Journal articles: 'Characteristics of drama'

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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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Keshavarz, Mohammad Hossein, Yasemin Çetereisi, and Gulay Asit. "Pragmatic Features of the Speech Act of Compliment in a Turkish TV Drama." Journal of Pragmatics Research 2, no. 1 (April 7, 2020): 1–25. http://dx.doi.org/10.18326/jopr.v2i1.1-25.

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Research on the speech act of compliment is abundant; however, studies on the characteristics of compliments in Turkish, in general, and in Turkish TV dramas, in particular, are scarce. Therefore, to fill this research gap, the present study set out to investigate the use of compliments in a popular Turkish soap opera. To achieve the purposes of this research, thirty-two episodes of a TV drama called Sahra were selected at random to be viewed and analyzed while focusing on the topics, functions, and characteristics of compliments with reference to the role of gender. Four main topics and functions, and two major characteristics of Turkish compliments emerged from the analysis of the data. Similarities and differences were also found in the use of compliments in Turkish and other languages. The findings may have implications for research on speech acts, in general, and complimenting behavior in TV dramas, in particular.Keywords: Turkish compliments; TV drama; elaboration; exaggeration; gender

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Gül, Ayşen. "How Turkey’s creative professionals see their TV drama industry." Medijske studije 12, no. 23 (July 23, 2021): 19–39. http://dx.doi.org/10.20901/ms.12.23.2.

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Turkey’s TV drama industry has made a quantum leap in the past decade and exported many of its dramas (dizis) to more than a hundred countries. Turkey has become the world’s second-biggest TV drama exporter after the USA in 2016. The dizi industry’s transnationalization is attributable to the tireless efforts and unique features of its associated creative industry. However, the industry has some deep problems. This paper seeks to shed light on the challenges that the Turkish TV drama industry faces. The author has conducted in-depth interviews with Producers, Directors, Scenarists, Actors and Distributors. Their replies reveal the basic characteristics and difficulties of the dizi industry and provide clues as to what needs to be done to sustain and build upon the Turkish TV drama industry’s export success.

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Yang, XiaoMing, and XiangMin Hu. "The Social and Cultural Characteristics of Shanxi Ancient Drama Costumes." Asian Social Science 16, no. 3 (February 27, 2020): 43. http://dx.doi.org/10.5539/ass.v16n3p43.

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The main research subject of this paper is the costume of Shanxi ancient drama, which is used to decorate the role in the form of drama performing art that spread in Ancient Shanxi. Drama costume is a kind of special performance costume which combines decoration, acting and symbolism. It is quite different from the traditional costume in aesthetic and functional aspects. The social and cultural factors that influence the costume of Shanxi ancient drama mainly include the system and rules of Chinese ancient costume, the subtle influence of Buddhist culture and Taoist culture, as well as the profound influence of loyalty culture.

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Carol, Denis. "Some Defining Characteristics of Australian Aboriginal Drama." Modern Drama 40, no. 1 (March 1997): 100–110. http://dx.doi.org/10.3138/md.40.1.100.

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Xiaofei, Ren, Li Lanlan, Zhang Chuanrui, Lu Jing, and Liu Feng. "Corpus stylistics of drama in drama translation studies." Babel. Revue internationale de la traduction / International Journal of Translation 60, no. 4 (December 31, 2014): 425–44. http://dx.doi.org/10.1075/babel.60.4.02xia.

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Drama translation studies used to be the most neglected area in translation studies due to its prescriptive approaches and reductionist illusion of polarization of performability and readability. Corpus stylistics of drama, with the aid of computer technology as well as the understanding of the true nature of drama as the dialectical combination of both literary and theatrical characteristics, appears to be a remarkable theoretical framework and methodology for drama translation studies. The study of (im)politeness in Death of a Salesman and its two Chinese versions is undertaken as a case study. ICTCLAS and Concordance 3.0 were used to calculate the high frequent expressions concerning (im)politeness in both the original text and the Chinese versions, followed by the analysis of their stylistic function. It is found that modal particles and slang expressions in Chinese are useful to reconstruct the characterization, plot as well as performability of the translated drama. In conclusion, corpus stylistics of drama is of high feasibility in drama translation studies.

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Taofiq Olaide, Nasir, Akinboye Adeyinka Juliet, Adeoye Aderemi Michael, and Aikomo Olayinka Olatunji. "Drama as Information Medium on Health and Illness: Personal Characteristics as Patients’ Attitude Determinants." Advances in Language and Literary Studies 10, no. 6 (December 31, 2019): 108. http://dx.doi.org/10.7575/aiac.alls.v.10n.6p.108.

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The study examined the contributions of drama as a means of disseminating information such as age, gender and educational level that are germane to patients’ attitude to health and illness. The subjects were ninety five patients of General Hospital, Ijebu-Igbo, Ogun State. They responded to the Patient-Medical Personnel Drama Scale (PMPDS) and the Attitude Towards Health and Illness Scale (ATHIS). Step-wise multiple regression analysis was used for data analysis and the results revealed that drama, as a means of communication made the most significant contribution while educational level came up in step two. “Age” and “gender” did not make any noticeable contribution. The findings indicate that more attention should be paid to improve Patient-Medical Personnel Drama.

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Park, Joo Eun. "The Background and the Characteristics of Feminist Drama." English21 23, no. 2 (June 2010): 51–71. http://dx.doi.org/10.35771/engdoi.2010.23.2.003.

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Yoke Ling, Loh, and . "The Popularity of Asian Drama Series on Malaysian Television." International Journal of Engineering & Technology 7, no. 3.21 (August 8, 2018): 470. http://dx.doi.org/10.14419/ijet.v7i3.21.17215.

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The Asian drama series has reached high popularity level among local viewers since this popular culture has penetrated into our local entertainment industry. The scheduling of the government or the private television stations specific to Asian drama series has increased when the response is very encouraging from the local viewers. Viewers are an important commodity in the capitalist system whereby when a cultural product obtains high viewing rating, automatically the popularity is also going to be high. Thus, for these Asian dramas series to achieve popularity, they need to draw the interest and demand of viewers in this region, where it can be explained through the concept of regionalization. Regionalization gives the priority to the psychology and phenomenon about the cultural approach and the cultural discount. This concept justifies the phenomenon of Asian drama series popularity in the Asian region. The content analysis and interview have been used in this study to analyze the elements contained in the Asian drama series, and whether or not they contribute to their popularity also perspective from local drama producers towards this phenomenon. Similarities in terms of the theme, characterization and narratives contained in the popular Asian drama series in this current work are the method and approach adopted in this work to reduce the cultural discount whereby through this similarity it has started to build the identity and characteristics of the Asian drama series seen as accepted and welcome by Asian viewers- something which is known as the cultural approach. The outcome of the study also shows that from the mainstream theme, good scripts, the right choice of artists and appropriate theme songs in the drama that they contribute to high popularity and altogether leave an impact to the Malaysian TV industry. Producers are in full authority not only in executive work but also in terms of the creativity. The decision made by a producer of a drama is vital to render a drama series a success.

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Wang, Yan. "The Composing Characteristics Research of Mo Yan’s Drama scripts." JOURNAL OF CHINESE HUMANITIES 68 (April 30, 2018): 367–76. http://dx.doi.org/10.35955/jch.2018.04.68.367.

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Liang, Yang, and Jaecheol Moon. "Research on the Characteristics of Chinese Network Animation Drama." TECHART: Journal of Arts and Imaging Science 6, no. 4 (November 30, 2019): 28–37. http://dx.doi.org/10.15323/techart.2019.11.6.4.28.

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Lee, Won-Hyeon. "The Characteristics and Settlement of Drama Education in German School - Focusing on Drama Class of Secondary School-." Journal of the Korea Contents Association 16, no. 6 (June 28, 2016): 114–22. http://dx.doi.org/10.5392/jkca.2016.16.06.114.

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Stezhko, N. G. "The history of television documentary drama genesis, its ontological characteristics." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 63, no. 4 (October 31, 2018): 482–89. http://dx.doi.org/10.29235/2524-2369-2018-63-4-482-489.

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The article analyses the genesis of television documentary drama and its dual nature that causes much controversy among film theorists. The ontological characteristics of docudrama are considered, in particular its intrinsic connection with documentary theatre. Docudrama originated at the junction of feature films and documentary films at the time when directors raised important social and historical issues that occurred in the state. The docudrama prototype emerged long before the invention of television and is associated with the first newsreels and films of E. Curtis and R. Flaherty. This experiment had developed greatly with the advent of television, which is characterized by a combination of intimacy, focus on close-ups and the ability to tell stories based on real events. The article highlights the formation of documentary drama on BBC that explored all spheres of life with great interest - from British culture and history to social and political topics. The article traces the popularity and relevance of docudrama at the present stage and its settlement into a stable form. This allows to establish docudrama as an independent form of screen arts. The article studies also the formation and development of docudrama in Belarus that is first of all connected with the director Vladimir Bokun.

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Yu, Sunbee. "Characteristics of Time and Space in Karel Čapek's drama R.U.R." East European and Balkan Institute 40, no. 5 (October 25, 2016): 27–48. http://dx.doi.org/10.19170/eebs.2016.40.5.27.

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문선영. "Formation and work Characteristics of 1960's radio home drama." Journal of Korean drama and theatre ll, no. 33 (April 2011): 225–54. http://dx.doi.org/10.17938/tjkdat.2011..33.225.

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Ro, Yeonseo. "The characteristics and significance of , a three-color sound drama." Korean Society of Culture and Convergence 42, no. 7 (July 30, 2020): 573–604. http://dx.doi.org/10.33645/cnc.2020.07.42.7.573.

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Dorion, Kirk Robert. "Science through Drama: A multiple case exploration of the characteristics of drama activities used in secondary science lessons." International Journal of Science Education 31, no. 16 (October 26, 2009): 2247–70. http://dx.doi.org/10.1080/09500690802712699.

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Hsu, Pi-Fang, and Hua-Lin Yang. "Developing a Decision Model for Selecting the Scripts of Trendy Taiwanese Dramas." International Journal of Innovation in the Digital Economy 11, no. 4 (October 2020): 39–51. http://dx.doi.org/10.4018/ijide.2020100103.

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The script of a drama is key to achieving an outstanding performance. This study develops a new model for selecting the scripts of Taiwanese dramas based on the production manager's perceptions. First, the proposed model adopts the modified delphi method to determine suitable evaluative criteria for the scripts of contemporary Taiwanese dramas. Next, the model applies the analytic hierarchy process (AHP) to determine the relative weights of evaluative criteria, thereafter rating the alternatives and selecting the best script. Additionally, a Taiwanese company is used how the scripts of Taiwanese dramas can be selected using this model. The results indicate that important criteria, in order of important, are characteristics of the story, the subject matter of the script, the meaning of the words, and the scriptwriter. The proposed model helps companies to effectively select the scripts of Taiwanese dramas, making it highly applicable for academia and commerce.

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Szatek, Elsa. "Moving Spaces: Mapping the Drama Room as Heterotopia." Education Sciences 10, no. 3 (March 10, 2020): 67. http://dx.doi.org/10.3390/educsci10030067.

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This article is aimed at exploring the political characteristics of the drama space, which reflects, juxtaposes, and opposes particular sites in a participant’s everyday life, such as the school. By putting spatial theories to work, this article investigates the drama space belonging to an all-girls community group in Sweden, participation in which is voluntary and where the artistic work produced relies on a democratic process, with the girls’ input being vital. I conceptualise the drama room as a heterotopia that functions as an exclusive and excluding space as a well as a space of resistance. Based on interviews with the girls, this ethnographic study challenges the conventional notion that applied drama is only an interrelational matter between the drama participants. By examining the drama room’s role as the ‘other place’ in the girls’ everyday lives while being connected to ‘everyday’ places, this article demonstrates the drama room as an important space for the girls to have agency, there and elsewhere. When placing space and place in the foreground, a ‘dramaspaceknowledge’ emerges, the influence of which stretches beyond the drama room. This article argues that the girls’ dramaspaceknowledge is utilised when creating a performance and while challenging structures and norms elsewhere, such as in their schools and communities.

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최성실. "Drama Narrative Language of Characteristics ‘Speaking’ and Significance Relationship －Focused on Kim Su-hyu’s Drama, No Son, No Pain－." 아시아문화연구 33, no. ll (March 2014): 245–77. http://dx.doi.org/10.34252/acsri.2014.33..009.

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Adnyana, I. Komang Manik. "Karakteristik Gender Identity Disorder pada Tokoh Kishimoto Ruka dalam Drama Last Friends Karya Asano Taeko." Jurnal Sakura : Sastra, Bahasa, Kebudayaan dan Pranata Jepang 2, no. 2 (August 30, 2020): 101. http://dx.doi.org/10.24843/js.2020.v02.i02.p04.

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The tittle of this research is “Gender Identity Disorder Characteristic at character Kishimoto Ruka in drama Last Friends by Asano Taeko”. This research aims to describe Gender Identity Disorder (GID) characteristic at character Kishimoto Ruka in Last Friends Drama by Asano Taeko. The data were analyzed by using descriptive analysis method and informal method. Some theories applied in this research were Wellek and Warren’s literature and psychology theory (2016), Schmidt’s gender identity disorder theory (1994), Sigmund Freud’s psychoanalytic theory (2016), and Marcel Danesi’s semiotic theory. This research showed that there were four GID characteristics found at character Kishimoto Ruka. These GID characteristic namely 1) there was a sense of cross-gender identification; 2) there was a sense of inappropriateness in the gender role of that sex; 3) the disturbance is not concurrent with a physical intersex condition; and 4) the disturbance causes distress in social and occupational.

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Lee, Moon-Haeng. "Study on Characteristics of Korean Drama Exports to 8 Asian Countries." Journal of the Korea Contents Association 7, no. 9 (September 28, 2007): 34–43. http://dx.doi.org/10.5392/jkca.2007.7.9.034.

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Creeber, Glen. "It’s not TV, it’s online drama: The return of the intimate screen." International Journal of Cultural Studies 14, no. 6 (May 24, 2011): 591–606. http://dx.doi.org/10.1177/1367877911402589.

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This article will focus on the subject of ‘online drama’, i.e. drama made specifically to be viewed on the Internet. It aims to investigate and account for this new and unique form of serialized drama, explain and clarify its historical origins, locate its generic characteristics and account for and understand its role in the contemporary media landscape. In particular, it will argue that online drama reveals much about the future of broadcasting as a whole and points the direction towards many of the fundamental changes that are taking place in the very aesthetics of contemporary ‘television’. However, while some critics may argue that drama made for the Internet will simply offer another illustration of an increasingly digitized world, this investigation will focus on ways in which it may actually be seen to enhance the original power of early television – particularly its re-construction of ‘the intimate screen’. In direct contrast to contemporary television’s increasingly ‘cinematic’ sensibilities, this article will argue that it is online drama that can now most successfully recreate the psychological and emotional terrain of the small screen – reinventing the ‘electronic theatre’ for the new digital age.

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Starostina, Yu S. "Axiological Potential of Metaphors in Modern English Drama." Vestnik of Samara University. History, pedagogics, philology 26, no. 4 (December 30, 2020): 128–35. http://dx.doi.org/10.18287/2542-0445-2020-26-4-128-135.

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The article is devoted to axiological marking of speech metaphors in English stylized communication within drama discourse. Modern drama discourse, being the discursive space of its own status, unites the characteristics of belle-lettres discourse and colloquial speech, due to which the traditional linguistic markers of fiction obtain new meanings. While embedding into the context of stylized communication, metaphors significantly extend their functional paradigm, the centre of which is now taken by axiological function with expressive and emotive actualization. The article is aimed at systematization and linguistic interpretation of speech metaphors in English-language drama with the purpose of adequate determination of their evaluative potential and their role in linguistic representation of linguocultural axiosphere. The axiological nature of metaphors as their leading characteristic in the English-language drama has not previously been the subject of a separate linguistic study. The empirical base of the research includes 200 metaphors and metaphorical complexes recorded in modern English-language plays; the method of complex linguoaxiological interpretation was employed as the main one. In the course of the study, the boundaries of structural variation of axiological metaphors in the English-language drama discourse were determined and their leading patterns were identified, such as one-component metaphorical nominations, multi-component metaphorical nominations and metaphorical complexes. Besides, the types of thematic transfers of speech metaphors were determined, with attention being paid to the implementation of their evaluative function in the utterance. The defined system of evaluative objects within metaphorical evaluative statements allowed to identify the components of English linguocultural axiosphere which are conceptualized in drama with the help of various structural and thematic metaphorical types, namely 'family', 'intellect', 'truth'. Each of these axiological dominants acts as a value guideline in the English-language linguoculture being linguistically marked by a certain set of metaphors fulfilling their interdiscoursive evaluative potential

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Weiss, Anna. "And who says it doesn’t make sense? Drama in third-level language classrooms." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 1 (January 1, 2007): 25–51. http://dx.doi.org/10.33178/scenario.1.1.2.

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This article examines possible implications of Drama in Education (DiE) used in the third-level language classroom. It is based on a series of lessons that I conducted with university students of German, an analysis of the students’ feedback and my own observations. I argue that the small number of publications on the use of DiE in university teaching should not be interpreted as a signal that drama pedagogy does not have a place at this level; on the contrary, this approach has potential that should be highlighted rather than overlooked. In the first part of the article, I will focus on the theoretical basis of DiE, namely central characteristics, implications for the language classroom, and practical issues regarding the practice of language teaching and learning through drama. In the second part, my practical work will be presented and discussed in more detail. This article examines possible implications of Drama in Education (DiE) used in the third-level language classroom. It is based on a series of lessons that I conducted with university students of German, an analysis of the students’ feedback and my own observations. I argue that the small number of publications on the use of DiE in university teaching should not be interpreted as a signal that drama pedagogy does not have a place at this level; on the contrary, this approach has potential that should be highlighted rather than overlooked. In the first part of the article, I will focus on the theoretical basis of DiE, namely central characteristics, implications for the language classroom, and practical issues regarding the practice of language teaching and learning through drama. In the second part, my practical work will be presented and discussed in more detail.

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Aun, Ana Luiza Gontijo. "Diktyoulkoí – um drama satírico de Ésquilo." Nuntius Antiquus 4 (December 31, 2009): 82–91. http://dx.doi.org/10.17851/1983-3636.4..82-91.

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The satyr play was a small, comic play that closed a Greek tragic trilogy, placing the characters of the tragedy on a different setting where they meet satyrs and are mocked by them. The tragic tetralogy was common during the 5th and 4th centuries b.C., and all major tragedians such as Aeschylus, Sophocles and Euripides wrote satyr plays, being Aeschylus considered the best of them in this genre. Unfortunately, there are only fragments of his satyr plays and the Diktyoulkoi is the one with the largest numbers of verses preserved. The fragments were discovered separately and put together later. The main ones are the P.S.I. 1209a and P.Oxy.18 2161. They contain enough information about the plot, allusion to the myth of Danae and Perseus to which it is related and typical linguistic characteristics of the satyr play.

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Fryer, Louise, Linda Pring, and Jonathan Freeman. "Audio Drama and the Imagination." Journal of Media Psychology 25, no. 2 (January 2013): 65–71. http://dx.doi.org/10.1027/1864-1105/a000084.

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Presence describes immersion in a mediated environment such that it seems unmediated. For people with visual impairment, audio description replaces missing visual information with a verbal commentary, transforming an audiovisual medium into audio. Media forms are more or less immersive, with audio-only at the bottom of the scale. Anecdotally, however, pictures are said to be better on radio. Sound effects may contribute by triggering vivid mental images. Yet the role of sound effects on presence has been little explored. The aim of this study was to test the influence of sound effects and visual experience on presence. Participants (N = 73) with full, some, or no sight reported presence levels for a scene from an audio drama presented with or without sound effects. Participants with full vision reported higher levels of ecological and spatial presence for dialogue and sound effects than for dialogue alone. For participants with impaired vision, sound effects made no significant difference to presence levels. This was a small, exploratory study. Sound effects increased two dimensions of presence for those with sight. For blind people, words alone provided a rich imaginative experience. This has positive implications for audio description, which necessitates dipping the soundtrack to insert descriptive commentary. It suggests sound effects have a key role in stimulating presence, but this is dependent on the sensory characteristics of the listener.

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Brüning, Gerrit, and Dietmar Pravida. "Dramatische ‹mise en page› in Handschrift und Druck." editio 34, no. 1 (November 1, 2020): 123–41. http://dx.doi.org/10.1515/editio-2020-0007.

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AbstractThe paper compares the typography of the first edition of Goethe’s collected writings 1787–1790 with the layout (‹mise en page›) of the manuscript copies from which the print was set. It tries to establish the textual authority of particular typographic devices for print dramas such as the indications of scenes, stage directions, and speech prefixes by tracing their relation to the manuscript setting copies and their development in subsequent volumes of the print edition, but especially for the tragedy Torquato Tasso. It turns out that print typography is sensitive to the manuscript record but shows substantial tendencies to introducing additional typographic hierarchy, thereby underlining outward form, i. e. external characteristics of classicist drama. Later editions published during Goethe’s lifetime seem to go much further in this direction. The consequences for the typographic setup in critical editions of Goethe’s dramas are discussed.

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Che Suh, Joseph. "Some Considerations in the Translation of African Drama." Meta 47, no. 3 (August 30, 2004): 370–74. http://dx.doi.org/10.7202/008021ar.

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Abstract This paper examines the types of African drama South of the Sahara. It illustrates and underscores the fact that each of the numerous sub-categories found in that part of the continent has its own distinctive characteristics which the translator must actively identify and map onto the target text.

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Aun, Ana Luiza Gontijo. "Diktyoulkoí – um drama satírico de Ésquilo." Nuntius Antiquus 4 (December 31, 2009): 82. http://dx.doi.org/10.17851/1983-3636.4.0.82-91.

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<p>The satyr play was a small, comic play that closed a Greek tragic trilogy, placing the characters of the tragedy on a different setting where they meet satyrs and are mocked by them. The tragic tetralogy was common during the 5th and 4th centuries b.C., and all major tragedians such as Aeschylus, Sophocles and Euripides wrote satyr plays, being Aeschylus considered the best of them in this genre. Unfortunately, there are only fragments of his satyr plays and the <em>Diktyoulkoi </em>is the one with the largest numbers of verses preserved. The fragments were discovered separately and put together later. The main ones are the P.S.I. 1209a and P.Oxy.18 2161. They contain enough information about the plot, allusion to the myth of Danae and Perseus to which it is related and typical linguistic characteristics of the satyr play.</p>

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Khoirot, Aifi Umdatun, Zuliati Rohmah, and Desi Puspitasari. "Women’s Linguistic Features in Two Dramas." NOBEL: Journal of Literature and Language Teaching 7, no. 1 (April 25, 2016): 49–64. http://dx.doi.org/10.15642/nobel.2016.7.1.49-64.

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The present paper aims at describing linguistic features of two women who have two different characteristics—feminine and less feminine—as apparent in “Who’s Afraid of Virginia Woolf” and “The Lover” dramas. Using Robin Lakoff’s (1975) women’s linguistic features, the research found out that not all features occur in the dialogues of the two female characters with other characters. Nine features were applied by Martha in “Who’s Afraid of Virginia Woolf” drama and seven features were used by Sarah in “The Lover.” Based on the analysis of the data, it is uncovered that the use of the women’s linguistic features reflects uncertainty and lacking of confidence on the part of the women in their conversation.

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Yoo Mi Kim. "Characteristics and Meanings of drama text in the textbook of syllabus period." Journal of Korean drama and theatre ll, no. 43 (March 2014): 97–131. http://dx.doi.org/10.17938/tjkdat.2014..43.97.

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Toivanen, Tapio, and Laura Halkilahti. "Investigating pupilsâ€™ group creativity in drama - Teacher trainees fostering a creative classroom environment." INTERNATIONAL JOURNAL OF RESEARCH IN EDUCATION METHODOLOGY 5, no. 3 (December 30, 2014): 757–66. http://dx.doi.org/10.24297/ijrem.v5i3.3901.

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The use of drama in education can be seen as a method to support pupilsâ€™ creativity. Drama work offers possibilities for creative group processes and aims for deeper conceptual understanding by preparing students to create new knowledge. Having said this, it is difficult to determine whether this is true, and in what way if it is true. This article seeks to answer the following research questions: Can the principles of theatrical improvisation be used as an analytic tool to examine the collaboration and emergence of creative ideas between pupils during drama work? To what degree do teacher trainees succeed in supporting pupilsâ€™ group creativity in drama lessons? The potential complexity and diversity of creative group processes in drama education is challenging for teacher trainees and novice teachers at the beginning of their careers. In this study teacher trainees specializing in drama were observed. Eight lessons were recorded and analyzed using the core principles of improvisation as an analytic tool. The scenes were then interpreted to recognize the characteristics of group creativity (improvisation, collaboration and emergence) defined by Sawyer (2003, 2006, 2012). Both authors analyzed and made their interpretations separately. The findings were compared and the few situations where the authorsâ€™ opinions differed were reconciled by discussion. The research results show that the analysis method based on the principles of improvisation was moderately usable for both exact and more general analysis. Within the restrictions of the case studies, our conclusion is that drama teaching supports pupilsâ€™ group creativity.

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Simbolon, Desi Efrina, Sri Indrawati, and Ernalida Ernalida. "The Need Analysis of Student Worksheet for Writing Drama Script of Seventh Grade Student." Jurnal Pendidikan dan Pengajaran 54, no. 1 (April 10, 2021): 120. http://dx.doi.org/10.23887/jpp.v54i1.33230.

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This research aims to describe the results of the learners’ needs toward the drama script writing material development using a scientific approach. This research applied a qualitative approach. The data were collected with observation, questionnaire, and interview techniques. The applied instruments were observation, questionnaire, and interview. The sample consisted of learners. The findings showed that the learners needed communication and technology-based teaching materials to support their needs of drama script writing skill training. Based on the learners’ characteristics identification, they needed learning application to make the learning activities and to freely enrich the sources. They also needed interesting teaching materials that had many examples, provided writing exercises, the opportunity to interact, time to work the exercise, and space to perform. Therefore, this research proposed Moodle application as a learning material in the form of a Student Worksheet. This initial stage of research is expected to be the beginning of drama script writing material development with a scientific approach and based on Moodle. The results of the learners’ need analysis could be also used by other researchers to obtain the 21st-century learners’ characteristics.

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Askarzadeh Torghabeh, Rajabali. "The Study of Revenge Tragedies and Their Roots." International Journal of Applied Linguistics and English Literature 7, no. 4 (July 1, 2018): 234. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.234.

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Tragedy has its roots in man’s life. Tragedies appeared all around the world in the stories of all nations. In western drama, it is written that tragedy first appeared in the literature of ancient Greek drama and later in Roman drama. This literary genre later moved into the sixteenth century and Elizabethan period that was called the golden age of drama. In this period, we can clearly see that this literary genre is divided into different kinds. This genre is later moved into seventeenth century. The writer of the article has benefited from a historical approach to study tragedy, tragedy writers and its different kinds in the Sixteenth and Seventeenth centuries. The author has also presented the chief features and characteristics of tragedies. The novelty of the article is the study of Spanish tragedy and its influences on revenge tragedies written by Shakespeare and other tragedy writers. Throughout the article, the author has also included some of the most important dramatists and tragedy writers of these periods including Thomas Kyd, William Shakespeare, John Marston, George Chapman, Tourneur and John Webster.

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Lee, moon haeng. "A Study on the Characteristics and Reformation of Korean TV drama Production markets." Journal of Image and Cultural Contents 19 (February 29, 2020): 85–115. http://dx.doi.org/10.24174/jicc.2020.02.19.85.

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Niculae, Eugen, Andrei Dimitrescu, Claudiu Babis, Oana Chivu, and Loredana Dascalu. "Integral curses of the disc drama model with fundamental dynamic characteristics tt-ds." Journal of Research and Innovation for Sustainable Society 1, no. 1 (February 14, 2019): 35–38. http://dx.doi.org/10.33727/jriss.2019.1.5:35-38.

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Sibirnaja, Maria. "Произведения Александра Марданя в контексте „новой драмы”." Kultury Wschodniosłowiańskie - Oblicza i Dialog, no. 8 (December 20, 2018): 207–17. http://dx.doi.org/10.14746/kw.2018.8.17.

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The article attempts to allocate and analyze the most essential characteristics of plays by A. Mardan's, a popular Russian-speaking Ukrainian playwright, and to inscribe his work in the context of the dynamics of the phenomenon of the new drama. The attempt of the author is to understand a complex post-Soviet reality in order to reflect it in the artistic space of the drama. The plays demonstrate the destruction of habitual human values, including moral, ethical, aesthetic, and other norms that guide people in life. At the same time, his plays exploit the techniques and elements of various genres of mass culture. One may say that certain principles have become an integral quality of Mardan's plays such as the approach of the plays to the truth of life, the external everydayness, the use of elements of documentary theater and the theater of absurd, the construction of the plot with an eye for entertainment or scandalous intrigue, philosophical overtones and the author's attitude to the depicted world. This indicates that his plays may be regarded as works of ‘the new drama’ that occupy a worthy place in the contemporary Russian-language drama of the post-Soviet period.

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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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Adha, Ruly. "Elizabethan Period (The Golden Age of English Literature)." JADEs : Journal of Academia in English Education 1, no. 1 (June 15, 2020): 84–95. http://dx.doi.org/10.32505/jades.v1i1.2707.

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English literature has been developed in some period. Each period has its own characteristics which portrayed the condition of the age. The period of English literature is started from Old English until Modern English. English literature becomes glorious when Queen Elizabeth I ruled England. This age is known as Elizabethan period. In this period, there are many literary works such as poetry, drama which are produced by famous artists. The literary works produced in Elizabethan period is famous and the existence of the literary works can be seen nowadays. Furthermore, some literary works, such as drama, are reproduced into movie. Therefore, this period is also known as the golden age of English Literature.

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Zueva, P. A. "Historical and cultural defining characteristics of the entries in the 1787 century drama dictionary." Language and Culture, no. 2(6) (December 1, 2015): 41–49. http://dx.doi.org/10.17223/24109266/6/5.

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YunGyeong Lee. "The Transformation and Characteristics of the Classical epic into Radio drama - targeting 'unyoung story' -." DONAM OHMUNHAK 33, no. ll (June 2018): 287–324. http://dx.doi.org/10.17056/donam.2018.33..287.

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Ariviani, Edysa, and Sumarlam Warsitadipura. "KALIMAT IMPERATIF BAHASA JAWA DALAM DIALOG SANDIWARA RADIO ORA ATOS KAYA WATU." LEKSEMA: Jurnal Bahasa dan Sastra 4, no. 2 (December 31, 2019): 107. http://dx.doi.org/10.22515/ljbs.v4i2.1724.

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This research was aimed at describing the forms of Javanese imperative sentences of radio drama Ora Atos Kaya Watu (Not as Hard as a Stone) broadcasted by RRI Surakarta. The descriptions were based on the markers of each imperative sentence. As a type of descriptive-qualitative research, the data of this research were in the forms of morphemes, words, phrase, clauses, sentences gained from the the dialogues manuscripts of the drama. The data were collected by reading and note-taking which were then analyzed by using descrptive method. The result showed that the imperative sentences in the drama had two characteristics i.e.: ended with suffix -en, -a, -ana, or -na on their predicates and started with commands such as: ayo, sumonggo, and coba. Aside from that, there were two purposes intended by the imperative sentences as well, namely commanding for and forbidding from doing something. There were also found 9 types of meanings of the imperative sentences, i.e.: insisting, persuasions, suggestions, pleasing, prohibitions, commands, requests, asking, and recommendations.

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Purnomo, Heri, Subyantoro Subyantoro, and Teguh Supriyanto. "Development of Enrichment Book on the Wayang Banjaran Bima Stories of Based on Drama Text with a Character Education for High School / Vocational School." Seloka: Jurnal Pendidikan Bahasa dan Sastra Indonesia 9, no. 2 (August 21, 2020): 129–39. http://dx.doi.org/10.15294/seloka.v9i2.39964.

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The purpose of this research is to describe the characteristics of the needs and development models on the “Wayang Banjaran Bima” Stories of Based on Drama Text with a Character Education for High School / Vocational School. The study is conducted by using research and development design. The enrichment book is developed by applying the feasibility aspects of it, book consisting of four aspects namely material, linguistic, presentation, and graphic. In addition, enrichment book products are arranged in accordance with the principles of preparation of enrichment books such as having conformity with educational goals, adjusting to the development of science, and developing the ability to reason. The draft enrichment book consists of the beginning, contents, and last. The enrichment book development of products are based on the characteristics of the students needs who expect the preparation of puppet story material based on drama texts and there is a character education content. The puppet story is developed in the form of a drama script text divided into six the Banjaran Bima plays, namely (1) Bima Bungkus, (2) Bale Sigala-gala, (3) Dewa Ruci, (4) Bima Suci, (5) Jagal Abilawa, and ( 6) Pandhu Swarga. The content of character education is inserted into the whole story in the conclusion section at the end story. With the content of character education students are expected to be able to understand the values contained in the puppet story and it can be applied in everyday life.

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Song, Mi-Kyoung. "Characteristics of the Asia Record Version “Choonhyang”(1968) and its Significance as a Record Drama." Studies of Korean Literature 60 (October 31, 2018): 69–98. http://dx.doi.org/10.20864/skl.2018.10.60.69.

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Hochscherf, Tobias. "Narrative Complexity and Cultural Relevance in the Name of Public Service Broadcasting: The Cases of Borgen and Herrens Veje." European Journal of Scandinavian Studies 49, no. 1 (April 24, 2019): 156–77. http://dx.doi.org/10.1515/ejss-2019-0010.

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Abstract Danish television has been able to produce a remarkable number of successful primetime dramas over the last years from Forbrydelsen (The Killing, DR 2007-12) to Herrens Veje (Ride upon the Storm, DR 2017-). Many of them are Nordic Noir crime dramas, yet the list also includes political thrillers and family dramas. This article briefly summarizes main reasons for the prolific production environment at public service broadcaster Danmarks Radio (DR). Some of the exceptional circumstances of Danish television demonstrate why the relatively small country was able to produce shows that found devoted audiences around the world. While the DR production framework has received much attention, this article takes a closer look at narrative composition, issues of characterization and the presentation of themes. Analyzing the first episodes of Borgen (DR 2010-13) and Herrens Veje, the article proposes that it is specifically the combination of multiperspectivity of the leading protagonists and how their life is linked to wider cultural, social and political debates, that can be identified as one main outcome of the fruitful collaboration between DR and various creative personnel. While both shows adhere to the main characteristics of complex serial drama as identified by Jason Mittel and Trisha Dunleavy, there are also some noticeable differences, including their strong public service ethos, their unusual Danish settings, the avoidance of transgressive protagonists, character-centred storylines and their slow, indulgent pace.

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Astrauskienė, Jurgita, and Jadvyga Krūminienė. "John Webster’s Drama “The Duchess Of Malfi”: The Contexts and Contests of Wit." Respectus Philologicus 26, no. 31 (October 25, 2014): 44–56. http://dx.doi.org/10.15388/respectus.2014.26.31.3.

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The paper examines wit as a major, informing and thematically important literary element that enables the readers to penetrate into the deeper realms of imagination and interpretation. The meaning of the term ‘wit’ has changed a lot during the years both in critical and dictionary usage. Therefore, various conceptions of wit from the diachronic perspective are presented and its types in the theatrical discourse are examined. In the discourse of drama wit is generally divided into two main forms: ‘repartee’ and ‘quip’. As repartee it is used to display ones agility or mental superiority over another character in the dialogue taking a form of a verbal contest. As quip it can act as a sharp stroke of wit to announce the speaker’s original opinion or observation. However, both types of wit invoke cleverness as the most important component of a witty utterance. The interest of the authors is particularly directed towards the role of social wit in John Webster’s drama ‘The Duchess of Malfi‘ (1613). This Jacobean drama is often considered the dramatic masterpiece of the early seventeenth-century English stage. The paper aims to reveal the complexity of a witty dramatic discourse by analyzing its technique, contexts and contest characteristics through the examination of witty instances formed in the drama. It gives an exploration of the social context and mechanism of the formation of a witty utterance that has a high social value as it is in Webster’s play where wit serves to convey the language of contest, often resulting in aggression, open mockery, exposing moral corruption and social injustice.

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Xiaofei, Ren, Feng Qinghua, and Wang Nan. "A translator on the target stage." Babel. Revue internationale de la traduction / International Journal of Translation 56, no. 4 (December 31, 2010): 363–76. http://dx.doi.org/10.1075/babel.56.4.05xia.

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Ying Ruocheng, an admirable artist in China and abroad, was responsible for the translation and production of many foreign plays in China and Chinese plays abroad, with which Ying played an important role in transforming China’s cultural life, encouraging international exchange and promoting modern drama. Based on his experience in drama and film acting and directing as well as translating, he argues that the major concern of theatre translation is its performability and speakability, which can be achieved through the recreation of the orality and gestic text with each role’s unique discourse and individuality. The paper is focused on researches on Ying’s text choice and his dramatic dialogue translation to explore the characteristics of his theatre translation and influence. The study selected his two well known translations and productions in the target theatre Death of a Salesman (English to Chinese) and The Family (Chinese to English) as case studies. Text processing software Concordance 3.0 and TextPreProcessing were used to collect appropriate data. Through the careful data analysis from the aspects of word frequency, sentence length, discourse markers and deixis, Ying Ruocheng’s idea of performability in theatrical translation were proved to be true, which demonstrates his discriminating taste of dramaturgical art and his great influence on Chinese modern drama.

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Lybo, O. L. "Characteristics of Kharkiv theatre development in1840–1860’s (on the materials of State Archive of the Kharkiv Region)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 126–41. http://dx.doi.org/10.34064/khnum1-51.07.

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Problem statement. In this study, attention is focused on the Kharkiv theatre development in the 1940–1960’s, the activities of the theatrical entrepreneur Liudvih Mlotkovskyi and the directors of the Kharkov Theatre: Hendrikov, Alferaki, Petrovskyi, Lvov and Shcherbyna. The theatre directors served as intermediaries between the entrepreneur and the Provincial Offices authorities, while addressing issues of organization and contract negotiation with actors, maintenance of theatre premises. They played an important role on repertoire policies controlled with the censorship committee of the Tsar Russia. Research and publications. The subject of Kharkiv theatre as a part of Ukrainian theatre history development in noted period was highlighted in XIX century by the famous writer, literary critic, culture and public activist Hrigoriy Kvitka-Osnovianenko and by Mykola Cherniaiev – a journalist, literary and theatre critic, reviewer of the newspaper “Yuzhnyi krai” (one of the largest provincial newspapers of the XIX century), where his articles about history of theatre organization in Kharkiv was published. In the XX century this period is covered by famous theatre critics: Alexander Klinchin (in the monographs about the Ukrainian theatre prominent figures Mykhailo Shchepkin, Mykola Rybakov, Liubov Mlotkovska), Arkadii Pletniov (in the study “At the origin of the Kharkiv theatre”), Rostyslav Pylypchuk (in “Materials about the Ukrainian theatre history. From the foundation to the beginning of the twentieth century”), Yu. Polyakova (in numerous publications and the preface to M. Cherniaiev’s book “From Kharkiv’s theatrical antiquity”); ethnographers Andrii Paramonov, Volodymyr Titar (in “The materials for the Kharkiv Theatre history of 1780–1934”). The objective of this study is to attempt to supplement the scientific research of famous theatrical scholars (primarily A. Pletnov and M. Cherniaiev) with materials that were found in the Kharkiv region State Archives. The main material. Entrepreneur Liudvig Mlotkovskyi, who headed the Kharkiv theatre from the autumn of 1834 to the spring of 1843, played a significant role in the theatre history of above mentioned period. In 1839 Mlotkovskyi was allocated a piece of land in Kharkiv free of charge to build a theatre. The first stone building of the theater for 1020 seats was opened in 1841. Furthermore, the land was allocated to Mlotkovskyi’s ownership, he was obliged to comply with some terms among which was compulsory that the theatre director was appointed by the governor. As the first director of the new theatre the Count Hendrikov Oleksandr Ivanovych (1806–1881) was elected and approved. Unfortunately, no materials or documents about Hendrikov’s activity in the theatre were found. However, it is known that during the time of his directorship, due to difficulties and debts, the entrepreneur Mlotkovskyi left Kharkiv. The theatre’s premises were first leased to touring troupes (companies), and in 1853, Mlotkovsky donated it to his daughter, the dramatic actress Vera Liudvygovna Mlotkovska-Diukova. Thus, further theatrical activities in Kharkiv were connected with the Diukov’s entrepreneurial family and the managers of the theatre: Alferaki, Petrovskyi, Lviv and Shcherbyna. They faced the difficult task of theatre revival and getting back its fame. Mykola Dmytrovych Alferaki (1815–1860), Collegia Advisor, a nobleman, held the post from 1845 to 1849. As the director, he paid the debts and additionally invested his own money for the theatre development and improvement. From 1849 to 1856 Engineer-Lieutenant Colonel Petrovskyi was the director of the theater. Archival materials describing Petrovskyi’s directorship were located. He tried to save the situation by means of more democratic drama repertoire that was interesting for general public. Mykhailo PavlovychLvov (1819–1867) was the next theatre director appointed. He was an architect, the member of St. Petersburg Academy of Arts, the professor of Kharkiv University. Lvov purchased costumes, scenery, and library; he spent some money to restore the theatre premises. In addition to being in charge of the Kharkiv Theatre, Lvov rented Poltava Theatre and the railway station for 8 years. What his administration was like is not definitely known, but he served as the director to 1857. At the end of 1850’s and beginning of 1860’s the post of the theatre director was taken up by an experienced entrepreneur Ivan Oleksandrovych Shcherbyna (1821–1869). He had the theatre boxes reconstructed, started a permanent ballet company that worked in the theater for 3 years, alternating ballet performances with spectacles of touring companies and the permanent drama troupe stage enters. The time of Shcherbyna directorship at the Kharkiv Drama Theatre appeared to be the most favourable for the Ukrainian repertoire, when along with Russian drama products the plays by Ukrainian authors were staged, such as I. P. Kotliarevskyi, H. F. Kvitka-Osnovianenko, D. Dmytrenko etc. Conclusions. Basing on previously published studies of famous theatre critics and ethnographers and attempting to combine the results of their research with the materials found in Kharkiv State regional archive we conclude: Kharkiv was one of the provincial theatre art centers in the XIX century. Not only theatrical entrepreneurs, but also provincial authorities took part in theatre formation and development. The latters tried to control the repertoire policy through the theatre directors appointed by them. Despite the discouraging conditions connected with the difficulties and censorship oppression some progressive theatre directors, such as Petrovskyi and Shcherbyna, ignored the bans and staged prohibited by censorship dramas. It happened not only for the sake of commercial benefits, but also because the banned drama pieces were the most interesting for the general population, it were modern, democratic and satisfied the needs of the audience. This study does not claim to be complete. Its objectives are to combine some historical finds with modern researches about Kharkiv theatre development, and partly fill in the gaps relating to the activity of the entrepreneurs and directors who headed the Kharkiv theatre in 1840–1860s; the work in this direction will continued.

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Kozak, Krištof Jacek. "Globalization as the Destruction of the Decalogue: An Example of Slovenian Drama." Slavic World in the Third Millennium 13, no. 3-4 (2018): 137–49. http://dx.doi.org/10.31168/2412-6446.2018.3-4.1.12.

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Traditional form of society includes certain characteristics, such as space, private and public, and common values. Currently, exactly these peculiar properties went through fundamental changes, and as a consequence, the values and their use had changed drastically. This became the topic for Slovenian writer Vinko Möderndorfer’s play “Deset” (“Ten”), which shows a solipsistic and egoistical world ruled only by the Mammon. It describes the essential devolution of society and the question arises, what remains after its demise.

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Journal articles on the topic 'Characteristics of drama'

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