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Journal articles on the topic 'American drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Liang, Zeguang. "Effects of American drama familiarity on Chinese people’s remote acculturation, attitudes, and watching intentions." International Journal of Innovative Research and Scientific Studies 7, no. 2 (January 25, 2024): 377–89. http://dx.doi.org/10.53894/ijirss.v7i2.2630.

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The study aims to examine the impacts of American drama familiarity on Chinese people’s remote acculturation to American culture, attitudes towards American dramas, and watching intentions of American dramas. A total of 358 survey data points from Chinese respondents were collected, and structural equation modeling (SEM) analysis was conducted in an effort to verify the research hypotheses. The research outcomes indicate that American drama familiarity significantly positively impacts American cultural orientation, attitudes towards American dramas, and watching intentions of American dramas, but does not significantly bear upon Chinese cultural orientation. American cultural orientation significantly positively affects attitudes towards American dramas. Additionally, Chinese cultural orientation significantly negatively influences attitudes towards American dramas. Attitudes towards American dramas engender significant positive effects on watching intentions for American dramas. American drama familiarity, the remote acculturation of Chinese people to American culture, attitudes towards American dramas, and watching intentions of American dramas are significantly interrelated. The research is only targeted at Chinese people, and the remote acculturation is bi-dimensional in this study. Thereby, the remote acculturation of local people to multiple cultures simultaneously ought to be delved into in subsequent research. It is recommended that stakeholders and marketers of American dramas take essential marketing measures to increase the familiarity of Chinese people with American dramas and promote their friendly attitudes toward American dramas. This study contributes to yielding empirical evidence for the interrelation between American dramas and the remote acculturation of Chinese people to American culture.

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2

Burghardt, Lori Hall, and William Herman. "Understanding Contemporary American Drama." South Atlantic Review 53, no. 4 (November 1988): 164. http://dx.doi.org/10.2307/3200700.

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3

Henke, Richard, and Marc Robinson. "The Other American Drama." American Literature 67, no. 4 (December 1995): 874. http://dx.doi.org/10.2307/2927919.

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4

Anita González. "Diversifying African American Drama." Theatre Topics 19, no. 1 (2009): 59–66. http://dx.doi.org/10.1353/tt.0.0052.

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5

Ta Park, Van My, Joyce Suen Diwata, Nolee Win, Vy Ton, Bora Nam, Waleed Rajabally, and Vanya C. Jones. "Promising Results from the Use of a Korean Drama to Address Knowledge, Attitudes, and Behaviors on School Bullying and Mental Health among Asian American College-Aged Students." International Journal of Environmental Research and Public Health 17, no. 5 (March 3, 2020): 1637. http://dx.doi.org/10.3390/ijerph17051637.

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The limited research on bullying, mental health (MH), and help-seeking for Asian American (ASA) college students is concerning due to the public health importance. Korean drama (K-Drama) television shows may be an innovative approach to improve knowledge, attitudes, and behaviors (KAB) on bullying. This study examined whether the KAB about school bullying improved after watching a K-Drama and asked participants about their perspectives of using a K-Drama as an intervention. A convenience sample of college students (n = 118) watched a K-Drama portraying school bullying and MH issues. Pre-/post-tests on KAB on bullying were conducted. Interviews (n = 16) were used to understand their experiences with K-Dramas. The mean age was 22.1 years (1.6 SD), 83.9% were female, and 77.1% were ASAs. Many reported experiences with anxiety (67.8%), depression (38.1%), and school bullying victim experience (40.8%). Post-test scores revealed significant differences in knowledge by most school bullying variables (e.g., victim; witness) and MH issues. There were varying significant findings in post-test scores in attitudes and behaviors by these variables. Participants reported that they “love” the drama, felt an emotional connection, and thought that K-Dramas can be an educational tool for ASAs. K-Dramas may be an effective population-level tool to improve health outcomes among ASAs.

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6

Abdulmunem Azeez, Rasha. "Paula Vogel And The Modern American Female Playwrights." Journal of the College of languages, no. 44 (June 1, 2021): 46–71. http://dx.doi.org/10.36586/jcl.2.2021.0.44.0046.

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Reading and analyzing Paula Vogel’s plays, the readers can attest that she achieves success in drama or theater because she is passionate about theater. Vogel is a modern American playwright who won the 1998 Pulitzer Prize for drama. Her success and insight in playwriting or in adapting do not come all of a sudden; she is influenced by many writers. Vogel is influenced by many American dramatists, including Eugene O’ Neill, Arthur Miller, Tennessee Williams, and Edward Albee, and by other non-American writers, including August Strindberg, Anton Chekhove, and Bertolt Brecht. Certainly, there were female playwrights who wrote preeminent plays and they influence Vogel as well. Nevertheless, dramas by female writers, as a matter of fact, remain marginalized. This paper focuses on the influence of some female playwrights on Vogel.

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7

Mazur, Zbigniew. "Female Detectives and the Moral Crisis in America: Women in the New TV Crime Drama." Roczniki Humanistyczne 72, no. 11 Zeszyt specjalny (June 6, 2024): 59–70. http://dx.doi.org/10.18290/rh247211.5s.

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The paper investigates recent American TV crime drama in which prominent roles are given to female protagonists. The TV miniseries Unbelievable (2019) and Mare of Easttown (2021) place women in central roles and, by going beyond the classic formula of crime drama, reshape the format of the genre. They address significant social and economic issues, often ignored by conventional crime drama narratives. The paper offers a brief investigation of the figures of female police detectives in older American TV crime drama, and in Scandinavian TV noir, arguing, that the evolution of the character of the female detective is a transnational phenomenon. The female detectives in Unbelievable and Mare of Easttown are excellent investigators, but they also display a strong moral integrity and deep emotional response to the injustice brought by crime. The two crime dramas focus not just on the investigations, but explore the social causes of crime and point, among other things, to gender, class and race inequalities, instability of the family, corruption, inefficiency of government institutions, and inadequacy of health and social care as sources of disintegration of American society. The stories offer some hope and reassurance to the viewer by showing that the detectives can combat crime and bring temporary order to the affected communities, but express lack of confidence in the permanence of core American values.

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8

Liu, Juan. "The Rebellion Origins and Spiritual Symbols of American Experimental Drama." Yixin Publisher 2, no. 2 (April 30, 2024): 17–23. http://dx.doi.org/10.59825/jhss.2024.2.2.17.

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In the 1950s and 1960s, American theater gradually diversified. Following the impact of the Absurdist theater on American realism and expressionism, American theater also moved from modern theater to exploration of postmodern theater. The experimental theater on Broadway and Broadway posed a challenge to traditional American theater. Experimental drama begins to weaken the story and script in terms of content, and instead invests a large amount of artistic creativity in formal expression. By weakening the script, it emphasizes the relationship between observation and performance, sensory perception, and spiritual state in the field, which distinguishes it from the traditional theatrical stage. This article will start from the cultural trends in the United States and explore the spiritual origins of American experimental drama’s rebellion against tradition; Taking representative figures and their works in American experimental drama as examples, analyze the specific characteristics and trends in content and form of American experimental drama, and understand the postmodern spiritual symbols conveyed in American experimental drama; Deeply understand the essence of the spirit of American experimental drama and the philosophical discussions conveyed by the concept of experimental drama.

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9

Holliday, Christopher. "The Accented American: The New Voices of British Stardom on US Television." Journal of British Cinema and Television 12, no. 1 (January 2015): 63–82. http://dx.doi.org/10.3366/jbctv.2015.0243.

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This article investigates the cycle of British performers in contemporary American television drama and what is at stake in their adoption of a US accent. British actors have been increasingly heralded for their ability to adopt credible foreign accents, marking a negotiation of ‘Britishness’ and assumed vocal ‘foreignness’. By examining several pilot episodes of contemporary US dramas, this article poses the hybrid voice of the ‘accented American’ as a privileged and self-reflexive form of sonic spectacle. This is a voice narratively ‘othered’ to reinforce the screen presence of the British actor-as-American, soliciting spectators’ attention to their extra-textual identities as non-natives, while paradoxically consecrating ‘Britishness’ through the individual actor's assured command of American language. The article concludes by scrutinising the post-9/11 captive narrative of successful US drama Homeland (Showtime, 2011–). Through its themes of dubious patriotic allegiance, Homeland inscribes the cultural discourses surrounding Damian Lewis's starring role and falsified Americanness. The series also operates as a valuable commentary upon the wider proliferation of British talent across American television, revealing the ways in which such small-screen dramas are helping to regenerate prior conceptions of British stardom.

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10

Avery, Laurence G. "AMERICAN REALISM AND AMERICAN DRAMA, 1880-1940." Resources for American Literary Study 17, no. 1 (1990): 115–17. http://dx.doi.org/10.2307/26366701.

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11

Crowley, John W., Brenda Murphy, and Elsa Nettels. "American Realism and American Drama, 1880-1940." New England Quarterly 61, no. 4 (December 1988): 624. http://dx.doi.org/10.2307/365956.

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12

Avery, Laurence G. "AMERICAN REALISM AND AMERICAN DRAMA, 1880-1940." Resources for American Literary Study 17, no. 1 (1990): 115–17. http://dx.doi.org/10.2307/resoamerlitestud.17.1.0115.

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13

Mason, Jeffrey D., and Brenda Murphy. "American Realism and American Drama, 1880-1940." Theatre Journal 40, no. 4 (December 1988): 571. http://dx.doi.org/10.2307/3207910.

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14

Greenwald, Michael L. "Actors as Activists: The Theatre Arts Committee Cabaret, 1938–1941." Theatre Research International 20, no. 1 (1995): 19–29. http://dx.doi.org/10.1017/s0307883300006994.

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Given the omnipresence of performers of all political stripes speaking for a variety of causes and candidates, it is difficult to remember a time when artist-activists were not an integral part of America's theatrical landscape. Indeed, under David Douglass's leadership, the American Company (formerly the Hallam Company) assuaged Puritan fears about the presence of ‘theatricals’ in staid eighteenth-century New England by performing benefits for local causes, thereby injecting its work with a social purpose. Throughout its history the American theatre has used performance as a propaganda weapon for such causes as abolition (Uncle Tom's Cabin, 1852), temperance (Ten Nights in a Bar Room, 1858), civil rights (A Raisin in the Sun, 1959), and currently the AIDS crisis (Angels in America, 1993). Political activism in the American theatre flourished in the 1930s, largely through the work and ideology of such enterprises as the Group Theatre, the Theatre Union, even the International Ladies' Garment Workers' Union, and similar left-wing movements that sought to produce plays that deal boldly with deep-going social conflicts, the economic, emotional, and cultural problems that confront the majority of people. The mission was realized mostly through traditional theatre means, i.e. plays or agit-prop dramas à la Federal Theatre Project's Living Newspapers. These have been chronicled in a number of useful surveys, most notably Gerald Rabkin's Drama and Commitment (1964), Sam Smiley's The Drama of Attack (1972), and especially Malcolm Goldstein's detailed look at the 1930s radical theatre, The Political Stage (1974).

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15

Stenberg, Josh. "How far does the sound of a Pipa carry? Broadway adaptation of a Chinese classical drama." Studies in Musical Theatre 14, no. 2 (July 1, 2020): 175–91. http://dx.doi.org/10.1386/smt_00031_1.

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The 1946 Broadway premiere of Lute Song represents a milestone in reception of the Chinese dramatic tradition in the United States. Despite its yellowface and ‘Oriental pageantry’, it must be situated at the beginnings of a more respectful relationship to China and Chinese people, as the American stage began to move beyond treatments of China dominated by racist vaudeville or fantastical fairy tales. Instead, Lute Song emerged from a classic text, the long drama Pipa ji ‐ even as its own casting and staging inherited some of the same problematic habits of representing Asia. Lute Song, one of several indirect adaptations of Chinese dramas in the American mid-century, represents a milestone as the first Broadway show inspired by American immigrant Chinatown theatre and the first Broadway musical to be based on Chinese classical drama, mediated through European Sinology.

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16

Al-Ibia, Salim Eflih. "In Defense of American Drama." Journal of Arts and Humanities 6, no. 10 (October 25, 2017): 17. http://dx.doi.org/10.18533/journal.v6i10.1272.

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<p>A colleague of mine claimed that he read somewhere that a former secretary of the Swedish Institute, which awards the Nobel prizes— commented that American writers were less likely to win the award since their work was isolated and not representative of universal experience. But Eugene O’Neil and other American playwrights were named Nobel Laureates. Thus, I write this article in defense of the universality of American drama. Beginning with a discussion of what might be regarded as defining elements of universality as it has been rendered in literature, and more specifically how it operates to make drama relevant and significant for world literature, I examine the work of prominent American playwrights as Arthur Miller, O’Neil, Tennessee Williams, Susan Glaspell, and Edward Albee. I argue that their work establishes a precedent for American drama as a particularly representative expression of aspects of a universal human condition. I relate their work to universal contexts. I shed light on the historical background of some of the plays discussed to argue that American writers are no less talented than other international playwrights who dramatized some historical precedents in their work and their plays present no less universal aspects. </p>

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17

Marwinda, Kristin, and Inti Englishtina. "Understanding the hidden meaning of Death of a Salesman." Rainbow : Journal of Literature, Linguistics and Culture Studies 11, no. 2 (October 31, 2022): 35–43. http://dx.doi.org/10.15294/rainbow.v11i2.58869.

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This paper focuses on analyzing the drama script entitled Death of a Salesman as one of the representations of literary work in the modern period using the deconstructive approach. The purpose of this study is to figure out the hidden meaning about the American Dreams represented by Willy Loman. The method used in this paper is descriptive qualitative. This paper uses deconstructive approach from Jacques Derrida. The result of this research shows the belief of the American Dreams cannot be applied in the modern era to all of Americans. Most Americans hold a strong belief that everyone will get a happiness and a successful life in America. This deconstructive analysis finds a hidden meaning that the belief of the American Dreams could not guarantee the success of people who live in America. Death of a Salesman represents the character of Willy Loman as an American who fail to accomplish his success to be a salesman, a husband, and a father.

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18

Price, Steven, Susan Harris Smith, and Mark Fearnow. "American Drama: The Bastard Art." Modern Language Review 94, no. 3 (July 1999): 812. http://dx.doi.org/10.2307/3737031.

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19

Henke, Richard, and C. W. E. Bigsby. "Modern American Drama: 1945-1990." American Literature 66, no. 4 (December 1994): 874. http://dx.doi.org/10.2307/2927741.

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20

Clum, John M., and Susan Harris Smith. "American Drama: The Bastard Art." American Literature 69, no. 4 (December 1997): 867. http://dx.doi.org/10.2307/2928367.

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21

Smith, Robert S. "O'Neill, Wilder, and American Drama." Canadian Review of American Studies 17, no. 4 (December 1986): 469–76. http://dx.doi.org/10.3138/cras-017-04-06.

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22

Kolin, Philip C., and C. W. E. Bigsby. "Modern American Drama, 1945-1990." World Literature Today 68, no. 1 (1994): 135. http://dx.doi.org/10.2307/40149953.

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23

Seung Jin Baek. "AIDS Politics in American Drama." Journal of English Language and Literature 55, no. 2 (June 2009): 259–92. http://dx.doi.org/10.15794/jell.2009.55.2.003.

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24

Whitley, John S. "Aspects of Contemporary American Drama." Moderna Språk 88, no. 1 (June 1, 1994): 10–17. http://dx.doi.org/10.58221/mosp.v88i1.10087.

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25

Cook, Don L., and Brenda Murphy. "American Realism and the American Drama, 1880-1940." American Literature 60, no. 1 (March 1988): 124. http://dx.doi.org/10.2307/2926412.

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26

Parsons, E. "Modern American Drama on Screen * Modern British Drama on Screen." Adaptation 8, no. 1 (February 18, 2015): 145–46. http://dx.doi.org/10.1093/adaptation/apv002.

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27

Loney, Glenn. "The American Actor Prepares: Scene-Study for Oblivion?" New Theatre Quarterly 5, no. 20 (November 1989): 315–20. http://dx.doi.org/10.1017/s0266464x00003638.

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Never mind the theory, face the facts: is there room in the American theatre for all the performers graduating as drama majors from American universities? Glenn Loney, who has himself been teaching drama since 1960 as well as writing widely on theatrical subjects, sketches in the background to the American system, looks at the limited horizons for the newly qualified actor, and suggests a shift in the aims and orientation of academic drama – and the expectations of those who pursue it.

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28

Long, Khalid Y. "Patrick Maley, After August: Blues, August Wilson, and American Drama." Modern Drama 64, no. 1 (March 2021): 119–22. http://dx.doi.org/10.3138/md.64.1.br4.

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This review examines Patrick Maley’s book After August: Blues, August Wilson, and American Drama, suggesting that he makes a formidable contribution to Wilson studies, American drama, literary studies, and blues studies.

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29

Kerer, K. "Diagnostic strategy of Russian and American television medical drama discourse." Rhema, no. 2, 2019 (2019): 28–47. http://dx.doi.org/10.31862/2500-2953-2019-2-28-47.

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The article analyzes the implementation of the diagnostic strategy of television medical drama discourse in Russian and American linguoculture on the material of the series “Practice” and “Grey's Anatomy” as the most striking examples of this type of discourse. The study highlights the phenomenon of medicalization and the genre of the television medical drama, introduces the concept of the medical drama television discourse and discusses it definitional properties, as well as the ways of achievement of compliance at the diagnostic stage in Russian and American medical drama television discourse.

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30

Thompson, Lisa B. "A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance, 1910–1927. By David Krasner. New York: Palgrave Macmillan, 2002; pp. 370. $35 cloth; Stories of Freedom in Black New York. By Shane White. Cambridge, MA: Harvard University Press, 2002; pp. 260. $27.95 cloth." Theatre Survey 45, no. 1 (May 2004): 123–25. http://dx.doi.org/10.1017/s004055740424008x.

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In “Writing the Absent Potential: Drama, Performance, and the Canon of African-American Literature,” Sandra Richards argues that scholars largely ignore the African-American contribution to theatre and performance. She suspects that most critics regard “drama as a disreputable member of the family of literature” (65). Even African Americanists neglect dramatic literature; indeed, the Norton Anthology of African American Literature includes only a scant number of plays. Both David Krasner and Shane White effectively redress this oversight and shift the focus from African-American literature to blacks on stage in their recent monographs about early nineteenth-century and early twentieth-century drama.

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31

Cooke, Lez. "A ‘New Wave’ in British Television Drama." Media International Australia 115, no. 1 (May 2005): 23–32. http://dx.doi.org/10.1177/1329878x0511500104.

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In recent years, American television drama series have been celebrated as ‘quality television’ at the expense of their British counterparts, yet in the 1970s and 1980s British television was frequently proclaimed to be ‘the best television in the world’. This article will consider this critical turnaround and argue that, contrary to critical opinion, the last few years have seen the emergence of a ‘new wave’ in British television drama, comparable in its thematic and stylistic importance to the new wave that emerged in British cinema and television in the early 1960s. While the 1960s new wave was distinctive for its championing of a new working-class realism, the recent ‘new wave’ is more heterogeneous, encompassing drama series such as This Life, Cold Feet, The Cops, Queer as Folk, Clocking Off and Shameless. While the subject-matter of these dramas is varied, collectively they share an ambition to ‘reinvent’ British television drama for a new audience and a new cultural moment.

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32

Song, Xintong. "On Death of a Salesman from the Perspective of Cultural Genes Interpretation of "American Dream"." International Journal of Education and Humanities 9, no. 2 (July 5, 2023): 149–52. http://dx.doi.org/10.54097/ijeh.v9i2.9887.

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Arthur miller (1915-2005), as the most outstanding master of drama in the United States and known as the "conscience of American drama", accurately depicted the post-war real society in the United States and the changes in social values. In 1949, Miller wrote the Death of a salesman, which became the peak of his drama creation and won the Pulitzer prize and the New York theatre critics circle award. The play tells the story of the United States in the turbulent social background of the 1940s, the protagonist Willy Loman's dream and the collapse of the whole family. By means of the combination of realism and expressionism, the drama reproduces the changes of social values and the sadness of the little people. In previous studies, most scholars focused on the disillusionment of the "American dream" of the minor characters in the drama, and took the deterioration of the "American dream" and the change of values in American society as the starting point. However, it may be difficult to understand Arthur Miller's interpretation of the "American dream" in the play without tracing the root of the "American dream" and exploring the deep cultural genes of the United States. This paper aims to analyse Arthur Miller's contradictory writings on the American dream in Death of a salesman from the perspective of meme.

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33

Kendall, Julie E. "Good and Evil in the Chairmen's 'Boiler Plate': An Analysis of Corporate Visions of the 1970s." Organization Studies 14, no. 4 (July 1993): 571–92. http://dx.doi.org/10.1177/017084069301400406.

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Boiler plates, the chairman's message that begins each corporation's annual report, provide a reflection of the self-image of American big business. This paper uses the method of dramatism for discovering and interpreting corporate dramas inherent in the language of the boiler plates of the Dow Jones Industrials. The U.S. economy of the 1970s provides the dramatic setting, with the company as hero, the government as villain and public interest groups as minor players. The overriding corporate drama can be traced to the archetypal drama of pure competition. Understanding corporate dramas allows us to see how companies create a shared rhetorical vision to unify their shareholders with management and employees, label actions as good or evil, and influence the public by putting forward a positive corporate self-image.

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34

Akhtar, Amer, Rida Rehman, and Neelum Almas. "The Theatre of Historical Revision: An Analysis of the Native American Drama Tradition." Global Language Review VI, no. II (June 30, 2021): 56–62. http://dx.doi.org/10.31703/glr.2021(vi-ii).07.

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We attempt to analyse the form and content of major Native American plays to discuss their relationship with the traditional English drama and its content. By looking at plays of key Native American playwrights, we show that the Native American tradition goes against the English tradition of drama in its form by challenging the unities of time and place and characterization. It also brings in elements of Native American tradition of storytelling such as the blend of the sacred and the profane, the use of humor, the attitude towards facticity, to the tradition of drama to carve out a unique space for itself through which it attempts to challenge the dominant narratives of history, Native American culture, and at the same time highlight the problems the Native American nations face currently.

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35

Ben-Zvi, Linda, and June Schlueter. "Feminist Rereadings of Modern American Drama." Modern Language Review 87, no. 3 (July 1992): 734. http://dx.doi.org/10.2307/3732980.

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36

Bower, Martha Gilman, and Ruby Cohn. "Anglo-American Interplay in Recent Drama." American Literature 68, no. 2 (June 1996): 482. http://dx.doi.org/10.2307/2928324.

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37

Branam, Amy. "Politian's Significance for Early American Drama." Edgar Allan Poe Review 8, no. 1 (2007): 32–46. http://dx.doi.org/10.2307/41506020.

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38

ABDULLAYEVA, Turana. "The development of American children’s drama." Humanities science current issues 1, no. 48 (2022): 132–37. http://dx.doi.org/10.24919/2308-4863/48-1-19.

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39

Khalilov, Vladimir. "Contemporary American Drama: Socio-Political Aspect." Russia and America in the 21st Century, no. 1 (2022): 0. http://dx.doi.org/10.18254/s207054760018948-9.

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The article deals with the topical issues of American drama based on the analysis of works by contemporary US playwrights, many of whom are representatives of groups classified as oppressed (in a white patriarchal society). The author examines popular topics and trends in cultural life in the context of public and political life in the United States over the past 70 years - from the Civil Rights Movement, "Women's Liberation" and Stonewall to "Black Lives Matter", "#MeToo" and LGBTQ prides. The author concludes that the current repertoire was directly influenced by the progressive agenda with its ambitious plan for large-scale social transformations that affected all cultural institutions, including theater. By highlighting the struggle for social equality and justice, the rights of blacks, women, ethnic and sexual minorities, diversity and inclusion, as well as condemnation of capitalism and American imperialism, progressivism has placed art at the service of ideology, once again turning cultural figures into 'engineers of human souls' - but also contributed to the expansion of opportunities for members of under-represented groups, integration, the development of intercultural dialogue and the emergence of new dramatic voices.

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40

Wilson, Janet. "American comedy drama makes refreshing viewing." Nursing Standard 24, no. 22 (February 3, 2010): 32. http://dx.doi.org/10.7748/ns.24.22.32.s39.

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41

Guerra, Jonnie G., June Schlueter, Alice M. Robinson, Vera Mowray Roberts, and Milly S. Barranger. "Modern American Drama: The Female Canon." Theatre Journal 44, no. 1 (March 1992): 125. http://dx.doi.org/10.2307/3208536.

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42

DeRose, David J. "Book Review: The Other American Drama." Theatre Journal 48, no. 1 (1996): 115–16. http://dx.doi.org/10.1353/tj.1996.0006.

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43

Maver, Igor. "American 'committed' drama in Slovene theatres." Acta Neophilologica 27 (December 1, 1994): 57–65. http://dx.doi.org/10.4312/an.27.0.57-65.

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The purpose of this study is essentially to demonstrate that the delayed stagings of American 'committed' plays, written in the thirties and produced in Slovene theatres immediately after World War Two in the late forties and fifties, were often miscontextualized and partly misinterpreted by the literary critics of the period. This was only in the early post-war years largely due to the need to serve the then ruling ideology and to comply with the criteria of Marxist aesthetisc, especially that of a radical social criticism. However, the later stagings particularly of Arthur Miller's and also Tennessee Williams's plays, did not see the same phenomenon, for it was they that assured the popularity of the American post-war drama on Slovene stages and, even more importantly, helped Slovene theatre to come off age in the sixties.

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44

Maver, Igor. "American 'committed' drama in Slovene theatres." Acta Neophilologica 27 (December 1, 1994): 57–65. http://dx.doi.org/10.4312/an.27.1.57-65.

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The purpose of this study is essentially to demonstrate that the delayed stagings of American 'committed' plays, written in the thirties and produced in Slovene theatres immediately after World War Two in the late forties and fifties, were often miscontextualized and partly misinterpreted by the literary critics of the period. This was only in the early post-war years largely due to the need to serve the then ruling ideology and to comply with the criteria of Marxist aesthetisc, especially that of a radical social criticism. However, the later stagings particularly of Arthur Miller's and also Tennessee Williams's plays, did not see the same phenomenon, for it was they that assured the popularity of the American post-war drama on Slovene stages and, even more importantly, helped Slovene theatre to come off age in the sixties.

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Horne, William. "American Television Drama: the Experimental Years." American Journalism 4, no. 4 (October 1987): 204–5. http://dx.doi.org/10.1080/08821127.1987.10731124.

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Yan, Yiting. "Analysis of Cultural Differences in Chinese and American Film and Television Contents: Taking "Shameless" and “Little Reunion” as Examples." Highlights in Business, Economics and Management 22 (December 27, 2023): 213–19. http://dx.doi.org/10.54097/gz66e748.

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This essay aims to study the cultural differences in the content of the Chinese and American film markets in the last five years. Taking the American drama Shameless and the Chinese TV drama Little Reunion as examples, the essay compares and analyses these two works in terms of their plots, characterization, values, social backgrounds, etc., and explores the differences and reasons for their audience reactions in the Chinese and American film markets. Through intensive comparison and analysis of these two works, it explores their similarities and differences in terms of family themes, cultural elements, and audience response. Using the research methods of case study and data statistics, this study compares the two works in several dimensions. It has been found that Shameless focuses on revealing the sorrows and struggles of underclass families in the United States, and emphasizes individual freedom and rights, while A Little Reunion highlights family harmony and traditional values. In terms of audience response, Shameless is highly praised in the American market but may be controversial in the Chinese market due to cultural differences. This study is important for understanding the cultural differences between the Chinese and American film markets and the audience response to family-themed dramas.

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McMurtry, Leslie. "Sounds Like Murder: Early 1980s Gothic on North American Radio." Gothic Studies 24, no. 2 (July 2022): 151–66. http://dx.doi.org/10.3366/gothic.2022.0131.

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Horror and the Gothic have long been staple genres of radio drama, including the radio drama revival series of the late 1970s–early 1980s , CBS Radio Mystery Theater (1974–82). During the same time period, the Canadian government, recognising an emergent national-identity crisis in relation to its southern neighbour, invested heavily in original programming on the Canadian Broadcasting Corporation (CBC). This resulted in the popular horror series Nightfall (1980–3), which Danielle Hancock argues presented ‘murder as a Canadian national narrative’ (2018). While CBSRMT occasionally adapted existing stories from other media, the majority of the output for both series were original, written-for-the-air dramas. Embodying Gothic returns of the past upon the present and the effects of transgressive conduct in society, murder is examined as a Gothic trait in episodes of Nightfall and CBSRMT. Radio’s ambiguities and intimacies provoke listeners of these programmes to confront disjunction. The differing worldviews – American masculine nationalism and neoconservatism subverted; Canadian polite and tolerant masculinity turned upside down by a nihilistic rejection of these values – focus Gothic spotlights on each country’s anxieties.

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Marcinčin, Matúš. "Slovak Shakespeare in American Exile." Slovenske divadlo /The Slovak Theatre 65, no. 1 (March 28, 2017): 4–21. http://dx.doi.org/10.1515/sd-2017-0001.

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Abstract Ján Vilikovský’s synthesizing monograph Shakespeare u nás (2014) is a great study; however, it does not include the whole history of translations of Shakespeare’s dramas into the Slovak language. Slovak literary and theatre studies have not reflected this theme in relation to Slovak cultural exile after the year 1945. In the present contribution, the author completes the mentioned monograph by Vilikovský, he adds and deals especially with translations written in exile by Andrej Žarnov and Karol Strmeň. He pays special attention to the fragments of translations of Shakespeare’s dramas found as a manuscript in the inheritance left after the tragic death of their author Karol Strmeň. The author reconstructs the fragments and then analyses and compares them with relevant Slovak and Czech translations of Shakespeare’s works. As a result of this study, it can be concluded that the translations by Strmeň written in a modern, cultivated, although slightly archaic Slovak language would have achieved an important position in the history of Slovak translations of Shakespeare’s drama if they had been published.

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Mishra, Sanjay Kumar. "Imaginative Reality in Ed Bullins’s Drama." Literary Studies 29, no. 01 (December 1, 2016): 63–67. http://dx.doi.org/10.3126/litstud.v29i01.39613.

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Ed Bullins’s drama makes relentless exploration of inner forces that help African-American people realize their freedom and potential. In directing his attention to this concern, Bullins assumes that America has formed and deformed aspects of the black experience and consciousness. The things that most interest Bullins reside within his characters and are of their own choosing; even his portrayal of interracial characters focuses on the behavior of the black characters. In his plays, a black stage reality and black audience are assumed. The matters he takes up often are intimate, sensitive, and particular to the black experience.

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Alshetawi, Mahmoud F. "Combating 9/11 Negative Images of Arabs in American Culture: A Study of Yussef El Guindi’s Drama." Journal of Ethnic and Cultural Studies 7, no. 3 (October 15, 2020): 177. http://dx.doi.org/10.29333/ejecs/458.

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This study intends to examine the dramatic endeavours of Arab American playwrights to make their voices heard through drama, performance, and theatre in light of transnationalism and diaspora theory. The study argues that Arab American dramatists and theatre groups attempt to counter the hegemonic polemics against Arabs and Muslims, which have madly become characteristic of contemporary American literature and media following 9/11. In this context, this study examines Yussef El Guindi, an Egyptian-American, and his work. El Guindi has devoted most of his plays to fight the stereotypes that are persistently attributed to Arabs and Muslims, and his drama presents issues relating to identity formation and what this formation means to be Arab American. A scrutiny of these plays shows that El Guindi has dealt with an assortment of topics and issues all relating to the stereotypes of Arab Americans and the Middle East. These issues include racial profiling and surveillance, stereotypes of Arabs and Muslims in the cinema and theatre, and acculturation and clash of cultures.

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