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Journal articles on the topic 'Classical drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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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 (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 view

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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.

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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 (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 (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 (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 (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 (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 (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 (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

Jin, Miao. "Analysis of Structured Data Processing and Aesthetic Experience in Classical Dance Theatre Works." Journal of Combinatorial Mathematics and Combinatorial Computing 127a (April 15, 2025): 469–85. https://doi.org/10.61091/jcmcc127a-028.

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Dance drama is a comprehensive art with dramatic conflicts and plots based on the use of dance’s own language system, which plays an important role in cultural dissemination and aesthetic experience. The article designs a resource library of classic dance drama works in the way of WEB site, establishes a data dynamic distribution strategy to deal with structured data, and combines the consistent hash algorithm to optimize the load balancing of structured data in the resource library. Then, a graph convolutional neural network model and a sample-weighted aesthetic classification model are combi

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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 (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 s

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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 (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 p

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17

Troiani, Sara. "Ettore Romagnoli, rievocatore of ancient Greek drama." Classical Receptions Journal 16, no. 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 R

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18

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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19

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 (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, in

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20

Attri, Shalini, Bhupinder Singh, and Deepali Mathur. "ECOLOGY ON STAGE: A STUDY OF INDIAN CLASSICAL DRAMA." ShodhKosh: Journal of Visual and Performing Arts 5, no. 4 (2024): 103–10. http://dx.doi.org/10.29121/shodhkosh.v5.i4.2024.918.

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The paper draws on performative ecology based on complex distinction between theatre, environment and ecology (a form of thinking/ mode of value of interconnectedness and interdependence) by revisiting the Indian classical drama, further, exploring landscape, nature and space in Kalidasa’s Abhijnana Shakuntalam. The research is qualitative in nature and is based on textual analysis of the primary data. The research approach uses eco-critical framework which interprets the ecological dimensions found in the primary text. The Indian classical text “Abhijnana Shakuntalam” is taken for study to un

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21

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 (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 difficu

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22

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 an

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23

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

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24

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

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25

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 (1988): 572. http://dx.doi.org/10.2307/3207911.

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26

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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27

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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28

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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29

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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30

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

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31

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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32

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

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33

PRITCHARD, DAVID M. "Athletics in Satyric Drama." Greece and Rome 59, no. 1 (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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34

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

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35

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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36

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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37

New, Katherine Anna. "Dramatising Posthumous Love in Russian Sentimentalism: Vladislav Ozerov’s Polyxena." Two centuries of Russian classics 7, no. 2 (2025): 38–61. https://doi.org/10.22455/2686-7494-2025-7-2-38-61.

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The present article argues that the unique innovations of Vladislav Ozerov, a prominent 19th-century Russian dramatist, paved the way for creating a new genre of Neo-mythological drama in European theatre. The article investigates Ozerov’s intertextual adaptation of well-known Classical sources of the Polyxena legend (The Iliad, Euripides’ Trojan Women, and Hecuba and Seneca’s Troades) against the background of Russian mythological drama of the 19th century. It proposes that Ozerov contributed to Russian theatre by dramatising the theme of posthumous love, organically blending anachronistic ps

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38

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 (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 an

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39

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 aesthe

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40

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

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41

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

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42

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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43

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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44

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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45

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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46

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

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47

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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48

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

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49

Nath, Durjoy. "Krishna Mishra’s Classical Sanskrit Drama “Prabodha Chandrodaya” Philosophical Resolution of Moral Barriers." Journal Of Creative Writing (ISSN-2410-6259) 8, no. 1 (2024): 55–64. http://dx.doi.org/10.70771/jocw.v8i1.89.

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This study shows the moral barriers inside our minds and the solutions to overcome these obstacles. I have tried to find out from this doubt Prabodha Chandrodaya, one of the dramas of Sanskrit literature. The purpose of this study is to provide a clear and coherent explanation of Advaita, an important branch of Indian philosophy, which the playwright of the play has kept behind. From this, we will present a picture of how we can overcome moral barriers and other effects of the mind that consume our cognition. I have highlighted this issue in the study through a comparative and qualitative disc

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50

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 (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

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