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Journal articles on the topic 'Art and drama'
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1
Korniy, Lidiya. "Ukrainian School Christmas Drama of the XVIIth–XVIIIth Centuries and Puppet Nativity Play Theatre: Problem of Adaptation and Interpretation of a Musical Factor." Folk art and ethnology, no. 2 (July 30, 2021): 5–14. http://dx.doi.org/10.15407/nte2021.02.005.
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The article states that the Ukrainian baroque art has become differentiated into the high, middle and lower stylistic levels. There were certain connections between them, and new art genres appeared on the verges of these levels. The problem of the connection between distinct stylistic levels of the Ukrainian musical baroque has not yet attracted the attention of researchers. The study examines the links between the Ukrainian school Christmas drama of the XVIIth– XVIIIth centuries and the puppet Nativity play theatre. It is noted that for the first time a comparison of these two kinds of theatrical art is drawn in terms of the use of a musical factor in them. It is established that the first act of the Nativity play drama is related to the high style of Ukrainian Christmas school drama. This is revealed on the basis of analysing the dramatic functions of a Choir in both school drama and Nativity play drama. A choir in these spectacles took an active part in revealing the Christmas story, playing the role of a character. What they had in common was the genre of spiritual chant with the syllabic versification. Despite its association with the high style of school drama, the Nativity play drama was a quite new theatrical genre that belongs to the middle stylistic level. Focusing on the folk environment, authors of the Nativity play drama intelligibly conveyed to a wide audience the sacred plot. It is noted that in the second act of the Nativity scene were adapted interludes of school dramas, which represented the lower stylistic level of the Baroque. In this act, a funny line came to the fore, and a musical component is marked by influences of the Ukrainian musical folklore with a predominance of its dancing variety. The interaction of folklore with the lower version of the Baroque had a great potential for the further development of the Ukrainian national theatre. Due to the fact that music was an integral part of the puppet Nativity play drama and played an important dramatic function, this theatrical spectacle, like some school dramas, had the features of the drama with music genre. Thus, school drama and Nativity play drama created the foundation, on which in the XIXth century, the Ukrainian dramaturgy emerged, with a significant role of the musical factor in it, which was essentially a drama with music.
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Sugita, I. Wayan, Made Setini, and Yahya Anshori. "Counter Hegemony of Cultural Art Innovation against Art in Digital Media." Journal of Open Innovation: Technology, Market, and Complexity 7, no. 2 (June 4, 2021): 147. http://dx.doi.org/10.3390/joitmc7020147.
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Culture is the most critical thing when driving innovation. This paper aims to discuss the counter-hegemony of Drama Gong against modern entertainment arts today with the dynamics of openness innovation. The research method used is qualitative and uses triangulation analysis. Basic qualitative data were obtained by examining two stories of Drama Gong, namely: (1) Angling Dharma (the 1980s) and (2) Jayaprana (2020). Data were collected through observation, document review, and interviews with artists and art observers of the Drama Gong culture of Bali. Qualitative descriptive analysis was carried out by applying the theory of semiotics and the theory of symbolic interaction. The results showed that to maintain its existence since the 1980s Drama Gong performance art has been revitalized as a form of counter-hegemony to today’s modern entertainment arts. The counter-hegemony concerns three things, namely: (1) the innovation of Drama Gong performance art, (2) the application of new technology to support the packaging and performance of the Drama Gong, and (3) efforts to maintain the function of the Drama Gong as a way to teach Balinese culture.
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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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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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Sheehan, Declan. "n.i.-Film-Art-Docu-Drama." Circa, no. 106 (2003): 44. http://dx.doi.org/10.2307/25564053.
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Potter, Polyxeni. "Tough Art and Microbial Drama." Emerging Infectious Diseases 18, no. 1 (January 2012): 196–97. http://dx.doi.org/10.3201/eid1801.ac1801.
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Sokolovska, S. F. "ART SPACE OF CONTEMPORARY DRAMA." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(94) (July 7, 2021): 49–57. http://dx.doi.org/10.35433/philology.1(94).2021.49-57.
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Sokolovska S. F.The study of the modern literary situation, in particular, new trends in drama, is a relevant task for literary criticism. The work of playwrights of the 90s of the twentieth century deserves special attention since the literary practice of this generation of artists caused a number of significant shifts in various formally substantive areas of drama. Indicative in this respect are the works of the modern German author R. Schimmelpfennig. In the process of literary study of the play «The Golden Dragon», an analytical model of a literary text has been built, which is correlated with the interpretation model of a literary work. The chronotope and structure of the narrative reflect the artistic picture of the world and the concept of personality. Creating these aspects of artistic reality, the playwright turns to the aesthetics of B. Brecht’s epic theater. First of all, this is the alienation effect, which occurs through seventeen roles that are distributed among five actors. However, the characters are not puppet heroes, human beings without identity, they play the role of storytellers, report events, addressing directly to the audience. The author’s presence is being augmented, which is realized in the epization of a dramatic text, in the author’s direct description of the characters, in the spatio-temporal organization of the work. The reality that the world of a multi-storey building reproduces in the play does not allow a person to realize themselves. Such a manifestation becomes possible in an imaginary world, in human consciousness. The acquisition of personal uniqueness, the establishment of deep, essential connections with other people occurs in an open, unlimited mental space.
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Perelshtein, Roman. "Metaphysics of cinema art." Herald of Culturology, no. 1 (2021): 57–79. http://dx.doi.org/10.31249/hoc/2021.01.03.
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The author of the article explores cinema art as a kind of worldview model, based on the tragic myth of Aristotle. The well-known doctrine of tragedy is the part of the doctrine of tragic myth. Both tragedy and drama strive for catharsis, that is, to purify and heal the soul. The discussion of drama as a spiritual teaching becomes extremely relevant in this regard. The hero of the drama (wider than a movie with a dramatic plot) goes on a journey to meet his eternal "I", and, therefore, to become himself. The hero may fail, but there is no other purpose for the journey or initiation.
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Luu, Thuy Trung. "Drama in Ho Chi Minh City literature and art life." Science and Technology Development Journal 18, no. 4 (December 30, 2015): 47–60. http://dx.doi.org/10.32508/stdj.v18i4.960.
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In the history of Vietnamese drama, Saigon was one of the places absorbing Western drama from the early time. Although drama in Saigon-Ho Chi Minh City didn’t develop in a smooth and straight way, it was a continuous and unbroken process. This process brought in strong development of drama in Ho Chi Minh city in two decades of the late 20th century and the early 21st century. However, in recent years, drama in Ho Chi Minh City seems to proceed slowly, which reflects some irrational aspects from drama script, performance art to performance operation. Therefore, it’s high time to review the whole history of drama in Saigon-Ho Chi Minh City to collect experiences for the steady development of drama in this City in the future.
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Horne, Chris, and Kathie Boyd. "Can drama enhance visual-art making?" Set: Research Information for Teachers, no. 2 (May 1, 2007): 13–18. http://dx.doi.org/10.18296/set.0549.
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Moropa, C. K. "Art of drama in intsomi narration." South African Journal of African Languages 6, no. 2 (January 1986): 91–93. http://dx.doi.org/10.1080/02572117.1986.10586657.
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Gilbert, Jan, and Kevin McCaffrey. "Tank Drama." TDR/The Drama Review 57, no. 1 (March 2013): 18–25. http://dx.doi.org/10.1162/dram_a_00231.
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In post-Katrina New Orleans, creative artists took responsibility for remembering the disaster and re-visioning the city. This collection of articles and photographs offers a glimpse into the still-emerging effort to think through the past and envision the future of life and art in New Orleans.
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Kaufman, Amy S. "'His Princess': An Arthurian Family Drama." Arthuriana 22, no. 3 (2012): 41–56. http://dx.doi.org/10.1353/art.2012.0030.
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Siopsi, Anastasia. "Influences of ancient Greek spirit on music romanticism as exemplifies in Richard Wagner's Gesamtkunstwerk." Muzikologija, no. 5 (2005): 257–67. http://dx.doi.org/10.2298/muz0505257s.
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The romantics' ideal of the arts' collaboration (Mischgedichte) finds its most substantial equivalent in Richard Wagner's (1813-1883) "total work of art" (Gesamtkunstwerk). This theory for the restoration of the 'lost' unity of arts was elaborated in many theoretical essays of Wagner and 'applied' in his music dramas. Unity of arts, as well as unity of arts with nature existed according to Wagner in Ancient Greece while drama was the epitome of all expressive elements of nature. This "new art of the future", which Wagner envisaged, would restore the 'wholeness' of ancient Greek drama. It is the purpose, therefore, of this study to analyze mainly from an aesthetic point of view the influences of ancient Greek spirit on romantic thought, by focusing on Wagner's work.
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Nasir, Muhammad Saeed, Muhammad Riaz, and Barirah Nazir. "The Representation of Social Reality in Saraiki Dramas Roshan Zameer and Qatil e Hamsheer." Global Language Review VI, no. I (March 30, 2021): 186–96. http://dx.doi.org/10.31703/glr.2021(vi-i).20.
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The Genre of Drama had always been reflective of social life. The history of drama is as old as of humans on earth. Saraiki drama is believed to be developed from undeveloped but organized expressions of caricatures; such kind of organized caricature is found still in the local area. It is a tradition that people of the lower caste named Bhaands. This kind of art was established by the people who were very poor, and they used to caricature the rich and gentry to amuse them and other people. The present study is aimed to trace the social realities and their representation in Saraiki Drama. Two Saraiki dramas Roshan Zameer and Qatil e Hamsheer had been analyzed in light of the Qualitative Content Analysis model proposed by Altheide(1996). It has been found that selected Saraiki dramas speak the prevailing ideological, social realities. It is suggested that more studies should be conducted to explore tradition and social realities existing in the Saraiki region so that regional social and cultural traditions may get a voice in international literary landscapes.
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Gorinova, N. V. "Plays by Alexey Popov: the experimenting beginning in modern Komi drama." Bulletin of Ugric studies 10, no. 3 (2020): 426–35. http://dx.doi.org/10.30624/2220-4156-2020-10-3-426-435.
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Introduction: the article is devoted to the study of creativity of Alexey Popov, the well-known playwright in the modern theater world of Komi. In the context of the Komi drama, his plays are characterized by a desire for experiment, revealing new opportunities for the Komi theater art in disclosure and evaluating the contradictions of the changing reality. In the genre and style direction, his texts develop the trends of the so called «new drama» in Komi literature, which at the turn of the XX–XXI centuries is tightly rooted on the stage of Russian theaters. Objective: to present the analytical review of A. Popov’s dramatic art. Research materials: drama works by A. Popov. Results and novelty of the research: the analysis of A. Popov’s works reveals the author’s attraction to the experiment, his desire to break away from the traditions that have developed in the Komi theatre art. New artistic phenomena for the Komi drama are the plays developed by A. Popov (and other playwrights of the turn of the XX–XXI centuries) with an enhanced metaphorical beginning, a play with elements of naturalism, the genres of tragicomedy, a play for reading, a remake play, and an absurdist play. In the dramas of A. Popov, the character of a hero and the ways of its construction change; to reveal the character of a hero, the author uses such artistic technique as intrigue. New for the Komi drama aesthetic phenomena reflect the crisis state of public consciousness of the turn time. The author’s artistic achievements precede new directions in the development of Komi drama. The scientific novelty of the work lies in the fact that for the first time it provides the systematic analysis of A. Popov’s dramatic work, presents the genre and stylistic originality of his plays, shows the specifics of his characters and ways to build conflict in plays.
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Lešnik, Irina. "Drama in Education Reaching Beyond the “Art Form or Teaching Tool” Dichotomy." European Journal of Social Science Education and Research 5, no. 3 (December 1, 2018): 70–77. http://dx.doi.org/10.2478/ejser-2018-0059.
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Abstract In the following article we try to re-evaluate, the place drama occupies in contemporary elementary education. By limiting the role of drama to literature studies and theatre productions, we lose a greater potential Theatre Pedagogy has to offer to a much broader educational spectrum. The participatory practices of Theatre and Drama in Education (TiE, DiE) promote active learning, based on a most organic children’s activity - play. While students co-create the fictional world of drama, teacher's guidance is crucial in setting new challenges, encouraging students to find creative solutions and reflect on often-complex social issues. Because of its art component, drama challenges the participants on a cognitive as well as emotional level, becoming a truly transformational experience. As such, Drama in Education is especially useful when approaching sensitive and controversial topics. This thesis is presented on a case study observing Year 6 students at St’ Michael’s CE Academy in Birmingham, UK, using Drama in Education method as part of History curriculum.
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Zhang, Yu, and Nicholas Lovrich. "Portrait of justice: The spirit of Chinese law as depicted in historical and contemporary drama." Global Media and China 1, no. 4 (November 1, 2016): 372–89. http://dx.doi.org/10.1177/2059436416678220.
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Some scholars doubt whether China has much of a legal tradition, and others have opined that China lacks legal subjectivity from a Western legal perspective. However, various dramas have delineated a legal culture and form of legal subjectivity in China present since ancient times. Unfortunately, relatively less research has been conducted on legal themes in Chinese drama, and even less scholarship has explored Chinese legal tradition through an art perspective. This article takes a modest step toward filling this gap. Selecting multiple cases from the creative industries in China, including ancient stage drama, films, and contemporary television drama across the span of hundreds of years, this article looks into the representations of legal tradition in Chinese performing arts and explores the spirit of law in Chinese society.
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Smelova, V. G. "Music, Art, Movement, and Drama in Biology." Journal of Russian & East European Psychology 35, no. 3 (May 1997): 79–80. http://dx.doi.org/10.2753/rpo1061-0405350379.
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Soleh, D. R., H. J. Waluyo, S. Y. Sudikan, and N. E. Wardani. "Development of Local Art-based Drama Textbooks." KnE Social Sciences 3, no. 9 (July 26, 2018): 687. http://dx.doi.org/10.18502/kss.v3i9.2732.
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J. Landy, Robert. "Drama therapy—the state of the art." Arts in Psychotherapy 24, no. 1 (January 1997): 5–15. http://dx.doi.org/10.1016/s0197-4556(96)00069-x.
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DJISENU, JOHN K. "The Art of Narrative Drama in Ghana." Matatu 21-22, no. 1 (April 26, 2000): 37–43. http://dx.doi.org/10.1163/18757421-90000302.
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Namazova, F. "CHARACTERISTICS OF DRAMA GENRE AND DRAMA LANGUAGE." BULLETIN Series of Philological Sciences 75, no. 1 (April 12, 2021): 77–82. http://dx.doi.org/10.51889/2021-1.1728-7804.13.
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Addressing the specific problems of dramatic creativity, we must first determine the basic meaning of the term "drama". As we know, the word "drama" has different meanings. We also call a certain range of real events, for example, the drama of life, one of the genres of the dramatic type of literature (the noble drama of the eighteenth century) and the dramatic theater, which is the leading type of performing arts. Dramatic works are fundamentally different from other genres. As early as the 19th century, the great thinker MFAkhundov distinguished the genre of drama he brought to our literature from other genres in terms of language and style. Both in his article "Fihristi-kitab" and in his "critique" of Mirza Malkum khan's plays, he clearly showed the "conditions of dramatic art".
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Schweik, Robert C. "Art, Mortality, and the Drama of Subjective Responses in “A Toccata of Galuppi's”." Browning Institute Studies 15 (1987): 131–36. http://dx.doi.org/10.1017/s0092472500001899.
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Exegi monumentum aere perennius.… non omnis moriar. From Horace onward, the relationship of art to human mortality has been a major theme in literature – and one which obviously interested Browning, if we may judge from some striking variations he worked on it. In “Cleon” and “Abt Vogler,” for example, his speakers address the subject from very different points of view: Cleon, the pagan, argues that the fact his art will survive after his death cannot in any meaningful way confer immortality on him and that, as an artist, he even more than others is painfully aware of his own limited life; Abt Vogler, on the other hand, confident of the changelessness of God's good, sees in his art a promise that both he and his improvisation will endure. Given Browning's penchant for pushing ideas to extremes and turning them in unusual directions, it is not surprising that he would treat the topic in other less predictable ways – as he did, for example, by making the inert changelessness of works of art in “The Statue and the Bust” comment ironically on human failure to act, or by endowing the worldly and sensuous Bishop at St. Praxed's with an appropriately literal faith in the kind of immortality a suitably artful tomb would confer upon him. It is not surprising, then, that similar topics would appear in “A Toccata of Galuppi's.”
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Karimova, G. "THE CONNECTION BETWEEN TEACHING THE DRAMA AND BRANCHES OF SCIENCE." BULLETIN Series of Philological Sciences 73, no. 3 (July 15, 2020): 358–64. http://dx.doi.org/10.51889/2020-3.1728-7804.56.
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Nowadays it is very important to determine cross curriculum methodology of teaching Modern Kazakh Drama with other subjects. If the Literature is the Art of the word, the Drama is one of the means of the Literature for human cognition. Being one of approaches of displaying the vital fact, Drama has got close ties with such sciences as Linguistics, History, Psychology, Aesthetics, Culture and Literature. Modern Kazakh Drama, which has creatively absorbed traditions of the World Classic Drama, has defined independent branch of the National Drama and its innovative development. The pace of Information Technologies development, lack of motivation in mastering the art of speech, loss of interest in reading the classic literature force scientists, methodologists, parents and society to think. The article discusses possibilities of Literature heritage analysis in accordance with the nature of art as well as the author's understanding of ideological and aesthetic reality, formation of sensory sensation skills, perception, synthesis and understanding of the content, basic idea of a work in a conjunction of Literature with other branches of science.
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El-Nasr, Magy Seif. "Interaction, narrative, and drama." Interaction Studies 8, no. 2 (June 19, 2007): 209–40. http://dx.doi.org/10.1075/is.8.2.03eln.
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Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due to the unpredictability of users’ actions. Few researchers attempted to develop adaptive interactive narrative experiences. However, developing a quality interactive experience is largely an art process, and many of these adaptive techniques do not encode artistic principles. This paper presents a new interactive narrative architecture designed using a set of dramatic techniques that have been formulated based on several years of training in film and theatre.
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Lupack, Alan. "The Influence of Tennyson’s Poems on Arthurian Drama." Arthuriana 24, no. 4 (2014): 80–96. http://dx.doi.org/10.1353/art.2014.0051.
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Beyad, Maryam, and Amir Maniee. "Beckett's Drama: Platonic 'Ideas' versus Aristotelian 'Shapes'." Samuel Beckett Today / Aujourd'hui 23, no. 1 (August 1, 2012): 319–33. http://dx.doi.org/10.1163/18757405-023001021.
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In questioning representation, (post)modern literature and art emphasized meta-representation and the philosophy and critique of art. In the same vein, Samuel Beckett was concerned with the nature of art and the shape(s) to accommodate his message(s). Any attempt, however, to analyze 'idea' and 'shape' revives Plato's and Aristotle's classic debate about 'form' and 'content.' Through a close reading of and , as well as sketching a parallel between Beckett's techniques and the concept of mathematical limit, this article argues that although Platonic and Aristotelian notions on art appear to be far apart, they overlap in Beckett's drama.
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Kļava, Oskars, and Irēna Katane. "YOUTH THEATRE ART NON-FORMAL EDUCATION IN THE CONTEXT OF DRAMA PEDAGOGY HISTORICAL DEVELOPMENT." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 412. http://dx.doi.org/10.17770/sie2018vol1.3403.
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Nowadays not only formal but also non-formal education plays a significant role in the context of lifelong learning. By getting involved in various non-formal education activities, with overall and personality development, children and young people socialise, gain new experiences, and acquire new social roles. The wider the spectrum of non-formal education activities, the more possibilities there are for each child and young person to find the most suitable to get involved in according to their interests, needs, abilities, future intentions and goals. One of the forms of non-formal education for children and youth is theatre art non-formal education, which finds its theoretical methodological base in drama pedagogy. School drama clubs, optional course of public speech, drama studio etc. have a significant role and contribute to the promotion of students’ personality development and socialisation. The aim of this article is to give a theoretical justification of the youth theatre art non-formal education in the context of drama pedagogy historical development. The approaches, principles, new methods of drama pedagogy were and are currently used by teachers-practitioners in many countries not only in the drama non-formal education but also throughout formal education – by including drama elements as learning techniques and methods across different subjects, thus making the drama pedagogy universal, constantly present everywhere and at all times.
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Ibude, Isaac Osakpamwan. "African Art Music and the Drama of Christian Worship among Baptists in Nigeria." East African Journal of Traditions, Culture and Religion 2, no. 1 (October 22, 2020): 72–82. http://dx.doi.org/10.37284/eajtcr.2.1.226.
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Church music is purpose-driven and functional art. The search for authentic African experience in Christian worship among Nigerian Baptists brought about the introduction of art music compositions into the drama of worship. The paper discusses the development and contextualisation of Baptist worship by the inclusion of new music(s) written, composed and performed by Africans for the purpose of the liturgy, serving as a voice within the culture. The research adopted an ethnographic research design. Data were collected from published works and recorded art music compositions, content analysis of worship bulletins, personal interviews with art music composers, choirmasters and pastors within the denomination. Textual analysis of art music compositions reveals that there are four different modes of communication in the drama of worship: Kerigmatic, Leitourgic, Koinonia, and Reflexive. The emergence and performance of art music compositions in the drama of worship have facilitated communication, indigenisation and acculturation of Christian worship among Baptists in Nigeria.
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Lukava, Daryna. "TRADITIONS OF NATIVITY DRAMA WITHIN THE OPERA ARTS OF UKRAINE." EUREKA: Social and Humanities, no. 1 (January 30, 2021): 3–7. http://dx.doi.org/10.21303/2504-5571.2020.001564.
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The article explores the ways of development of Ukrainian nativity drama - a genre of musical art that provides an opportunity to recreate the elusive breath of time, to learn not only about the world around but also the prospects for its preservation in Ukrainian culture. For the formation and development of the national musical culture of Ukraine, the traditions of Ukrainian nativity drama, the precondition of which was the folk music of national-historical orientation, became especially important. Besides, the folklore basis contributed to the formation of some professional genres, including opera and instrumental plays.
The object of the research is the nativity drama within the opera art of Ukraine.
The purpose of the article is to identify the features of the nativity scene as a musical and dramatic art form, which is an original monument of Ukrainian culture.
It should be noted, that the nativity scene, especially the images of the second act, the type of its drama, had an impact on the development of Ukrainian musical and dramatic theater even in the XIX century. The mentioned influence was manifested, in particular, in the musical drama "Chornomorets", "Natalka Poltavka" by Lysenko, where folk song and dance are an integral part of the action and are a means of characterizing individual characters and dramatic situations. Some features of the character of Zaporozhets from the nativity scene were developed in the image of Karas from S. Gulak-Artemovsky's opera "Zaporozhets za Dynayem". Ukrainian music and drama art with its sources are associated with the ancient East Slavic agricultural and family holidays, games, dances, in which the element of dramatization played an important role since ancient times. Christmas games with costumes, Maslenitsa farewells, spring round dances, harvest festivals, autumn-winter round dances, and weddings became a rich source for the development of musical and theatrical art of the Ukrainian people in the XV–XVI centuries. To sum up, we can conclude that for the formation and development of the national musical culture of Ukraine in the XIX century, the Ukrainian opera became especially important, the precondition of the one was the folk music of national-historical orientation. Also, the folklore foundations, in particular the nativity scene, served to form professional genres including opera and instrumental plays.
The study can be applied to prepare students and graduates in the field of Historical Sciences, Musicology, and Culturology.
The significance and influence of nativity drama on the opera art of Ukraine have been studied, where the traditions of Ukrainian nativity scene, the precondition of which was the folk music of national-historical orientation, have been singled out.
The study can be the basis for further study of the Ukrainian nativity drama of the XX–XXI centuries.
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Renen, Denys Van. ""Art against art": Sentimentality, Mid-Century Drama, and the North American Crises." Comparative Drama 54, no. 1-2 (2020): 51–72. http://dx.doi.org/10.1353/cdr.2020.0002.
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Stevens, Martin. "The Intertextuality of Late Medieval Art and Drama." New Literary History 22, no. 2 (1991): 317. http://dx.doi.org/10.2307/469041.
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Simons, Jennifer. "Drama Pedagogy and the Art of Double Meaning." Research in Drama Education: The Journal of Applied Theatre and Performance 2, no. 2 (September 1997): 193–201. http://dx.doi.org/10.1080/1356978970020205.
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Mateo, Marta. "Successful strategies in drama translation: Yasmina Reza’s “Art”." Meta 51, no. 1 (May 29, 2006): 175–83. http://dx.doi.org/10.7202/013006ar.
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Abstract Yasmina Reza’s “Art” has been widely acclaimed ever since it opened in Paris in 1994: the different productions which have followed the French original in more than 40 countries have enjoyed equal success. This success, both among audiences and critics, may be attributed to the play’s universal themes, to the tone and richness of its dialogue and to the good acting most productions have displayed. But the fact that the play has been appreciated in so many different countries and languages inevitably implies that translation is also at the centre of its success. This paper analyses two translations of “Art” – Christopher Hampton’s English text and Josep M. Flotats’s version into Spanish –, which, despite having a similar aim, i.e., making the play function on stage, have followed different translation strategies to make it work in their different target contexts.
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van de Water, Manon. "Drama in education: why drama is necessary." SHS Web of Conferences 98 (2021): 02009. http://dx.doi.org/10.1051/shsconf/20219802009.
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The article dwells on the use of drama and performance techniques in education and social work in connection with multiple intelligence theory, emotional intelligence theory, and brain based learning. The author connects the use of drama in the alternative theories of teaching and learning based on recent neuroscientific research, and lays out an integrative approach to teaching and learning that promotes inclusion, diversity, and social awareness, through embodied and contextualized learning. If we perceive cognition and emotion as interrelated, then drama as an educational tool becomes essential. It creates metaphors of our lives, which we lead through both cognitive and emotional domains. Art and creativity play an essential role in connections between the body, emotions, and the mind. Moreover, as we live in relationship to the rest of the world around us, our learning is embodied, our brain, emotions, and physiology are constantly connected. Thus, the article demonstrates that drama and performance are vital in teaching the whole child, whether taught as a discipline or used as a teaching tool. This means, the author claims, educators, neuropsychologists, and theatre and drama specialists have to have open minds and be willing to step out of comfort zones and together make a case for using theatre and drama methods as a way to improve human lives.
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Brancaccio, Pia, and Xinru Liu. "Dionysus and drama in the Buddhist art of Gandhara." Journal of Global History 4, no. 2 (July 2009): 219–44. http://dx.doi.org/10.1017/s1740022809003131.
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AbstractThis essay examines the relationships existing between Dionysian traditions of wine drinking and drama that reached the easternmost part of the Hellenistic world, and the Buddhist culture and art that flourished in Gandhara (Eastern Afghanistan and Northern Pakistan) under the Kushan kings between the first and third centuries CE. By piecing together archaeological, artistic and literary evidence, it appears that along with viniculture and viticulture, Dionysian rituals, Greek theatre and vernacular drama also became rooted in these eastern lands. Continuous interactions with the Graeco-Roman world strengthened these important cultural elements. At the beginning of the Common Era Dionysian traditions and drama came to be employed by the Buddhists of Gandhara to propagate their own ideas. The creation of a body of artworks representing the life of the Buddha in narrative form along with the literary work of Ashvaghosha, may be an expression of the same dramatic format that developed locally along with a strong Dionysian ritual presence.
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최지영. "From ‘Drama for Learning’ to ‘Drama for Art’ - Conceptualizing and Normalizing the Teaching Artist." Korean Journal of Arts Studies ll, no. 21 (September 2018): 173–96. http://dx.doi.org/10.20976/kjas.2018..21.008.
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Korkut, Perihan. "“Creative Drama” in Turkey." Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 1 (January 1, 2018): 70–86. http://dx.doi.org/10.33178/scenario.12.1.5.
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The Turkish Republic is a young one. Established in 1923, it has gone through many social and political transformations, which have inevitably had an influence on how science and art are perceived. The Republic inherited from the Ottoman Empire a performative art tradition which had its roots in three distinct types of theatre: village shows; folk theatre played in town centres; and court theatre, which was based on “western” theatrical traditions. Considering the geographical location of Turkey, the term “West” signified the more advanced and civilized countries of the time, most of which were located in Europe. Having recently emerged from a tragic war, Turkey’s most urgent aim was to be on a par with these western countries in terms of science and arts. Therefore, western theatre, rather than the traditional forms, was promoted by the government (Karacabey 1995). As a result of this emphasis on western forms of theatre, many translated and adapted works were performed in theatres. In fact, even today, nearly half of the plays put on stage by Turkish state theatres are translated works. The following sections describe some examples from traditional and western forms of Turkish theatre. Fig. 1: http://aregem.kulturturizm.gov.tr/Resim/126102,ari-oyunu-yozgat-akdagmadeni-bulgurlu-koyu.png?0 These are short plays performed ...
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Morin, Emilie. "‘Look Again’: Indeterminacy and Contemporary British Drama." New Theatre Quarterly 27, no. 1 (February 2011): 71–85. http://dx.doi.org/10.1017/s0266464x11000066.
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The integration into conceptual art of techniques inspired by Fluxus (the international aggregate of artists who saw indeterminacy as imaginatively and linguistically enabling) has, in turn, given rise to a specific line in British playwriting since the mid-1990s, as evidenced in plays by Martin Crimp, Sarah Kane, and Tim Crouch which gesture towards conceptual art, performance art, and the event score. In this article Emilie Morin brings to light the affinities between this artistic moment in contemporary British theatre and the international avant-garde. She discusses the shared interest of Crimp, Kane, and Crouch in indeterminacy and the fusion between artistic media, paying particular attention to Crouch's redefinition of the status of the modern artwork in his play for galleries England (2007). Critical recognition of the experimental mode in which these playwrights operate has remained subsumed under a non-specific appreciation of their relationship to conceptual art, leaving important questions of form and legacy unaddressed. Here, the proximity between this marginal trend in British playwriting and developments in experimental music and performance art exploring ideas of indeterminacy is highlighted, and the contemporary problematization of performance as event and concept is reconfigured in relation to the legacies of Marcel Duchamp, John Cage, and Fluxus. Emilie Morin is Lecturer in the Department of English and Related Literature at the University of York and the author of Samuel Beckett and the Problem of Irishness (Palgrave Macmillan, 2009). Her research interests lie in European modernism and the avant-garde.
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Rudnev, P., and E. S. Maksimova. "“Theater lies. And admits it. In the midst of the crisis of media it is a very valuable quality”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 7–17. http://dx.doi.org/10.18522/2415-8852-2020-1-7-17.
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Pavel Rudnev – theatre scholar, theatre critic, PhD (Art History), Associate professor at the studio school of the Moscow Art Academic Theatre (MHAT) and the State Institute of Theatre Arts (GITIS). Author of the books, “Theatrical Views of Vassily Rozanov” (2003), and “Drama of Memory. Essays on the history of Russian drama from Rozov to the present day” (2018). In this issue of P&I, Pavel Rudnev discusses the boundaries between theatre and performance, searches for the main theme of contemporary Russian drama, and talks about Kudymkar and Lesosibirsk, cities in which theatre is especially valued. Interview by Ekaterina Maximova.
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.V, Praveen S. "Shakespeare-The Brand." International Journal of Emerging Research in Management and Technology 6, no. 8 (June 25, 2018): 179. http://dx.doi.org/10.23956/ijermt.v6i8.135.
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William Shakespeare is known to the world as one of the greatest dramatist in the history of English Literature. It is unusual to attribute either Shakespeare or his works in the world of marketing, yet it is the fact that, even after 450 years, Shakespeare is still a recognizable and powerful brand in the world of today. Shakespearean festival was still being celebrated all over the world. Royal Society of Shakespeare still performs Shakespearean dramas every year, in more than twenty languages. It shows the brand image of Shakespeare, having in the world today. Aristotle, a Greek Philosopher, in his attempt to understand poetry and drama, expressed his view in his famous work Poetics that, both drama and poetry appeals to the emotions of a reader and spectators. The success of a drama, depends on the extent to which, a dramatist can able to capture the emotions of the audience. It is necessary for writers to have a unique brand personality to market their art. Every writer has their own set of target audience and follows various strategies to satisfy them. This paper deals with, how Shakespeare employed different strategies to create his own brand image, that helped him positioning his art among his target audience, thus ending up creating one of the greatest and powerful brand image in the History.
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Grooms, Chris. "Records of Early Drama: Wales ed. by David N. Klausner." Arthuriana 16, no. 1 (2006): 75–77. http://dx.doi.org/10.1353/art.2006.0060.
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Chaîné, Francine, and Mariette Théberge. "Specialized Programs in Drama: a gateway to self and art in society." Revista Brasileira de Estudos da Presença 5, no. 2 (August 2015): 356–75. http://dx.doi.org/10.1590/2237-266048609.
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Abstract: This article explores the unique contexts of two specialized drama education programs that offer adolescents from twelve to eighteen years of age the chance to create, perform, and appreciate works of art. Describing these two contexts helps to clarify how their respective missions support these young people in affirming their identities and constructing their world views. The drama program offered at La Maison Jaune, located in Quebec City, Quebec, allows students to explore the meaning of their experience of the creative process. The Centre d'Excellence Artistique De La Salle in Ottawa, Ontario, places drama training in a societal context where the educational practices contribute to artistic renewal and to the collective imagination.
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Crittenden, Cole. "The Dramatics of Time." KronoScope 5, no. 2 (2005): 193–212. http://dx.doi.org/10.1163/156852405774858753.
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AbstractArt has as many definitions as it has practitioners, but one function of art is to help us understand the human experience, regardless of how our definitions of that experience differ. And since time is experience, art is particularly well-suited to treat it. Along with space, time, as a basic category of human experience, is, therefore, a basic category of artistic inquiry. Space is the primary focus of the visual arts, whereas music is an art form in time. Literature, however, always deals with both, and nowhere is this more apparent than in drama, where the time and space of the literary text are realized in the real time and real space of the performed text. Yet despite the widespread interest in time in much twentieth-century literary theory, the unique potential for the investigation of experiential time in drama has gone largely ignored. The purpose of this article is to address that curious absence, first by looking at the ways existing theories approach literary time (and largely fail to approach dramatic time), and then by discussing the generic and performative characteristics of drama (especially Russian drama, since that is the tradition with which I am most familiar) that make it in many ways the ideal art form in which to investigate time.
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Gatam Widagama, Ngakan Putu. "PEMENTASAN DRAMA GONG WIJAYAKUSUMA SEBAGAI MEDIA KOMUNIKASI TRADISIONAL DI KELURAHAN ABIANBASE KECAMATAN GIANYAR KABUPATEN GIANYAR." Jurnal Penelitian Agama Hindu 1, no. 2 (October 6, 2017): 545. http://dx.doi.org/10.25078/jpah.v1i2.296.
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<p><em>Bali has a rich potential for art and culture. The life of Balinese people who are familiar with various types of art performances give the island its own image in the eyes of the world. In Bali art is divided into three groups, namely: (1) wali, (2) bebali, (3) balih-balihan. Many of the performing arts in Bali are seen in religious ceremonies as well as in formal events. The performing arts have a very wide scope. The most popular performing art group and much in demand for the public is Drama Gong. Based on this matter, the problems discussed in this research are: (1) What is the form of staging Drama Gong Wijayakusuma As Traditional Communication Media in Kelurahan Abianbase Gianyar District Gianyar Regency? (2) What is the Function of Staging Drama Gong Wijayakusuma As Traditional Communication Media in Kelurahan Abianbase Gianyar Sub-district of Gianyar Regency? (3) What is the Meaning of Staging Gong Wijayakusuma as Traditional Communication Media in Kelurahan Abianbase Gianyar Sub-district of Gianyar Regency?</em></p><p><em>Digging and dissecting the problem formulation that has been established using two theories are: (1) the theory of symbolic interactionism, (2) structural functional theory. Analyzing each problem used research methods that include: research using qualitative methods. The research location is in Kelurahan Abianbase Gianyar District Gianyar Regency. Types and sources of data used are qualitative data types, while the data source used in the form of primary and secondary data. Data collection techniques include: observation techniques, interviews, and literature study. Instrument research in the form of documentation. Determination technique of informant used is purvosive sampling</em></p><p><em>The results of this research are: (1) The form of staging Drama Gong Wijayakusuma includes some supporting elements such as: elements of performing arts Drama Gong, language used, acting figures, gamelan accompaniment, source of play and governance sekaa Drama Gong, Shape and structure of the performing arts of Drama Gong. The drama gong has its own uniqueness which in the performing arts of Drama Gong is built by elements of motion, acting, singing, dancing, and percussion combined harmoniously with Jayaprana plays. (2) Drama Gong functions as a social show which is staged exclusively to entertain the audience. There are 2 functions namely primary function and secondary function. (3) The meaning contained in the staging of Drama Gong is the meaning of religion, the meaning of cultural preservation, the meaning of togetherness, and meaning for the community at large.</em></p>
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Serova, M. V., and E. P. Zorova. "MAYAKOVSKY’s LYRICAL THEATRE." Bulletin of Udmurt University. Series History and Philology 30, no. 5 (October 27, 2020): 877–86. http://dx.doi.org/10.35634/2412-9534-2020-30-5-877-886.
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The research is devoted to the phenomenon of lyrical drama as the genre-type synthesis result. Based on Bataille-school ideas and «experience-limit» conceptions, it finds justification in relation to V.V. Mayakovsky poetry. Specificity of “experience-limit” as radical self-questioning consists in taking subjects away from themselves - splitting up on few “Me”. That process has a systematizing function in the Mayakovsky’s art: his lyrical person plays a part of the main drama’s actor, trying to determinate himself by fitting experiences of different hypostasis and reflecting them through the dominant person poetic experience. “Experience-limit”, going through the whole art system of Mayakovsky, gives a reason not just characterize it as lyrical drama, but expand the last to the “lyrical theatre”, which contains not Mayakovsky’s dramaturgy legacy itself, but that dramatic part his lyric based on. Aesthetic categories, characterized within theatre discourse as “The Cast”, “The Vestment”, “The Going On Stage”, “The Prologue”, “The Action Development”, “The Acting Parts” and “The Animal Etudes”, was marked in the lyric theatre concept. These categories find its comprehension in the article and also form an idea about common aspects of experimental aesthetic, which allows to include Mayakovsky’s lyrical theatre in the line epochal art searches. So, the article claims the parallel between inner art space’s metaphysic and New Drama, where objective reality surpasses the will of the person, as determining factor, sharing on lyrical theatre at whole. The lyrical drama of V.V. Mayakovsky is the tragedy (which protomodel is archaic mystery drama) since the beginning.
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Philippov-Chekhov, Alexander О. "Peter Szondi about the crisis of drama." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 128–41. http://dx.doi.org/10.18522/2415-8852-2020-1-128-141.
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“Theory of Modern Drama: 1880–1950” (1956), a book by Peter Szondi (Peter Szondi, 1929–1971), who was a German literary scholar, originally from Hungary, has not yet been translated into Russian. Meanwhile, without this study, it is impossible to imagine a European discourse on drama, theatrical practice and its concepts in the second half of the 20th century. Analyzing the changes in the poetics of drama, which were first carried out by Ibsen, Chekhov, Strindberg, Hauptmann, and then by experimenters like Pirandello, Piscator, or Brecht, Szondi traced how the “decay of the formative principle of drama” occurs. According to Szondi, these processes are associated with profound changes in the style of thinking, so he saw a close connection between the weakening of the dramatic element in drama and the “aperspectivism” of Cezanne or Schönberg’s atonal music. The excerpt presented below is part of Szondi’s translated book, published in 2020 by V – A – C Press, which specializes in literature on art, cultural philosophy, and contemporary art and political practice.
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Widagdo, Muhammad Bayu. "DRAMATISME DALAM STRATEGI PENUANGAN GAGASAN MELALUI STREET ART KOMUNITAS VISUAL GRAFIS." JURNAL ILMU SOSIAL 15, no. 1 (March 30, 2016): 24. http://dx.doi.org/10.14710/jis.15.1.2016.24-34.
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Like a real-life drama, street art activity is not only understood than mere actualization. Their activities can also be understood as a process of idea communicating, the need for acceptance of communal / community, as well as his message can be received by the community well. To that end, as well as the stage play, they play the role / each character to achieve its objectives in the activities of street art. What stronger motivation behind their characters in Dramatism of strategy in ideas pouring through the street art is an interesting thing to be understood by using the pentad analysis - Kenneth Burke. Pentad analysis outlines the five aspects of human behavior that act, agent, scene, agency, and purpose, like the drama in real life. This study reveals that the motivation behind the idea of pouring through the activities of street art which they do, the other to have the support of people in their community environment, support from the community, as well as social criticism as a reflection of the circumstances surrounding them. In addition, the industry is also strong motive coloring their activities although indirectly.
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Lamp, Frederick. "Art of the Baga: A Drama of Cultural Reinvention." African Arts 29, no. 4 (1996): 20. http://dx.doi.org/10.2307/3337394.
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