Relevant bibliographies by topics / Classical drama

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

Academic literature on the topic 'Classical drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Classical drama"

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Xiang, Meng, and Kyung Hoon Han. "A Comparative Analysis Study on Musical Characteristics Shown in the Use of Modes in Korean and Chinese Classical Drama OSTs: Focusing on the Analysis of the Theme Melody of Major Underscores." Korean Society of Culture and Convergence 45, no. 11 (November 30, 2023): 1289–99. http://dx.doi.org/10.33645/cnc.2023.11.45.11.1289.

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The purpose of this paper is to understand the musical features in the use of modes in Korean and Chinese classical drama OSTs, with the intention of providing assistance to music creators who wish to produce OSTs for classical dramas. To achieve this, we explore the overall musical flow of classical drama OSTs, focusing on the analysis of the main insert songs' thematic melodies. In order to grasp the commonalities and differences, we analyze the thematic melodies of key insert songs, covering the period from 2020 to 2023, selecting the top 12 OST songs from dramas that entered the top 3 viewership rankings in Korea and China. As a result, commonalities and differences in the musical characteristics of OSTs from classical dramas in Korea and China were identified. It is hoped that this will contribute to exploring ways to utilize classical drama OST production and serve as valuable information and foundational material for the development of drama music genres.
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Bogdanova, Polina B. "Classical and non-classical drama structures." Verhnevolzhski Philological Bulletin 2, no. 29 (2022): 220–27. http://dx.doi.org/10.20323/2499-9679-2022-2-29-220-227.

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The article attempts to apply a structural approach to the existence and development of the dramatic genre. The au-thor proceeds from the position of two types of structures – classical (order structure) and non-classical (chaos struc-ture). The constant transformation of one structure into another throughout history demonstrates a certain stable mechanism of change, when the centripetal movements of the classical structure give way to centrifugal ones, which causes the classical structure to collapse. In the future, it opens, expands and transforms. Then this mechanism goes in reverse order. Thus, artistic culture, in particular, dramatic (as well as social, historical) processes of compression and expansion, closeness and openness take place over two large cycles. This is a constant «drawing» of the movement of cycles from the classical structure (order) to the non-classical (chaos) and becomes the key to unraveling the existence of the dramatic genre for large periods, perhaps for the period of the entire civilization, showing the «curve» of the course and transformations of the dramatic genre, which does not fit into the linear paradigm. At the same time, this «curve» also testifies to the transformations of social and historical structures. In connection with all this, it is possible to put forward some hypotheses that can be confirmed in related sciences – quantum physics, philosophy, etc. In gen-eral, this indicates the existence of some kind of supra-historical law or meta-law that operates in the universe. In order to understand the movement of genres, in this case, the dramatic, it is not enough to use only a historical descriptive approach. A kind of permanent, universal law of transformations of the existence and movement of the genre gives a structural approach
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Dugdale, Eric. "2006 Panel: Classical Drama as Political Drama." Syllecta Classica 19, no. 1 (2008): 183–85. http://dx.doi.org/10.1353/syl.2008.0007.

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Sorrell, Martin. "Landmarks of French Classical Drama." Modern Language Review 88, no. 2 (April 1993): 461. http://dx.doi.org/10.2307/3733820.

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Melzer, S. E. "Orientalism in French Classical Drama." Modern Language Quarterly 65, no. 4 (December 1, 2004): 616–18. http://dx.doi.org/10.1215/00267929-65-4-616.

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Maskell, D. "Orientalism in French Classical Drama." Notes and Queries 50, no. 1 (March 1, 2003): 121–22. http://dx.doi.org/10.1093/nq/50.1.121.

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Maskell, David. "Orientalism in French Classical Drama." Notes and Queries 50, no. 1 (March 1, 2003): 121–22. http://dx.doi.org/10.1093/nq/500121.

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Parish, Richard, Michèle Longino, and Michele Longino. "Orientalism in French Classical Drama." Modern Language Review 99, no. 1 (January 2004): 193. http://dx.doi.org/10.2307/3738906.

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Hammerbeck, David. "Orientalism in French Classical Drama (review)." Theatre Journal 55, no. 3 (2003): 565–67. http://dx.doi.org/10.1353/tj.2003.0115.

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Phillips, H. "Review: Orientalism in French Classical Drama." French Studies 57, no. 4 (October 1, 2003): 531–32. http://dx.doi.org/10.1093/fs/57.4.531.

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Dissertations / Theses on the topic "Classical drama"

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Petruskevich, Joni. "Silence, suicide, and sacrifice, women in classical drama." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq22550.pdf.

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Hawley, Richard. "Women in Greek drama : speech, status and stereotype." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365565.

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Meineck, Peter. "Opsis : the visuality of Greek drama." Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/12117/.

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How were Greek plays viewed in the fifth century BCE and by deepening our understanding of their visual dimension might we increase our knowledge of the plays themselves? The aim of this study is to set out the importance of the visual (opsis) when considering ancient Greek drama and provide a basis for constructing a form of “visual dramaturgy” that can be effectively applied to the texts. To that end, this work is divided into five sections, which follow a “top-down” analysis of ancient dramatic visuality. The analysis begins with a survey of the prevailing visual culture and Greek attitudes about sight and the eye. Following this is an examination of the roots of drama in the performance of public collective movement forms (what I have called “symporeia”) and their relationships to the environments they moved through, including the development of the fifth century theatre at the Sanctuary of Dionysos Eleuthereus in Athens. The focus then falls on the dramatic mask and it is proposed here that operating in this environment it was the visual focus of Greek drama and the primary conveyer of the emotional content of the plays. Drawing on new research from the fields of cognitive psychology and neuroscience relating to facial processing and recognition, gaze direction, foveal and peripheral vision and neural responses to masks, movement and performance, it is explained how the fixed dramatic mask was an incredibly effective communicator of dramatic emotion capable of eliciting intensely individual responses from its spectators. This study concludes with a case study based on Aeschylus Oresteia and the raising of Phidias’ colossal bronze statue of Athena on the Acropolis and the impact that this may have had on the original reception of the trilogy.
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Plant, Irene Elizabeth. "Ancient drama : stagecraft and signcraft." Thesis, King's College London (University of London), 1999. https://kclpure.kcl.ac.uk/portal/en/theses/ancient-drama--stagecraft-and-signcraft(d99beb86-ebb2-4f7d-8f0d-10f923015ec9).html.

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Michelakis, Pantelis. "The mythological figure of Achilles in classical Athenian drama." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300854.

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Miller, Louise May Whilhemina. "Classical mythology and the contemporary playwright." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/29879/.

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This practice-based thesis explores, through the creation of three new full-length plays, the ways in which a contemporary playwright might engage with classic mythology, specifically ancient Greek mythology in the development of new work. The plays form a triptych, each inspired by a single, yet interconnected Greek myth: their mythic inspirations are as follows, Sodium (2010-11) Theseus and the Minotaur, Sulphur (2011-12) Ariadne at Naxos, and Silver (2010) Icarus and Daedalus. Non-dramatically extant ancient Greek myths were selected in order to seek to explore dramatic possibilities beyond Greek tragedy. The diverse ways in which this body of work was approached is framed by the influence of contemporary theatre practice. Alongside this creative enquiry, the thesis explores the impetus which prompted practitioners to turn to classical mythology for inspiration over two millennia since the myths were created. Reflection on the processes which led to the creation of these plays in relation to the author’s own highlights potential conflicts between ancient and contemporary theatre practice, and seeks to explore ways in which the juxtaposition between traditional and contemporary approaches to theatre making can spark creative engagements. The fission between tradition and subversion was a key factor in the creation of the plays now presented, offering possible insights into the ways in which contemporary practitioners can benefit from a playful engagement with traditional practice in order to generate new work.
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Salis, Loredana. "'So Greek with consequence' : classical tragedy in contemporary Irish Drama." Thesis, Ulster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421897.

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Sibley, Eleanor. "The role of Athena in fifth century Athenian drama." Thesis, University of Nottingham, 1995. http://eprints.nottingham.ac.uk/28597/.

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The goddess Athena is currently perceived through a series of contradictions. She is both warrior and reconciler, killer and patron of the artisan, a goddess who denies her own womanhood and ignores the existence of women. Using Homer's Iliad and Odyssey and the extant complete plays of Aeschylus, Sophocles, Euripides and Aristophanes, this thesis reconciles each of these contradictions both within themselves and with each other. It finds that Athena had a prominent role as goddess of the polis: as a warrior she protected the polis from the external threat of war, and as a reconciler she protected it from the internal threat of civil strife. As polis goddess, Athena encourages peace and prosperity in her city; this requires that she inspire the artisan with techne, and the politician with wisdom. As polis goddess, Athena was also concerned for the perpetuation of her city and as such protected the children who were to be the future citizens, and the mothers who bore and nurtured them. This thesis argues that, as patron of techne, Athena becomes the patron of all women's work (which was all craft work). From this association the evidence of civic religion and the drama is used to argue for a relationship between Athena and Athenian women which was independent from Athenian men, independent from their relationship with Athena, and just as special. A unified interpretation of Athena as the polis goddess affords us a fuller and more realistic image of her as the goddess of Athens and patron of all its people than does one based on the "Imperial Athena" of the fifth century who represents only one side of Athena's nature.
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Al-Muhammad, Hasan. "Domestics in the English comedy : 1660-1737." Thesis, Bangor University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267347.

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Kampourelli, Vassiliki. "Space in Greek tragedy." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/space-in-greek-tragedy(bd3d0365-0a17-47b5-a2b0-e7739f9c0255).html.

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Books on the topic "Classical drama"

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Katsourēs, Andreas G. Studies in classical drama. Iōannina [Greece]: A.G. Katsouris, 1997.

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C, Coldewey John, and Streitberger W. R, eds. Drama: Classical to contemporary. Upper Saddle River, NJ: Prentice Hall, 2001.

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C, Coldewey John, and Streitberger W. R, eds. Drama: Classical to contemporary. Upper Saddle River, NJ: Prentice Hall, 1998.

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Aristophanes, Menander of Athens, Plautus Titus Maccius, Terence, and Segal Erich 1937-, eds. Classical comedy. London: Penguin, 2006.

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N, Šipová Pavlina, and Sarkissian Alena 1979-, eds. Staging of classical drama around 2000. Newcastle, UK: Cambridge Scholars, 2007.

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D, Arnott Peter, Aristophanes, and Plautus Titus Maccius, eds. Two classical comedies. Arlington Heights, Ill: H. Davidson, 1986.

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Dahl, Mary Karen. Politicalviolence in drama: Classical models, contemporary variations. Ann Arbor, Mich: UMI Research Press, 1987.

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H, Klaus Carl, Gilbert Miriam, and Field Bradford S, eds. Stages of drama: Classical to contemporary theater. 4th ed. Boston: Bedford/St. Martin's, 1999.

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H, Klaus Carl, Gilbert Miriam, and Field Bradford S, eds. Stages of drama: Classical to contemporary theater. 5th ed. Boston: Bedford/St. Martin's, 2003.

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1927-, Corrigan Robert Willoughby, ed. Classical tragedy: Greek and Roman. New York : N.Y: Applause Theatre Books, 1990.

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Book chapters on the topic "Classical drama"

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Rose, H. J. "Attic Drama." In Outlines of Classical Literature, 49–92. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003394990-3.

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Goswami, Gutimali. "The ‘Feminine’ Construction in Indian Classical Drama." In Indian Classical Literature, 17–26. London: Routledge India, 2024. http://dx.doi.org/10.4324/9781003482499-3.

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Brereton, Geoffrey. "Towards Classical Tragedy." In French Tragic Drama in The Sixteenth and Seventeenth Centuries, 100–125. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003281825-5.

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Fahey, Maria Franziska. "“Unchaste Signification”: Classical, Elizabethan, and Contemporary Theories of Metaphor." In Metaphor and Shakespearean Drama, 1–21. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230308800_1.

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Juhász-Ormsby, Ágnes. "Classical Reception in Sixteenth-Century Hungarian Drama." In A Handbook to Classical Reception in Eastern and Central Europe, 233–44. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118832813.ch20.

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Schmitz, Thomas. "A Sophist’s Drama: Lucian and Classical Tragedy." In Beyond the Fifth Century, edited by Ingo Gildenhard and Martin Revermann, 289–312. Berlin, New York: De Gruyter, 2010. http://dx.doi.org/10.1515/9783110223781.289.

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Berkman, Len. "Trauma and Morality in Classical Greek Drama." In Theatre Responds to Social Trauma, 176–81. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003197034-18.

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Strong, Anise K. "Hypatia and Brian: Early Christianity as Greek Mythological Drama." In Classical Myth on Screen, 195–206. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137486035_17.

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Strauss, Barry S. "Ritual, Social Drama and Politics in Classical Athens." In American Journal of Ancient History, edited by Ernst Badian, 67–83. Piscataway, NJ, USA: Gorgias Press, 2017. http://dx.doi.org/10.31826/9781463237530-004.

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Vidler, Laura L. "Adaptation, Translation, and the Relevance of Classical Theatrical Performance." In Performance Reconstruction and Spanish Golden Age Drama, 123–39. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137437075_7.

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Conference papers on the topic "Classical drama"

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YANG, LING, and SHENG-DONG YUE. "AN ANALYSIS OF THE CHARACTERISTICS OF MUSIC CREATION IN MEFISTOFELE." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35726.

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Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and drama, and its role in promoting the plot. After its birth at the end of the 16th century and the beginning of the 17th century, western opera art quickly received widespread attention and affection. The reason for its success is mainly due to its fusion of the essence of classical music and drama literature. Because of this, there have always been debates about the importance of music and drama in the long history of opera art development. In the book Opera as Drama, Joseph Kerman, a well-known contemporary musicologist, firmly believes that "opera is first and foremost a drama to show conflicts, emotions and thoughts among people through actions and events. In this process, music assumes the most important performance responsibilities."[1] Objectively speaking, these two elements with very different external forms and internal structures play an indispensable role in opera art. A classic opera is inseparable from the organic integration of music and drama, otherwise it will be difficult to meet the aesthetic experience expected by the audience. On the stage, it is necessary to present wonderful audio-visual enjoyment, and at the same time to pursue thematic expressions with deep thoughts, but the expression of emotions in music creation must be reflected through its independent specific language rather than separated from its own consciousness. Only through the superb expression of music can conflicts, thoughts and emotions be fully reflected, or it may be reduced to empty preaching. Joseph Kerman once pointed out that "the true meaning of opera is to carry drama with music". He believes that opera expresses thoughts and emotions through many factors such as scenes, actions, characters, plots and so on. However, the carrier of these elements lies in music. Only under the guidance and support of music can the characters, thoughts and emotions of the drama be truly portrayed. Indeed, opera scripts fictional plots with words, and music presents abstract literary image specifically and recreationally, allowing more potentially complex emotions that are difficult to express in words to be perceived by the audience in the flow of notes, thereby resonate with people.[2] Mefistofele, which this article intends to explore, is such an opera that is extremely exemplary in the organic integration of music and drama.
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Bryleva, Natalia. "CHINESE XIQU THEATER ON THE PAGES OF DREAM OF THE RED CHAMBER: THE PHENOMENON OF “HOME THEATER” IN THE QING PERIOD." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.15.

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The Dream of the Red Chamber by Cao Xueqin, being the pinnacle of Chinese classical literature, has been studied and commented on for several centuries. Being a recognized encyclopedia of old Chinese life, this novel provides the reader with numerous information about various aspects of the life of the aristocracy of Qing China. The theme of the theatre is one of the most interesting aspects of traditional culture, reflected in the pages of “Hongloumen”. The novel provides information about the peculiarities of the social status of actors, the composition of theatre troupes and their varieties, repertoire, the ways of organization of performances, the management system of troupes, etc. There are not so many “opera scenes” in the Dream of the Red Chamber, but they cover a wide range of the existence of musical drama. Based on this information, it is possible to identify the specifics of “house troupes” in the Qing period, to consider the role, functions and influence of opera productions on the characters of the novel, to trace the fate of the actors. The novel Dream of the Red Chamber is an inexhaustible source of knowledge about the traditions and cultural features of imperial China.
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Wang, Wanjun, Xintao Ding, Chao Liu, and Jinghua Wu. "The Classic Television Dramas Restoration Based on Super Resolution." In 2021 International Conference on Computer Information Science and Artificial Intelligence (CISAI). IEEE, 2021. http://dx.doi.org/10.1109/cisai54367.2021.00208.

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Versen, M., and A. Schramm. "Electrical Failure Analysis and Characterization of Leakage Paths Leading to Single Cell Failures in 128Mbit SDRAMs." In ISTFA 2003. ASM International, 2003. http://dx.doi.org/10.31399/asm.cp.istfa2003p0242.

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Abstract A common failure signature in dynamic random access memories (DRAMs) is the single cell failure. The charge is lost and thereby the information stored in trench capacitors can be destroyed by high resistive leakage paths. The nature of the leakage path determines the properties of the failure such as temperature-, voltage- and timing-dependencies and its stability. In this study, high resistive leakage paths were investigated and delimited from classical shorts by estimating the order of magnitude of the leakage current and by comparison to a simple resistive leakage path. Such an investigation is the basis for a defect-based test approach that leads to multiparameter tests [1]. An introduction to the problem is given in the first section, while the second section deals with the characterization of the defects in two case studies. A short summary is given in the end.
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Jayasinghe, Manouri K. "Overreaching Ambition, the Harbinger of Tragedy: Observing the English Literary Periods." In SLIIT International Conference on Advancements in Sciences and Humanities 2023. Faculty of Humanities and Sciences, SLIIT, 2023. http://dx.doi.org/10.54389/nrym5114.

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Ambition, innocently defined as ‘something one ardently desires to achieve,’ by the Oxford Learners Dictionary, harbors a paradoxical trait - its capacity for peril when taken to excess. This enigma finds early expression in the myth of Icarus, whose disregard for moderation led to his tragic demise. Across the annals of English literature, from the Renaissance to the Modern era, this theme of ambition’s double-edged sword echoes prominently. Works like Christopher Marlowe’s The Tragedy of Dr. Faustus, the Shakespearean tragedies both Macbeth and Julius Caeser straddling the Elizabethan and Jacobean periods, Mary Shelley’s Romantic masterpiece Frankenstein, Emily Bronte’s enduring classic Wuthering Heights from the Victorian era, and Arthur Miller’s Modern American drama Death of a Salesman all serve as vivid canvases depicting the havoc wrought by unchecked ambition. This paper examines the motivations and consequences of unrestrained ambition, highlighting the importance of moderation in pursuing one’s goals. Applying a qualitative methodology rooted in textual analysis, this research aims to provide a comprehensive understanding of the impact of overreaching ambition on literary characters and its reflection on society.
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Levina, Polina. "The impulse of classic stories in Václav Havel’s drama (on the example of the plays “Temptation” and “Leaving”)." In The Slavic world: Commonality and Diversity. Institute of Slavic Studies, Russian Academy of Sciences, 2023. http://dx.doi.org/10.31168/2619-0869.2023.3.02.

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Tipa, Violeta. "The Night Guguta project: theatrical experiments." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.07.

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The study highlights the role of the Night Guguta Project in the theatrical art of the Republic of Moldova. A team of young actors are making their debut with this project. They have oriented themselves both from the thematic perspective and from that of the actor’s mastery to the requirements of the current audience, imposing themselves as an explosion of the new in local theatrical art. This new “explosion” started three decades after the formation the troupe, which came from the “Schukin” Theater School in Moscow, and imposes a new breath, a novel vision in the Moldovan theatrical art. Night Guguta brings both classic and contemporary universal dramaturgy onto the stage. The undergraduate show - the comedy “Leonce and Lena” by Georg Büchner and directed by the late Vlad Ciobanu, the course leader, - is among the launched shows. The directing experiments of the actor Catalin Lungu in the “Pillow Man” by Martin McDonagh, which involve the spectators on the stage, deserve attention. Also, V. Sambris rejects the traditional stage by staging the drama “Helver’s Night” by Ingmar Villqist in a non-traditional space. The young director Iulian Bubuioc makes experiments with the theatrical language in the performances: “The Players” by Nikolai Gogol, ”An Incident with a Page Designer” and “The Shattered Jug” by Heinrich von Kleist.
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Ruan, Luyang. "A Comparative Study of the Artistic Features of Chinese and Japanese Classical Dramas—— Taking Kunqu The Palace of Eternal Life and Noh Yang Guifei as examples." In Proceedings of the 2nd International Conference on Humanities Education and Social Sciences (ICHESS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ichess-19.2019.10.

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Nurizzati and M. Ismail Nasution. "Prototypes of Values of Independent and Patriotism in Minangkabau Kaba Text Manuscript and Drama Texts from Classic Kaba: Study of Local Wisdom for Establishing Young Generation Character." In The 3rd International Conference on Language, Literature, and Education (ICLLE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201109.046.

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Kane, Terence, Michael P. Tenney, Andrew Erickson, and Peter Harris. "Calibration of Nanoprobe Capacitance-Voltage Spectroscopy (NCVS)." In ISTFA 2008. ASM International, 2008. http://dx.doi.org/10.31399/asm.cp.istfa2008p0204.

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Abstract MOSFET devices are routinely measured at the probe pad level with conventional capacitance-voltage (CV) measurement instruments. Such measurements are done at the front end of line (FEOL) and back end of line (BEOL) process completion levels. The CV data is used to monitor the process and verify certain parametrics such as effective oxide thickness (EOT), Tox, gate drain overlap capacitance (Miller capacitance), trapped charge, diffusion/halo implant oxide leakage, doping concentration, threshold implant level and many others. This type of testing is treated at length in the classic text of Nichollian and Brews [1]. The introduction of Nanoprobe Capacitance Voltage Spectroscopy (NCVS) of discrete MOSFET devices and the method of performing scanning capacitance imaging (SCM) have been previously presented [2]. In that work, the authors used a capacitance sensor to measure the capacitance of an individual failing embedded DRAM capacitor. This paper will describe nanoprobe CV measurements of a discrete finger device from a multiple finger test structure and show comparable results obtained at the probe pad level, using an improved version of the earlier capacitance sensor. By comparing the BEOL test structure measurements with NCVS results from a single finger, we will verify and calibrate the nanoprobing technique.
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