2. Dissertations / Theses
  3. Conference papers

Academic literature on the topic 'All-level dramaturgy'

Author: Grafiati
Published: 30 May 2022
Last updated: 31 July 2025

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Journal articles on the topic "All-level dramaturgy"

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Kemarskaya, Irina N. "TV Dramaturgy: Format Approach." Journal of Flm Arts and Film Studies 7, no. 4 (2015): 130–42. http://dx.doi.org/10.17816/vgik74130-142.

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The article analyses the issues of television format and its dramatic foundation. Unlike film, a television spectacle is, above all, reproducible: in its core lays a replicated plot structure, which is filled with new content in each new episode of the series. The need for establishing of a steady communication with TV audience demands special rules, instruments and plot devices, enclosed in a professional term television format. Consistent modelling of predetermined reactions of the audience is in the core of the formats dramatic structure. The format is seen outside the specific subject-matt
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Grămoșteanu, Corina. "Psychological Mechanisms in Chekhov." CONCEPT 29, no. 2 (2025): 196–211. https://doi.org/10.37130/2kg29m63.

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This paper aims to analyse the psychological mechanisms present in the dramaturgy of Anton Pavlovich Chekhov, alongside the psychic transformations undergone by the theatre creator during the process of interpreting and staging these classic texts. Considering the symbolic value of Chekhov’s characters at a social and cultural level, all of which were developed under the auspices of the great cultural and historical shifts of the beginning of the 20th century, the present analysis investigates a series of stage expression methods that the contemporary theatre has exhibited over the past decade
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IVANOVA, Krasimira. "NATIONAL IDEOLOGY THROUGH THE PRISM OF DRAMATURGY." Ezikov Svyat volume 22 issue 2, ezs.swu.v22i2 (May 30, 2024): 98–100. http://dx.doi.org/10.37708/ezs.swu.bg.v22i2.11.

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The article is part of a larger study on the imaginary mechanisms embedded in dramaturgy with the aim of emphasizing the need at the meta-theoretical level to control all the correlates of the concept “ethnicity“ through the natural bivalent construction of the real world: „Our-Other/Foreign“, through the main ethnos-constructing factors – religion, language, and nationality. The necessity arises from the established over decades distortion of the adequacy of the imaginary attitudes in question, which the national ideology takes advantage of. The purpose of the overall study is to demonstrate
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Kaznokh, Iryna. "Cyclical Composition's Dramaturgical Principles of the Easter Canon (on the Irmologion Material of the 70s – 80s of the XVII Century)." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 3, no. 1 (2020): 18–26. https://doi.org/10.31866/2616-7581.3.1.2020.204335.

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Over the centuries, church liturgical practice has formulated perfect musical forms, the structure of which is built on internal genres, united by the common idea of all parts. The classification of their musical dramaturgy is determined by the musical-philological component that builds the liturgical and artistic integrity of the cyclic form of the work. This form is represented by the Easter canon, which holds a special place among all works of Byzantine hymnography. The purpose of the research is to consider the compositional structure of the Easter canon genre in the context of its th
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Frieler, Klaus, Martin Pfleiderer, Jakob Abeßer, and Wolf-Georg Zaddach. ""Telling a Story." On the Dramaturgy of Monophonic Jazz Solos." Empirical Musicology Review 11, no. 1 (2016): 68. http://dx.doi.org/10.18061/emr.v11i1.4959.

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The metaphor of storytelling is widespread among jazz performers and jazz researchers. However, little is known about the precise meaning of this metaphor on an analytical level. The present paper attempts to shed light on the connected semantic field of the metaphor and relate it to its musical basis by investigating time courses of selected musical elements and features in monophonic jazz improvisations. Three explorative studies are carried out using transcriptions of 299 monophonic jazz solos from the Weimar Jazz Database. The first study inspects overall trends using fits of quadratic pol
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TĂBĂCARU, Roxandra. "Drama-Music Communication in Opera Performance." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (2021): 313–20. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.34.

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The study “Drama-Music Communication in Opera Performance” builds on my 35-year experience of lyric drama in opera production. In my career as a director, which spanned from Baroque opera to contemporary opera, I was intrigued by the multiple connections between the musical dramaturgy, vocal expressiveness, stage image and impact on the audience. Consequently, I realised that all these elements which rely on musical scores are connected by something similar to the principle of communicating vessels: with genuine and intense musical-dramatic communication, the artistic emotion may reach the sam
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Kharenko, Alina. "Musical dramaturgy as a creative method in jazz art: the example of the piano art by Sergey Davydov." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 155–69. http://dx.doi.org/10.34064/khnum1-55.11.

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Background. Jazz is one of the most significant phenomena of the entire twentieth century, which in a very short period of time has won the attention of listeners around the world. Finally, many explores are interested in the study of jazz art as a significant element of the world’s musical heritage. There are a lot of works written by national and foreign musicologists who study jazz music from different viewpoints. A great variety of studies in jazz art include works devoted to the technical aspect, on the one hand: the study of scale harmony, rhythm, instrumentation, and on the other hand –
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Goryachikh, Vladimir V. "Numerical Symbolism in the Musical Dramaturgy of The Queen of Spades by Pyotr Tchaikovsky." Contemporary Musicology 9, no. 2 (2025): 106–33. https://doi.org/10.56620/2587-9731-2025-2-106-133.

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Hermann’s obsession with the three, seven and ace of cards, which “never left his head and moved on his lips,” “haunting him in his sleep, taking on all possible forms,” is one of the most striking and memorable artistic discoveries in Pushkin’s story. Perhaps it was this idea, successfully picked up by Modest Ilyich Tchaikovsky and developed in the original version of the libretto, that so inspired his brother, the composer Pyotr Ilyich Tchaikovsky, with the plot of The Queen of Spades. The individual observations accumulated over the past years on the reflection of number symbolism in the li
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King, Thomas A., and Timothy J. Fogarty. "The dramaturgy of earnings guidance: an institutional analysis of a soft landing." Accounting, Auditing & Accountability Journal 35, no. 4 (2021): 1093–120. http://dx.doi.org/10.1108/aaaj-06-2017-2983.

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PurposeMuch in accounting research depends upon equity valuation. Too often, what the stock of publicly traded companies trade at is taken at its face value. Knowing that valuation is a function of performance relative to consensus security analyst expectations, more needs to be known about how these expectations are created and changed. The paper aims to assert that the guidance provided by top-level company management is important to the work product of analysts. The paper develops information from managers involved in these interactions.Design/methodology/approachSemi-structured interviews
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Prylipko, Iryna. "The ‘One’s own — Alien’ conflict in Lesia Ukrainka’s dramaturgy: ethnic-national and worldview aspects." Слово і Час, no. 1 (February 2, 2021): 22–38. http://dx.doi.org/10.33608/0236-1477.2021.01.22-38.

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The paper focuses on the specific features of the ‘One’s own — Alien’ conflict in the dramatic works by Lesia Ukrainka. The majority of her dramas and dramatic poems were written on the basis of foreign cultural phenomena, including the Ancient Greek, Biblical, and other topoi and images. Foreign cultural realities are aimed at the actualization of both the entire context of Ukraine and the writer’s autobiographic discourse in a recipient’s consciousness, forming the imagological paradigms ‘One’s own — Alien,’ ‘Me — Another’. Upon involving the imagological theories, the author of the paper tr
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Dissertations / Theses on the topic "All-level dramaturgy"

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Середа, Наталія Вікторівна. "Жанровий канон Православної Літургії (на матеріалі авторських Літургій українських та російських композиторів кінця XIX – початку ХХ століть)". Thesis, Національна музична академія України ім. П. І. Чайковського, 2004. http://repository.kpi.kharkov.ua/handle/KhPI-Press/17852.

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Дисертація на здобуття наукового ступеня кандидата мистецтвознавства за спеціальністю 17.00.03 – музичне мистецтво. – Національна музична академія України ім. П. І. Чайковського, Київ, 2004. В дисертації розглянуто Літургію як цілісне явище: вивчення Літургії як музичного жанру здійснюється з урахуванням основ православного віровчення, усього комплексу церковних дисциплін, а також сутності і структури текстової та обрядової сторін чинопослідування. В роботі запропоновано застосовувати до церковної музики термін "жанровий канон", дано визначення поняття "жанровий канон Літургії". Розглянуто іє
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Conference papers on the topic "All-level dramaturgy"

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BELLEAU, Sylvie. "The Otherness through Le rêve d’Urmila (Urmila’s Dream), an Interdisciplinary and Intercultural Research Creation Doctoral Project through Natyashastra." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0016.

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This communication will present how research creation based doctoral project can be an opportunity to explore the Otherness and other disciplines, to open to new realms of research as well as to question the artist’s posture in his journey between the culture of origin and the culture of the discipline in which he trains. As an apprentice, I studied kathakali in South India in my early twenties and it influenced all my theatre practice. The dance-theatre of Kerala has been part of my creative tools since the beginning of my creative life as a professional stage artist. My doctoral research was
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