Relevant bibliographies by topics / Autobiographical drama

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Autobiographical drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Autobiographical drama"

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Leroux, Louis Patrick. "Confessional Drama and Autofiction in Montreal." Canadian Theatre Review 117 (January 2004): 71–73. http://dx.doi.org/10.3138/ctr.117.017.

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There are very few actual experimental theatres left in Montreal. By that I mean companies devoted to works seeking to challenge and surprise the audience constantly, as well as the artists themselves. Resisting the impeding institutionalization of Quebec theatre are the aptly named Nouveau Théâtre Experimental (ΝΤΕ) and Momentum. Interestingly, they both ventured into autobiographical drama last year, with unexpected critical and public hits, which they have fortunately revived this season. Neither of the companies’ front men, Jean-Pierre Ronfard, in the case of the ΝΤΕ, or Jean-Frederic Mess
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Bachura-Wojtasik, Joanna. "Biografia i autobiografia w literaturze audialnej." Acta Universitatis Lodziensis. Folia Litteraria Polonica 28, no. 2 (2015): 107–20. http://dx.doi.org/10.18778/1505-9057.28.08.

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The article discusses the audio form of the biography and autobiography – as seen in the radio-drama and documentary – as a distinct form in audio literature. The article is inspired by the theoretical findings of Philippe Lejeune concerning autobiographical literature and the personal diary genre. Theoretical reflections are complemented by selected examples of artistic audio genres. The examples of radio-dramas and artistic documentaries (features) discussed illustrate the specificity of the radio medium, which, on the one hand, opens up new opportunities for documentaries that are impossibl
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Gemzøe, Lynge Stegger. "Autobiographical adaptation in NBC’s Love Is a Four-Letter Word." Journal of Scandinavian Cinema 11, no. 1 (2021): 113–31. http://dx.doi.org/10.1386/jsca_00042_1.

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This article analyses the adaptation process from the Danish relationship drama television series ‘Nikolaj and Julie’ (2002‐03) to Love Is a Four-Letter Word, the NBC pilot and remake attempt (2015). This comparison is a prime example of autobiographical adaptation, in which the adaptation process can be closely intertwined with a desire to tell autobiographical stories. Using production studies and textual analysis, the article illustrates how Diana Son, the showrunner responsible for adapting the original format into the NBC version, rewrote the original script using a location, themes and c
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Pendzik, Susana. "autobiographical dramatic theatrical performance as a therapeutic intervention." PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG 11, no. 23 (2021): 245–62. http://dx.doi.org/10.35699/2237-5864.2021.36301.

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This paper articulates the basic features of Autobiographical Therapeutic Performance (ATP). Contextualizing it in drama therapy practice as a performance-based intervention, the paper describes ATPs roots in experimental theatre and grounds its features in psychotherapy concepts. The paper outlines the main therapeutic constituents of ATP: Narrating lived experience, shaping the material into aesthetic forms, embodying, and rehearsing personal stories that have been processed, performing in front of an audience, and integrating new insights in the post-performance reflection. Finally, a “warn
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Denisova, Ekaterina Andreevna. "On the autobiography of M. Y. Lermontov's dramaturgy of the early period (plats “Menschen und Leidenschaften” and “A Strange Man”)." Litera, no. 10 (October 2021): 21–30. http://dx.doi.org/10.25136/2409-8698.2021.10.36462.

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This article is dedicated to the analysis of the two plays written by M. Y. Lermontov in the the early period – “Menschen und Leidenschaften” and “A Strange Man” form the perspective of manifestation of autobiographical context therein. These works are based on the dramatic events in Lermontov's biography that took place in 1830–1831, such as conflict between the poet's grandmother and father, death of his father, as well as Lermontov's relationship with N. F. Ivanova. Analysis is conducted on the texts of these two dramas, as well as
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Brajerska-Mazur, Agata. "Manipulizm a pierwsze pełne tłumaczenie „Dziadów” na język angielski." Między Oryginałem a Przekładem 25, no. 43 (2019): 47–65. http://dx.doi.org/10.12797/moap.25.2019.43.03.

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Manipulism and the First Complete Verse Translation of “Dziady” into English How did the translator cope with the task of translating into English the national poetic drama series which, together with Pan Tadeusz and Wesele, is considered to be one of the national epics? Did he manage to respond to the linguistic and cultural challenges such as: the complicated structure of the Romantic drama, the combination of low and grand styles, the depiction of Polish society at the time of the Partitions, the interweaving of historical and autobiographical events into the texture of the plot and the Pol
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MAGUIRE, NANCY KLEIN. "Regicide and Reparation: The Autobiographical Drama of Roger Boyle, Earl of Orrery." English Literary Renaissance 21, no. 2 (1991): 257–82. http://dx.doi.org/10.1111/j.1475-6757.1991.tb01027.x.

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Heddon, Deirdre. "‘Glory Box’: Tim Miller's Autobiography of the Future." New Theatre Quarterly 19, no. 3 (2003): 243–56. http://dx.doi.org/10.1017/s0266464x03000149.

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Performance artist Tim Miller has been making autobiographical work for more than twenty years. Dee Heddon explores Miller's recent show, Glory Box (2001), arguing that, both in his practice and his use of his own life stories, he is attempting not only to connect with but to energize his audiences, transforming them into activist spectators. One tactic Miller employs in Glory Box is futurity – performing an autobiography that he has not yet lived. This future is one that Miller compels us collectively to rewrite, inviting us to change his potential life and life-story in the process. Dee Hedd
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McMaster, Juliet. "Pamela Brown's The Swish of the Curtain." Journal of Juvenilia Studies 1 (July 4, 2018): 48–61. http://dx.doi.org/10.29173/jjs109.

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Pamela Brown published her novel The Swish of the Curtain in 1941 when she was only sixteen, and it has had remarkable staying power, outlasting the many books she published as an adult, and achieving adaptation on radio and television. The novel has also given its name to a chain of drama programs for children across England. Brown’s well-told tale of a group of stage-struck teenagers who luck into a theatre and proceed to stage successful productions has some autobiographical elements, as she draws on her own stage activities with her friends in Colchester (fictionalised as “Fenchester”). Bu
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Boyko-Head, Christine. "Autobiographical Imprints in Nineteenth-Century Canadian Drama: Sarah Curzon'sLaura Secord: Heroine of 1812." Theatre Research in Canada 22, no. 1 (2001): 3–17. http://dx.doi.org/10.3138/tric.22.1.3.

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Dissertations / Theses on the topic "Autobiographical drama"

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Trussler, Anna Claire. "The importance of being the autobiographical subject in the drama and memoirs of Ronald Duncan." Thesis, University of Plymouth, 2001. http://hdl.handle.net/10026.1/2207.

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This study developed after considerable time spent collating and cataloguing data contained in Ronald Duncan's archive. Familiarisation with the material led to my identifying a need to explore the elusive nature of the personality that biographical material should hope to uncover. Duncan was prone to mainly confessional writing, a kind of writing that demands a causal inference between life and work. Furthermore, the archive supplies multiple data sources that serve to aid chronology, trace reliability, provide external corroboration and investigate truth-value. My study follows a loosely chr
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Brown, Verna. "Yesterday's deformities : a discussion of the role of memory and discourse in the plays of Samuel Beckett." Thesis, 2005. http://hdl.handle.net/10500/888.

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Although Samuel Beckett's plays indicate his abiding interest in the complex functioning of memory, little has been written on the topic. The aim of this study, therefore, is to examine the wide-ranging, specific approaches towards recall and forgetting that he reflects in his drama. Because conversational strategies are grounded in cognitive processes, the interplay between memory and discourse will also be probed. The thesis foregrounds Beckett's profound distrust of memory functioning, as well as his conviction that `yesterday' has dangerous power to `deform'. Through his own perception
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Books on the topic "Autobiographical drama"

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Toudoire-Surlapierre, Frédérique, and Florence Fix. L'autofiguration dans le théâtre contemporain: Se dire sur la scène. Éditions universitaires de Dijon, 2011.

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2

Luce, William. Lillian: A one-woman play based on the autobiographical works of Lillian Hellman. Dramatists Play Service, 1986.

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Luce, William. Lillian: A one-woman play based on the autobiographical works of Lillian Hellman. Dramatists Play Service, 1986.

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4

Arbatova, Marii︠a︡. Vizit nestaroĭ damy: [proza, pʹesy]. ĖKSMO-Press, 2000.

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5

Talbert, R. G. Warts and all: Reflections of a garden variety drunk : an autobiographical gay-man blackout. Rain City Projects, 1993.

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6

Bourne, Bette. A life in three acts. Methuen Drama, 2009.

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Bourne, Bette. A life in three acts. Methuen Drama, 2009.

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8

Mark, Ravenhill, ed. A life in three acts. Methuen Drama, 2009.

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Mark, Ravenhill, ed. A life in three acts. Methuen Drama, 2009.

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10

Heddon, Deirdre. Autobiography and performance. Palgrave Macmillan, 2008.

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Book chapters on the topic "Autobiographical drama"

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Kurahashi, Yuko. "Autobiographical Report: Presenting Your Research Using the First-Person Narrative." In Teaching Drama in the Classroom. SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-537-6_2.

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Hodgson, Katharine. "Genre in Berggol′ts’s writing of the 1950s." In Voicing the Soviet Experience. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262894.003.0004.

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This chapter looks at the writer's responses to her cultural context on the level of genre, examining her work in narrative verse, verse drama and autobiographical prose. It examines the following works: the 1950 narrative poem ‘Pervorossiisk’, the 1954 verse drama Vernos ť (‘Loyalty’), and the autobiographical prose account Dnevnye zvezdy (‘Daytime stars’), which appeared between 1954 and 1959.
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3

Strindberg, August. "Author’s Preface to Miss Julie (1888)." In Modern Theories of Drama. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711407.003.0012.

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Abstract It is paradoxical that this, perhaps the best known, manifesto of naturalism should have been issued by a writer who was not himself by any means a lifelong, all-ornothing naturalist. In fact, August Strindberg (1849-1912), author of some sixty plays —as well as a vast output of novels, short stories, autobiographical writings, poems, and essays —did not follow any one literary theory throughout his career. Many of his later dramas, such as To Damascus, Parts 1-111 (1898, 1904), A Dream Play (1901) (see pp. 158-9) and The Ghost Sonata (1907) were trail-blazing examples of subjective drama —the very reverse of naturalism. The theory formulated in defence of Miss Julie applies then only to a portion, albeit an important portion, of his work.
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Ndĩgĩrĩgĩ, Gĩchingiri. "Autobiographical Prototypes in Ngũgĩ wa Thiong'o's Early Fiction & Drama." In Ngugi. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787443853.032.

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Ndĩgĩrĩgĩ, Gĩchingiri. "Autobiographical Prototypes in Ngũgĩ wa Thiong’o’s Early Fiction & Drama." In Ngugi. Boydell & Brewer, 2018. http://dx.doi.org/10.2307/j.ctvc16jq6.35.

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Gauthier-Pin, Sue. "The Magic of Monologue." In Healing Through the Arts for Non-Clinical Practitioners. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-5981-8.ch006.

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In this chapter, the author explores her personal experience with depression and the healing through applied community theater. The author discusses how her autobiographical performance is similar to aspects of drama therapy, mindfulness, and cognitive behavioral therapy. The author explores how four common treatment goals for depression can be addressed through the process of writing, rehearsing, and performing an autobiographical performance. Advice is given to non-clinical practitioners on how to address depression among their clients. Findings from this case study promote that applied community theater, in addition to traditional treatments, can serve as catalyst for furthering the healing of depression.
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Ndĩgĩrĩgĩ, Gĩchingiri. "27 Autobiographical Prototypes in Ngũgĩ wa Thiong’o’s Early Fiction & Drama." In Ngugi. Boydell and Brewer, 2018. http://dx.doi.org/10.1515/9781787443853-032.

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Adkins, Peter. "Following the Beast Familiar: Djuna Barnes’s Family Dramas." In Beastly Modernisms, edited by Saskia McCracken and Alex Goody. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474498029.003.0006.

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Unpublished until 2020, The Biography of Julie von Bartmann (1924) was Djuna Barnes’s first attempt to reshape events from her early life growing up on a dysfunctional farmstead in rural New York state into a literary work. Like Barnes’s better-known work, it is a text in which animal life, and human proximity to animal life, is central. Although unpublished, Barnes recycled sections of the drama when writing Ryder (1928), her autobiographical novel. Many years later, Barnes’s play The Antiphon (1958)would complete what was left unfinished in Julie von Bartmann, a family drama where family members intend to ‘beast’ each other, exacting revenge for earlier transgressions. Adapting its title from a quotation in The Antiphon where “Woman is most beast familiar”, this chapter will show how a beastly idiom can be traced through Barnes’s autobiographical writings. Charting the development of this idiom, this chapter will argue that the “beast familiar” becomes central to Barnes’s reimagining of the family drama, with animality emerging as a vector through which to scrutinise familial transgression. Presenting a new aspect to what Julie Taylor describes as the ‘non-dichotomous relationship’ between ‘auto/biography and fiction’ in Barnes’s writing and building on existing research on her interest in the grotesque and the animal, this chapter will argue that in Barnes’s writing we find a modernism in which beastly figurations contaminate the fiction of the family unit.
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Burke, Mary. "Challenging “Good Taste”." In The Golden Thread. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859470.003.0007.

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This chapter considers The Baby Doll Project (2003) by Traveller dramatist, performer, and activist within the intersections of Traveller, disability, and gender issues, Rosaleen McDonagh. The play is an autobiographical depiction of the institutionalisation of children with disabilities and Traveller children, and the chapter concludes that the under-examination of the disproportionate degree to which Traveller children were institutionalised in post-independence Ireland fuels McDonagh’s writing and activism. It suggests that McDonagh’s 2016 play, Mainstream, constitutes a forceful return to the theme of her 2003 drama, albeit one informed by the recent revelation of a mass burial of infant remains on the grounds of theSt. Mary’s/Bon Secours Mother and Baby Home at Tuam, County Galway. McDonagh’s intersectional drama aims to participate in what she has termed a “Traveller canon” that would challenge centuries of “insular,” “white”, Settled” misrepresentation and effacement of the Travelling community, queerness, and disability within the national narrative.
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"The Alienated Gaze and the Activist Eye: Gender, Class, and Politics in Lotus (2012) and Outcry and Whisper (2020)." In Women Filmmakers and the Visual Politics of Transnational China in the #MeToo Era. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463728355_ch06.

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Filmmakers depict women in the post-socialist neoliberal Chinese economy using practices associated with the Cinema of Precarity as well as activist film techniques. Liu Shu’s drama Lotus (2012) features a divided heroine who holds a number of professional and pink-collar service jobs as she moves from a small town to the capital city of Beijing. In Outcry and Whisper (co-directed by Zeng Jinyan, Huang Wenhai, and Trish McAdam, 2020), the lives of female migrant workers run parallel to an autobiographical reflection by director Zeng, who navigates moving from mainland China to Hong Kong. Both films spotlight issues of precarity, alienation, and class stratification at the intersection of gender expectations and sexual exploitation.
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