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Journal articles on the topic 'Classical drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Kovpik, S. "Poetics peculiarities of the classical Chinese drama." Chinese Studies, no. 1 (2021): 221–28. http://dx.doi.org/10.51198/chinesest2021.01.221.

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12

Yuditskaya, Ekaterina A. "Somniloquy and Daydreaming in Classical Sanskrit Drama." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2021): 216. http://dx.doi.org/10.31857/s086919080015159-1.

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13

Whitmarsh, Tim. "RADICAL COGNITION: METALEPSIS IN CLASSICAL GREEK DRAMA." Greece and Rome 60, no. 1 (March 12, 2013): 4–16. http://dx.doi.org/10.1017/s001738351200023x.

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The Hollywood movie Stranger than Fiction (2006) centres on a tax inspector, Harold Crick, who begins to hear a voice inside his head. This voice, he gradually realizes, belongs to the narrator of a book in which he is the central character. As the plot unfurls, the narrator begins to drop hints that Harold will die at the end of the story. Understandably disturbed by these intimations, Harold decides to confront a university professor, and between the two of them they identify the author as one Kay Eiffel. Harold then tracks down the author and begs her not to kill him off.

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14

Thi Kim Thuong, Dinh. "HUE IMPERIAL PALACE THE ENVIRONMENT FOR THE DEVELOPMENT OF VIETNAM CLASSICAL DRAMA." Journal of Science, Social Science 62, no. 5 (2017): 74–79. http://dx.doi.org/10.18173/2354-1067.2017-0035.

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15

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

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

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16

Rudita, I. Made, and Ni Luh Putu Wiwin Astari. "STRUKTUR DRAMATIK PERTUNJUKAN DRAMA KLASIK SANGGAR TEATER MINI LAKON DEWA RUCI KAJIAN BENTUK DAN FUNGSI." WIDYANATYA 1, no. 1 (February 14, 2019): 51–59. http://dx.doi.org/10.32795/widyanatya.v1i1.270.

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ABSTRAK Pada dasarnya nilai pendidikan karakter mempunyai tiga bagian yang saling bekaitan, yaitu pengetahuan moral, penghayatan moral dan perilaku moral. Oleh karena itu seseorang dengan karakter yang baik, mengetahui, menginginkan, dan melakukan yang baik. Ketiganya merupakan syarat untuk menuntun hidup yang bermoral dan membangun kematangan moral. Dalam melakukan pendidikan karakter tidak harus dengan menambah program tersendiri, melainkan bisa melalui transformasi budaya, salah satunya nilai-nilai pendidikan karakter bisa disampaikan melalui seni pertunjukan drama, khususnya pertunjukan drama klasik. Untuk menjawab masalah di atas, dalam hal mengetahui nilai pendidikan karakter melalui transformasi budaya Bali berupa pertunjukan drama klasik Sanggar Teater Mini, perlu dibuat suatu penelitian mengenai nilai pendidikan karakter dalam pertunjukan drama klasik Sanggar Teater Mini dengan lakon Dewa Ruci. Penelitian ini berjudul “Struktur Dramatik Pada Pertunjukan Drama Klasik Sanggar Teater Mini lakon Dewa Ruci”.Kajian (Bentuk dan Fungsi)” adalah hasil studi yang mendalam struktur dramatik pada pertunjukan drama klasik. Penelitian ini mengangkat dua pokok masalah yaitu : 1) untuk mengetahui dan menganalisis bentuk struktur dramatik pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci ; 2) untuk mengetahui dan menganalisis fungsi pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci. Secara umum, penelitian ini bertujuan untuk mengetahui keberadaan dan peranan penting dari nilai-nilai pendidikan karakter dalam pertunjukan pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci . Secara khusus, penelitian ini bertujuan untuk menjelaskan bentuk struktur dramatik dan fungsi pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci. Penelitian ini dirancang sebagai penelitian kualitatif dengan menggunakan dua teori : teori estetika dan teori fungsional struktural. Metode-metode pengumpulan data yang digunakan meliputi observasi, wawancara, dokumentasi dan kepustakaan.Seluruh data diolah menggunakan tehnik deskriptif interpretatif. Hasil dari penelitian ini adalah sebagai berikut ; Bentuk struktur dramatik pertunjukan drama klasik Sanggar Teater Mini lakon Dewa Ruci adalah sebagai berikut : (1) tema, (2) alur, (3) latar, (4) penokohan, (5) insiden dan (6) amanat. Sedangkan fungsi drama klasik Sanggar Teater Mini lakon Dewa Ruci adalah sebagai berikut : (1) fungsi ekonomi, (2) fungsi hiburan, (3) fungsi promosi dan (4) fungsi komunikasi. ABSTRACT Basically, the value of character education has three interrelated parts, namely moral knowledge, moral appreciation and moral behavior. Therefore someone with good character, knows, wants, and does good. All three are conditions for guiding a moral life and building moral maturity. In doing character education does not have to add a separate program, but it can be through cultural transformation, one of which is the values of character education can be conveyed through drama performing arts, especially classical drama performances. To answer the above problem, in terms of knowing the value of character education through the transformation of Balinese culture in the form of a classic Mini Theater studio performance, it is necessary to make a study of the value of character education in the performance of the Sanggar Teater Mini classic drama with Dewa Ruci play. This research entitled "Dramatic Structure of the Classical Drama Performance of Teater Mini lakon Dewa Ruci". Studies (Forms and Functions) "are the results of an in-depth study of the dramatic structure of classical drama performances. This research raises two main issues, namely: 1) to find out and analyze the dramatic structural forms of the Sanggar Teater Mini classical drama performance Dewa Ruci play; 2) to find out and analyze the function of the Sanggar Teater Mini lakon Dewa Ruci performance. In general, this study aims to find out the existence and important role of character education values in the performance of the classic Sanggar Teater Mini lakon Dewa Ruci performance. Specifically, this study aims to explain the dramatic structure and function of the classical drama performances of Sanggar Teater Mini Dewa Ruci play. This research was designed as qualitative research using two theories: aesthetic theory and structural functional theory. Data collection methods used include observation, interviews, documentation and literature. All data are processed using interpretive descriptive techniques. The results of this study are as follows; The form of the dramatic structure of the Sanggar Teater Mini classical drama performances by Dewa Ruci are as follows: (1) theme, (2) plot, (3) background, (4) characterization, (5) incident and (6) mandate. While the function of the classical drama Sanggar Teater Mini lakon Dewa Ruci is as follows: (1) economic function, (2) entertainment function, (3) promotion function and (4) communication function.

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17

Troiani, Sara. "Ettore Romagnoli, rievocatore of ancient Greek drama." Classical Receptions Journal 16, no. 1 (January 1, 2024): 56–72. http://dx.doi.org/10.1093/crj/clad029.

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Abstract The Italian classicist Ettore Romagnoli (1871–938) is mostly remembered as a popularizer of ancient drama through his work as a translator for and artistic director of classical performances at the Greek theatre of Syracuse (1914–27). His theatrical productions were inspired by a programmatic aesthetic approach to the study of classical culture called ‘artistic Hellenism’, which aimed at making the Graeco-Roman classics accessible to a broader audience, as well as renewing Italian prose theatre by referring to the example of the ancient chorodidaskalos. This article aims to describe Romagnoli’s attempt to promote his aesthetics in the staging of Greek drama within the cultural framework of Fascism. Even after his dismissal from the artistic direction of the National Institute of Ancient Drama, which he helped to establish in 1925, Romagnoli strove to find the financial support for his project of a ‘Fascist Institute of Classical Drama’. This Institute never became a reality and was probably intended to compete with the classical productions staged at Syracuse, which in the thirties were undergoing a shift in terms of aesthetics and production management according to the new Fascist politics about theatre matters.

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18

Sari Famularsih. "The Implementation of Classical Puppet Drama Performance to Improve English Speaking Skill for International Class Program Students." IJORER : International Journal of Recent Educational Research 1, no. 2 (July 31, 2020): 116–23. http://dx.doi.org/10.46245/ijorer.v1i2.41.

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This study analysed the implementation of classical puppet drama performance to improve students’ speaking skill in International Class Program of one of universities in Salatiga. The teaching and learning processes in drama class were(1 ) asking the students with the question, (2) designing drama project plan, (3) creating drama preparation schedules, (4) monitoring the students in preparing the drama, (5) assessing the outcome, and (6) evaluating students’ drama performance. This study was qualitative research in the form of case study. To collect the data the researcher used observation, interview, documentation, and questionnaire. The results showed that by using drama performance, students can improve their pronunciation, fluency, accuracy, handle the voice, and body language to improve their self-confidence to speak in English. Moreover, the used of 4Cs skills activities namely critical thinking, communication, collaboration, and creativity skills in the classroom can stimulate students to improve their group work and interaction among students.

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19

Wambach, Tara. "Rhetoric and Power: The Drama of Classical Greece." Journal for the History of Rhetoric 19, no. 2 (May 2016): 225–27. http://dx.doi.org/10.5325/jhistrhetoric.19.2.0225.

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20

Campbell, Gwyn E. "Classical Spanish Drama in Restoration English (1660–1700)." Comedia Performance 8, no. 1 (April 1, 2011): 272–77. http://dx.doi.org/10.5325/comeperf.8.1.0272.

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21

Ramirez, Elizabeth C., Mary Karen Dahl, Marion Peter Holt, George W. Woodyard, and Miguel Pinero. "Political Violence in Drama: Classical Models, Contemporary Variations." Theatre Journal 40, no. 4 (December 1988): 572. http://dx.doi.org/10.2307/3207911.

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22

Edwards, Anthony T., and Robert J. Forman. "Classical Greek and Roman Drama: An Annotated Bibliography." Classical World 84, no. 6 (1991): 496. http://dx.doi.org/10.2307/4350948.

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23

Verona, Roxana. "Orientalism in French Classical Drama (review)." Comparatist 27, no. 1 (2003): 187–88. http://dx.doi.org/10.1353/com.2003.0016.

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24

Zatlin, Phyllis. "Classical Spanish Drama on the Contemporary French Stage." Bulletin of the Comediantes 42, no. 1 (1990): 23–33. http://dx.doi.org/10.1353/boc.1990.0020.

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25

Jensen, Katharine Ann. "Orientalism in French Classical Drama (review)." L'Esprit Créateur 42, no. 2 (2002): 105. http://dx.doi.org/10.1353/esp.2010.0216.

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26

Gossip, Christopher J. "Chappuzeau and the Performance of French Classical Drama." Seventeenth-Century French Studies 31, no. 1 (July 2009): 3–13. http://dx.doi.org/10.1179/175226909x445231.

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27

Bruss. "Rhetoric and Power: The Drama of Classical Greece." Rhetoric and Public Affairs 20, no. 2 (2017): 360. http://dx.doi.org/10.14321/rhetpublaffa.20.2.0360.

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28

Kim, Mun-hee. "Effect and meaning of knowledge application of classical novel in the story-telling of 『The Red Sleeve』." Research of the Korean Classic 58 (August 31, 2022): 153–89. http://dx.doi.org/10.20516/classic.2022.58.153.

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The purpose of this study is to discuss the aspects of knowledge application of classical novel and its effect and meaning in 『The Red Sleeve』. 『The Red Sleeve』 is a representative work of cross-media story telling which is adapted for webtoon and drama after it is created as a novel. The story-telling in 『The Red Sleeve』 commonly uses a enjoyment formula of classical novel through Jeon-gi-soo(傳奇叟). It also actively uses joint transcription by court lady, reading aspects of classical novel and way of classical novel circulation through Se-chaek-jeom(貰冊店). It reveals introduction, assessment and awareness about classical novel as well. Three effects and meanings are revealed by using introduction, assessment and awareness about classical novel which are realized by the way of enjoyment, production and reading aspect and circulation method of classical novel. In terms of character composition, it reveals the effect of creating intellectual mentality and independent personality of heroin. It is common effects in novel, webtoon and drama. It reveals the effects of building and resolving tension and creating interest by making laughter in respect of framework of events. It is a effect which is created while being converted to drama and webtoon. In terms of appreciation from reader and viewer, it reveals the effect that makes the reader and viewer cultivate knowledge and refinement about classics and traditional culture. In order to help create successful contents like 『The Red Sleeve』 accurate and easily accessible material about classical novel should be provided. It can be a duty of classical novel researcher to provide relevant material about classical novel which is easily accessible to writer, contents creator and the public.

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Gandouz Ayeb, Olfa. "The Challenges of Designing Drama Syllabus to Applied English Students: ISLG Students as a Case Study." Traduction et Langues 20, no. 1 (August 31, 2021): 172–85. http://dx.doi.org/10.52919/translang.v20i1.308.

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Survey-based, the paper evaluates the syllabus of a classical drama course designed for first year applied students (2016 - 2019) at the Higher Institute of Languages of Gabes, Tunisia (ISLG). The paper will refer to the problem of capturing the attention of business English learners who have often asked about the use of attending a drama tutorial in the age of digital humanities. It studies the challenges of teaching and also learning drama in a Post-Jasmine Tunisian revolution context. The lack of motivation is the main challenge for teaching drama in a foreign context. Learners face difficulties at grasping the significance of a classical dramatic text and they often get blocked at the literal meanings of the text. The present paper aims at showing the role of redesigning drama syllabus in achieving better learning outcomes, in creating active learners and in making the drama course a more beneficial course to business English students. A qualitative method will be deployed to evaluate the drama syllabus, to perceive students ‘preferences and to fix new pedagogic parameters. Data analysis is meant to recognize the pedagogic needs of business English students, to compare them to fundamental students and to understand their challenges. Developing certain awareness about the challenges of learners is a fundamental step for reaching pedagogic efficiency. To reach the conclusion about the importance of students’ engagement, the paper will be divided into two major parts. The first part approaches the problem of motivation and students’ preference for modern drama over classical drama by foregrounding a gender-oriented change in students’ attitudes throughout the course. The second section deals with an analysis of the survey and it highlights the role of variety in enriching drama syllabus. The final goal of the paper is to conclude that teaching drama in a foreign context becomes pleasurable for both teacher and learner when students start to be involved and to create a dialogue between different and incomparable cultures. Some recommendations for redesigning the drama booklet will be suggested in the light of the students’ responses. Responding to the needs of learners is another tool for achieving pedagogic efficiency.

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Poltevskaya, Kseniya E. "From Classical Drama to “New Drama”: Plot Poetics in the Plays ‟Redemption” by I. N. Potapenko, “The Work of Life” by N. I. Timkovsky ‟The Question” by A. S. Suvorin and ‟The Cherry Orchard” by A. P. Chekhov." World of Russian-speaking countries 1, no. 11 (2022): 82–97. http://dx.doi.org/10.20323/2658-7866-2022-1-11-82-97.

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The Article is a part of a broad historical and literary problem of ‟Chekhov and his literary environment”. The paper under discussion is devoted to a comparative study of dramaturgical methods used by playwrights of the turn of the XIX‒XX centuries and the determination of the vector of the writers’ artistic search. The research subject is the system of structural and typological features such an element of dramaturgical methods as plot in the plays ‟The Cherry Orchard” by A. P. Chekhov, ‟Redemption” by I. N. Potapenko, “The Work of Life” by N. I. Timkovsky and ‟The Question” by A. S. Suvorin, the methods affiliation with a certain type of dramaturgical system (classical and ‟new drama”). The aim of the investigation is analysis of the features of the structure of the plot in selected plays, comparing them with the principles of classical drama and ‟new drama”, and comparing the findings among themselves. The main method used in the paper is the method of structural and typological comparison. The ideological and thematic unity of the plays, the interconnection of some motives, plot elements are revealed. It is proved that of all the plays considered, only the plot of Suvorin’s play ‟The Question” corresponds to the principles of classical drama, while elements of decentralization are already observed in it due to a certain independence of the secondary plot lines. The plot models of the plays ‟The Atonement” by Potapenko and ‟The Work of Life” by Timkovsky occupy an intermediate position between the classical and the ‟new drama”. In both plays, an ‟inner plot” appears. Unlike the aforementioned playwrights, Chekhov's plot model is fundamentally different from classical drama. The main principle of the organization of the plot of ‟The Cherry Orchard” is the decentralization of plot lines. The most important is the internal plot: a person in the flow of time. In addition, all the plays are united by an invariant plot reflecting the Russian reality of that time, connected with the fate of the noble estate mortgaged for debts.

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PRITCHARD, DAVID M. "Athletics in Satyric Drama." Greece and Rome 59, no. 1 (April 2012): 1–16. http://dx.doi.org/10.1017/s0017383511000210.

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Satyric drama introduced athletics much more regularly as an activity than either comedy or tragedy. Many of its villains defeated hapless travellers in a boxing or wrestling bout before murdering them. Satyr-plays were often set at athletic contests where the satyrs of the chorus encountered athletes or tried to be competitors themselves. In one of his plays Euripides provided the most detailed critique of athletes in any genre of classical Athenian literature.

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Li, Ruijun. "The Application of Traditional Chinese Cultural Elements in Fantasy Costume Drama - A Case Study of “Love Between Fairy and Devil”." SHS Web of Conferences 159 (2023): 02004. http://dx.doi.org/10.1051/shsconf/202315902004.

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The spread of Chinese TV dramas cannot be separated from the strong underpinnings of Chinese stories. Strengthening the multifaceted presentation of traditional culture is an indispensable element in creating quality TV dramas with culture, connotation and Chinese characteristics. With a unique oriental narrative and a unique oriental romantic audio-visual language, the fantasy ancient idol drama “Love Between Fairy and Devil” restores a beautiful oriental fantasy world, which helps to reshape the audience’s visual imagination of Chinese classical mythology, conveys the unique charm of Chinese traditional culture to the audience, and promotes the further “going out” of traditional culture.

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GARMIZA, Nikolay V. "Classical heritage and its modern interpretations in theater." Culture and Safety 2 (2022): 63–68. http://dx.doi.org/10.25257/kb.2022.2.63-68.

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The article deals with various types of classics interpretation in modern drama theater of Russia. The author identifies several approaches to classical heritage and tries to substantiate the features of each of them on the example of the most significant productions.

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34

Šetka Čilić, Ivona, and Tonina Ibrulj. "The frequency of using conditional sentences in drama, based on the analysis of three drama texts: Flour in the veins by Igor Štiks, Crocodile Lacoste by Zlatko Topčić and Romeo and Juliet by William Shakespeare." Post Scriptum 11, no. 11 (September 13, 2022): 19–40. http://dx.doi.org/10.52580/issn.2232-8556.2022.11.11.19.

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This paper deals with the frequency of use of conditional sentences in contemporary dramas that were not originally written in English but were translated into it. The hypothesis that the paper tries to prove here, states that conditional sentences are not used so frequently in modern dramas, unlike classical plays, which is tried to be proved by analyzing three plays, one of which was written in Croatian (Flour in the veins by author Igor Štiks), and the other in Bosnian (Silvertown / Crocodile Lacoste, by author Zlatko Topčić), both translated into English. Finally, the third drama, Romeo and Juliet, is a classic drama by William Shakespeare. Since the two plays that served as a basis for this analysis, were not originally written in English, the first part of the paper provides a theoretical background on conditional sentences and types of conditional sentences in Croatian, then in English, listing potential translational equivalents of conditional sentences in both languages. The results of the analysis conducted on three dramas, clearly show that the hypothesis was successfully confirmed. However, although only three plays were analyzed, it is expected that the results would be similar in case there were more plays.

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35

Speers, Claire. "How can teachers effectively use student dialogue to drive engagement with ancient drama? An analysis of a Year 12 Classical Civilisation class studying Aristophanes’ Frogs." Journal of Classics Teaching 21, no. 41 (2020): 19–32. http://dx.doi.org/10.1017/s2058631020000112.

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Within this article I aim to explore how greater student dialogue in the classroom can drive engagement with ancient drama. As part of the Classical Civilisation A Level specification, students need to demonstrate knowledge and awareness in the examination of how Aristophanes’ Frogs might have been performed on stage and its possible reception by a classical audience. This research investigates how teachers can effectively encourage student discourse in the classroom for students to engage with and analyse Frogs as a piece of comic drama, rather than simply as an A Level set text.

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36

Batley, Edward, and F. J. Lamport. "German Classical Drama: Theatre, Humanity and Nation 1750-1870." Modern Language Review 86, no. 4 (October 1991): 1045. http://dx.doi.org/10.2307/3732628.

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Kim, Moonju, and Jungwon Yang. "A Practice of Liberal Arts Classes using Classical Drama." Korean Association of General Education 14, no. 3 (June 30, 2020): 159–74. http://dx.doi.org/10.46392/kjge.2020.14.3.159.

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Kozak, Lynn. "Performing Oaths in Classical Greek Drama by Judith Fletcher." Phoenix 67, no. 1-2 (2013): 187–89. http://dx.doi.org/10.1353/phx.2013.0021.

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CARAWAN, EDWIN. "Performing Oaths in Classical Greek Drama by Judith Fletcher." Classical Journal 108, no. 4 (2013): 467–69. http://dx.doi.org/10.1353/tcj.2013.0032.

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Ha, Kyung-sim. "A Study on the Superheroines in Chinese Classical Drama." Journal of Chinese Language and Literature 116 (June 30, 2019): 313–43. http://dx.doi.org/10.25021/jcll.2019.6.116.313.

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Cowen, Roy C., and F. J. Lamport. "German Classical Drama. Theatre, Humanity and Nation: 1750-1870." German Quarterly 64, no. 2 (1991): 253. http://dx.doi.org/10.2307/407099.

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Peyré, Yves. "Deciphering Classical Mythology in Renaissance Drama: Questions of Methodology." Cahiers Élisabéthains: A Journal of English Renaissance Studies 51, no. 1 (April 1997): 15–27. http://dx.doi.org/10.1177/018476789705100106.

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Constantinidis, Stratos E. "Classical Greek Drama in Modern Greece: Mission and Money." Journal of Modern Greek Studies 5, no. 1 (1987): 15–32. http://dx.doi.org/10.1353/mgs.2010.0273.

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Parish, Richard. "Orientalism in French Classical Drama by Michèle Longino (review)." Modern Language Review 99, no. 1 (January 2004): 193. http://dx.doi.org/10.1353/mlr.2004.a827252.

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Llamas, Regina. "Wang Guowei and the Establishment of Chinese Drama in the Modern Canon of Classical Literature." T'oung Pao 96, no. 1 (2010): 165–201. http://dx.doi.org/10.1163/156853210x515675.

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AbstractThis essay examines the process by which Wang Guowei placed Chinese dramatic history into the modern Chinese literary canon. It explores how Wang formed his ideas on literature, drawing on Western aesthetics to explain, through the notions of leisure and play, the impetus for art creation, and on the Chinese notions of the genesis of literature to explain the psychology of literary creation. In order to establish the literary value of Chinese drama, Wang applied these ideas to the first playwrights of the Yuan dynasty, arguing that theirs was a literature created under the right aesthetic and creative circumstances, and that it embodied the value of "naturalness" which he considered a universal standard for good literature. By producing a scholarly critical history of the origins and nature of Chinese drama, Wang placed drama on a par with other literary genres of past dynasties, thus giving it a renewed status and creating at the same time a new discipline of research. Drama had now become an established literary genre.

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Alves, Manoel Carlos dos Santos. "The Two-Faced Mirror: The Aristotelian-Hegelian Structure of The Importance of Being Earnest by Oscar Wilde." ABEI Journal 25, no. 2 (December 29, 2023): 19–31. http://dx.doi.org/10.11606/issn.2595-8127.v25i2p19-31.

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For centuries, classical Greek drama was considered, by playwrights and theorists alike, the greatest influence on the structure of the dramatic text. One of its main features, for example, was the law of three units. Elaborated by Aristotle, the prescriptions oriented the plays to take place in a single place, within twenty-four hours, and exhibit a continuous plot, with a beginning, middle, and end. However, for thinkers such as Hegel, modern drama needed new approaches. In his writings, the German philosopher postulated that modern drama should exhibit narrative speed, and a certain dynamic quality, aligned with the internal and external conflicts of the characters. This article aims at analyzing the way in which Oscar Wilde’s The Importance of Being Earnest (1895), balanced both Aristotle and Hegel’s views by engendering a modern text with classical roots, while simultaneously embedding a comedy satirizing the customs of English society.

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Nur, Selviana Sasmiati, Masrul Masrul, and Nurmalina Nurmalina. "Peningkatan Keterampilan Memerankan Tokoh dengan Menggunakan Metode Sosiodrama Siswa Sekolah Dasar." Journal on Education 4, no. 4 (August 30, 2022): 1511–21. http://dx.doi.org/10.31004/joe.v4i4.2208.

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The background of the research is the low achievement of learning Indonesian in drama material for fifth grade students at Pahlawan Elementary School, Bangkinang District, Kampar Regency, Riau. The low results of learning to play drama because students are not trained by teachers in playing drama characters, so students experience difficulties in acting out drama with proper pronunciation, intonation, expression, and appreciation. Learning with the sociodrama method was chosen, because in addition to training students' courage to play drama, it also makes students active in learning and develops cooperation within students. The purpose of this study was to improve the skills of playing drama characters in fifth grade students of SD Pahlawan. The subjects in the study were teachers and fifth grade students at SD Pahlawan, Bangkinang District, Kampar Regency, Riau. The number of students is 17 children, consisting of 7 male students and 10 female students. This research is a Classroom Action Research (CAR). Data collection methods used are tests, observations, and documentation. Prior to conducting the research, the researcher conducted preliminary observation activities through interviews. The data analysis technique in this study is quantitative descriptive statistics, namely by finding the average. The results showed that learning the skills of playing drama characters using the sociodrama method could improve the skills of playing the characters of the fifth grade students of SD Pahlawan. Class average results in cycle I average student score of 67.47 with classical completeness of 70.58% (11 students). In cycle II, the average score of students increased again to 77 with a classical mastery level of 88.23% (15 students). From the data obtained, it can be concluded that the sociodrama method can improve learning outcomes and student activity in drama material.

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Achinstein, Sharon. "A Common Humanity? From Poetry to Philosophy in Hugo Grotius." Renaissance Quarterly 76, no. 1 (2023): 84–123. http://dx.doi.org/10.1017/rqx.2022.441.

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This essay shows how Hugo Grotius (1583–1646) made use of classical poetry and drama, especially that of Lucan, Euripides, and Seneca, in developing his thought on the treatment of captives, prisoners of war, and slaves, and argues that his method was humanist and philological. From his early publishing projects to “The Rights of War and Peace” (De Iure Belli ac Pacis, 1625), Grotius developed an account of common social experience, a formal mechanism to represent dialogue with difference, and a refusal to apply categorical distinctions positing natural difference among peoples. His engagements with classical poetry and drama are thus an important piece of the story of early modern thought.

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Kenkel, Karen J. "Monstrous Women, Sublime Pleasure, and the Perils of Reception in Lessing's Aesthetics." PMLA/Publications of the Modern Language Association of America 116, no. 3 (May 2001): 545–61. http://dx.doi.org/10.1632/pmla.2001.116.3.545.

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Enlightenment intellectuals viewed the moral cultivation of the individual through aesthetic pleasure to be a crucial means for regulating social relations in bourgeois civil society. G. E. Lessing's drama criticism and plays reveal how important reshaping women's social identity was to the definition of morally productive aesthetic pleasure in the Enlightenment. Drawing on contemporary feminist theory, this essay explores how and why the tension between aesthetic pleasure and morality that runs through Lessing's work centers on developing bourgeois norms of femininity and on their violation in French classical and epic dramas. The essay reveals how the gender-specific moral demands placed on cultural pleasure in Lessing's drama criticism helped lay the foundation for a cultural crisis in the late eighteenth century, as well as for a divided public sphere. Lessing's plays, however, offer a more complex vision of the audience's interests and needs and a more open vision of women's possible social roles.

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Kenkel, Karen J. "Monstrous Women, Sublime Pleasure, and the Perils of Reception in Lessing's Aesthetics." Publications of the Modern Language Association of America 116, no. 3 (May 2001): 545–61. http://dx.doi.org/10.1632/s0030812900112660.

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Enlightenment intellectuals viewed the moral cultivation of the individual through aesthetic pleasure to be a crucial means for regulating social relations in bourgeois civil society. G. E. Lessing's drama criticism and plays reveal how important reshaping women's social identity was to the definition of morally productive aesthetic pleasure in the Enlightenment. Drawing on contemporary feminist theory, this essay explores how and why the tension between aesthetic pleasure and morality that runs through Lessing's work centers on developing bourgeois norms of femininity and on their violation in French classical and epic dramas. The essay reveals how the gender-specific moral demands placed on cultural pleasure in Lessing's drama criticism helped lay the foundation for a cultural crisis in the late eighteenth century, as well as for a divided public sphere. Lessing's plays, however, offer a more complex vision of the audience's interests and needs and a more open vision of women's possible social roles.

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