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Academic literature on the topic 'Drama (dramatic works by one author)'
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Journal articles on the topic "Drama (dramatic works by one author)"
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Slipushko, O. M., and A. O. Katyuzhynska. "THE INTEGRATION OF PANEUROPEAN THEATRIC TRADITIONS OF THE BAROQUE EPOCH INTO THE HISTORICAL DRAMA OF THE LUMINARIES." Literary Studies, no. 60 (2021): 199–210. http://dx.doi.org/10.17721/2520-6346.60.199-210.
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The article represents the study of the peculiarities of the integration of PanEuropean theatrical traditions of the Baroque epoch into the historical drama by Ukrainian coryphees. Particular attention is paid to the study of the specifics of the creation of baroque drama of the XVIII century and its influence on the formation of the dramatic tradition of the Coryphées. The main European tendencies represented in historical baroque dramas are singled out. It is proved, that succession is manifested primarily at the level of national identity. The historical dramas of F. Prokopovych “Volodymyr”, the anonymous author “God’s Grace” and M. Starytsky “Bogdan Khmelnytsky”, I. Karpenko-Kary “Sava Chaly” in the comparative aspect are analyzed. Common and different features in the interpretive models of the central images of statesmen are clarified. Actually, F. Prokopovich has developed his own theory of drama with a division into five acts. It was found out, that such a structure is also characteristic of the works of I. Karpenko-Kary “Sava Chaly” and M. Starytsky “Bogdan Khmelnytsky”, which testifies to the preservation of the baroque dramatic tradition. At the same time, the Coryphées have significantly deepened the compositional structure of the drama, adding new elements. The works of the anonymous author “God’s Grace” and M. Starytsky “Bogdan Khmelnytsky” have the genre of historical drama, the central image of hetman B. Khmelnytsky. However, in the historical drama of M. Starytsky “Bohdan Khmelnytsky” the interpretative model of the image of the statesman is significantly expanded, in particular, the psychological aspect of the figure of the hetman is deepened. At the same time, the idea of messianism, especially the interpretation of the National Liberation War as the highest level of self-sacrifice, is common in the interpretation of the image of B. Khmelnytsky by the anonymous author and M. Starytsky. Pan-European traditions of Ukrainian baroque drama of the XVIII century has become one of the sources for the formation of the original professional Theater of luminaries, in particular historical dramas.
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Каспіч, Галина, and Ніна Поляруш. "Valerii Herasymchuk’s biographical drama: culturological intertextuality." Українська література: історичний досвід і перспективи, no. 1 (December 18, 2023): 88–101. http://dx.doi.org/10.31652/3041-1084-2023-1-88-101.
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The article is devoted to a voluminous biographical dramas Valerii Herasymchuk — the cycle «Piesy pro velykyh (Plays about the Great)». It is not yet fully formed, as the author is still adding works to this day, so it is required careful reading. A professional analysis of the writer’s biographical drama in the context of the intertextual methodology of modern literary studies seems appropriate.It is noted that Valerii Herasymchuk created his own system of relationships to the biographies and works of each of his protagonists, practicing new genre experiments and updating the already known forms of literary biography in relation to the cycle «Piesy pro velykyh (Plays about the Great)».Analysis of literary works devoted to contemporary biographical drama allows us to conclude that researchers of its various aspects often ignore the dramatic works of Valerii Herasymchuk as quite difficult for literary reception. At the center of each drama in the cycle «Piesy pro velykyh (Plays about the Great)» is a prominent historical or cultural figure: Metropolitan Andrii Sheptytsky, writer and film director Oleksandr Dovzhenko, historian and fiction writer Dmytro Yavornytskyi, Hetman Ivan Mazepa, poet Olena Teliha, fighter for Ukraine Stepan Bandera, classics of Ukrainian modern literature Ivan Franko and Lesia Ukrainka, singer Kvitka Cisyk, and outstanding Ukrainian director Les Kurbas.These plays can refer to different models and kinds of biographical drama, which is a distinctive feature of contemporary Ukrainian drama. As a playwright, Valerii Herasymchuk creates one of the directions of its development. His biographical drama organically combines dominant tendencies tied to the broadest cultural intertext. Valerii Herasymchuk’s innovation is the involvement of dramatic genres in the system of motifs and characters of plays, when the cultural intertext in the dramatic discourseworks at one of the deepest levels — the genre level.Herasymchuk’s biographical drama, represented by the cycle «Piesy pro velykyh (Plays about the Great)», is distinguished by «biographical trust», brave genre experimentation, and different strategies of prose, fiction, philosophical and literary reflections. Summarizing all of the above, Valerii Herasymchuk’s biographical drama is a promising material for literary analysis and generalization.
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Войтенко, Л. І., Т. Л. Караваєва, and Л. Д. Швелідзе. "STRATEGY OF THE NEW DRAMA IN LESYA UKRAINKA’S LITERARYAND- CRITICAL ARTICLES." Nova fìlologìâ, no. 89 (May 18, 2023): 59–65. http://dx.doi.org/10.26661/2414-1135-2023-89-8.
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The article examines the features of a new drama promoted by Lesya Ukrainka in her literary-and-critical articles, and further in her artistic work. In the new drama, Lesya Ukrainka focuses on the nature of the dramatic work, specifically, the text as a link connecting the addresser and the addressee. She sees H. Hauptman’s dramaturgy as an example of such text creation, namely, motives and types of characters in his plays. The word becomes the lead character in such texts and turns into a communicative strategy. The word becomes a structurally and figuratively robust means of developing the play’s plot and composition. Lesya Ukrainka associates new drama’s purpose not with modernism or with the programs of “art-for-art’s-sake” and aestheticism, but with the social drama development. The author believes that the concept of a new drama determines the nature of structural and compositional transformations, the drama’s figurative originality. Lesya Ukrainka considers the dramaturgy by H. Ibsen, H. Hauptman, and S. Przybyshevsky, whose works she analyses in her literary-and-critical articles, to be examples of the new drama. The factors providing for the emergence of the new drama in Ukrainian literature include the drama lyrisation as a communicative strategy, which is a manifestation of the play’s “literaturisation”. Lyrisation as the dramatic text’s feature contributes to the action subjectivisation, leads to a chronotope displacement, enables the combination of events happening in different times within one dramatic text, the polysemy of expression through a metaphor or symbol. The philosophy of the author’s strategy of transforming verbal subject of poetic existence correlates with the ability of a statement to create new multiple meanings and interpretations of the text that convey the emotionality of the author’s words. Drama lyrisation drives the creation of conventional images, while the character appears in the text not in one guise, but in several. The author distances themselves from the character, which enables the subject’s uncertainty and potential multiplicity. Dramatic text’s lyrisation becomes an incentive for the text’s generic and genre transformations, contributes to the creation of conventional images that establish explicit communication between the addresser and the addressee. The author as the text’s addresser is presented in the characters’ statements, which provides a plurality of interpretations and meanings of the dramatic text, allows for playing with words, that manifests “literaturisation”. “Literaturisation” as a communicative strategy integrates the texts of Ukrainian playwrights into the context of the world literary and theatrical tradition, expands their themes, genre diversity, and figurative system.
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Lutsak, Svitlana, and Nataliia Vivcharyk. "THE DRAMATIC DOMINANT OF VASYL STEFANYK’S NOVELLAS." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 16(63) (August 26, 2022): 254–63. http://dx.doi.org/10.31471/2304-7402-2022-16(63)-254-263.
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The aim of the research is to analyze the genre features of Vasyl Stefanyk’s short stories, and first of all the dramatic component of their artistic structure. The main focus is on the short stories that formed the basis of the staging of the Zagrava Theater. Director Volodymyr Blavatsky chose the productions of the short story, the dynamic structure of the genre, which are revealed by modern researchers as dramas in the novel – «She is the Earth», «Sons», «Maria», «Thief», «Pious», «Morituri», and «My Word» (as a prologue). These works paid attention to the director, especially thematically expanded the scope of contemporary drama. The main article was the method of genealogical studies, combined with the methods of poetic analysis of the dominants of the internal organization of short stories by Vasyl Stefanyk. As a result of the research it was proved that it was the sharp conflict, dialogic speech, tension of the plot, temporal condensation, related issues, minimized descriptions that allowed the director to combine these works in one theatrical production. In addition, literary-critical reviews and works of Mykola Yevshan, Mykola Zerov, Mykhailo Rudnytsky, Ivan Franko, Lesia Ukrainka, etc. were used to characterize the ideological and artistic features of Vasyl Stefanyk’s short stories, which indicated the expressiveness of writing and minimal authorial presence in Vasyl Stefanyk’s short stories. The writer’s memoirs, archival materials, and diaspora research were also used, including Hryhor Luzhnytsky’s article «Son of the Earth», which outlined the specifics of the development of contemporary Ukrainian theater and the urgent need to enrich the repertoire with stagings by Ukrainian authors, including Vasyl Stefanyk. The main focus of the article is on the analysis of the short story «She is the Earth», which is central in the production of the same name. It is illustrated that the earth in the works and stagings of Vasyl Stefanyk appears in various guises – Motherland, home, people, family, symbolizes the inseparability of generations. The novelty of the article is the analysis of the longevity of the Ukrainian theatrical tradition, which was intuitively felt by the novelist Vasyl Stefanyk, transforming into an artistic structure of prose text, which led to the emergence of the original genealogical form of drama in the novel. This artistic tradition has found its refraction in the modern production of the Ivano-Frankivsk National Academic Drama Theater Ivan Franko’s drama-oratorio «She is the Earth».
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Mozharivska, Iryna. "Intertextuality and intermediality of modern drama-parable (based on play “The academy of laugh” by Koki Mitany)." LITERARY PROCESS: methodology, names, trends, no. 15 (2020): 63–70. http://dx.doi.org/10.28925/2412-2475.2020.15.10.
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The article deals with the problem of finding the manifestations of intertextual reminisces in theEnglish drama of the Renaissance in the context of contemporary drama-parable consideration. In the process of analysing the play, the author draws attention to the context of intermedial connections of literature with theatrical art, considers the implementation of the principle of “game in play”, traces the manifistations of intercultural interaction between Eastern and Western culture. The events in the drama take place against a backdrop of complex historical events — The Japan-China War. The work contains references to the intertextual elements of the dramatic works of the English playwright William Shakespeare (the tragedies “Romeo and Juliet”, “Hamlet” and “Magbeth”. The comic interpretation of the play is a juxtaposition of cultures and literary genres. The author applies the concept «the theatre in the theatre», structures the work minimally through dialogue between the author and the censor. Intermediality acts as a system of interaction of one kind of art in the works of another and reveals mechanisms of mutual influence of kinds of art in the artistic culture of this or that historical period.
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Lazirko, Nataliia. "GEORGE KAISER’S WRITING IN THE RECEPTION OF YURI KLEN." Polish Studies of Kyiv, no. 35 (2019): 201–6. http://dx.doi.org/10.17721/psk.2019.35.201-206.
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The given article deals with Klen’s research of the German dramatist George Kaiser. The main parameters of artistic universe of this author are presented in the article. There are also outlined the methodological strategies of research the German dramatist’s creativity by Yuri Klen – a well-known Ukrainian literary critic. Georg Kaiser is one of the brightest representatives of theatrical and literary expressionism. His plays are the unique phenomenon in the 20th century drama. His expressionism appeared to be the special one and the global and scope of plots allowed scientists to call G. Kaiser a «new myth creator». Among world scientists, who comprehended the features of author manner of this sign artist for history of world drama, a main place belongs to the Ukrainian literary critic – Yuri Klen. In his scientific work there is the article «George Kaiser», which an author compositionally divides into seven parts. Its pre-condition is an original metaphorical lineation (vivid registration of which is adopted from astronomy), structural-semiotics assertion that every writer creation has a basic idea or favourite main image, that can be found in many writings of the author. However, in the Ukrainian literary critic’s opinion, it is not impossible to say it on the first sight about George of Kaiser because every work of this author has a new incarnate idea, new and unexpected development of a plot, new and original interpretation of that problem which has been solved in his previous works. In the article “George Kaiser” by Yuri Klen the biographic approach can be highlighted while analyzing creative works of the German dramatist. The Ukrainian literary critic also outlines the secrets of psychology of the German artist creation in expressionism manner. Expressionism drama is always drama of ideas; therefore acting persons of this drama are not individuals, but types which helps writer to lead the general action of the characters. Yuri Klen asserts transformation of images in dramas by George of Kaiser, their original reduction up to separate characters and allegories: his characters lost the outlines of people and become symbols of idea, super individual creatures, typical samples, and logic of acting can be sacrificed for the sake of the higher logic – logic of composition and dramatic construction. Few times a researcher accents on closeness an artistic world view of the German dramatist to cubism: characters mainly don’t have the names, but appear on the stage under the names: a «father», «multimillionaire», «black», «yellow» – they are structural formulas. Summarizing these the structural-semiotics searches, Yuri Klen marks once again that in George Kayiser’s works can be found: 1) central idea of man renewing which is peculiar for all his creative work; 2) leading motive of escape-chasing and 3) element of contingency which manages events, that is a case-shove which suddenly gives dynamic of action and sets fire before a man as a distant lighthouse – dream about renewal. It is also possible to assert that researches of expressionism by some authors whose creation correlates with expressionism views demonstrates complete maturity of Yuri Klen to be a serious literary critic armed by the newest methodological approaches to study literature as theoretician and practician of literature studies.
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Čirić-Fazlija, Ifeta. "“Puščic prš proži nezaslišana usoda”: anglofonsko gledališče in dramatika po koncu pandemije." ELOPE: English Language Overseas Perspectives and Enquiries 21, no. 1 (June 30, 2024): 247–64. http://dx.doi.org/10.4312/elope.21.1.247-264.
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Since the days of their conception and for most of their history, theatre institutions and the dramatic genre have indelibly reflected their immediate socio-historic contexts, including epidemics. Although forced to close for a full year during the 1918 outbreak of Spanish flu, however, modern Anglophone theatres and authors deliberately avoided exploiting the pandemic in their works. Conversely, the COVID-19 pandemic directly affected the birthing of new genres and individual plays that included it in their settings and contents, and also motivated discussions on the future of dramatic literature and theatre establishments, particularly with regard to hybrid drama. Building on its author’s previous research, this paper examines British and American dramatic literature and theatre establishments one year after the end of the pandemic, to detect whether Anglophone drama has embraced the new genres, and whether its authors have continued to reflect the pandemic in their works.
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Semak, O. I. "IHOR KOSTETSKYI AND EUGENE IONESKO: TYPOLOGY OF ARTISTIC THINKING." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 150–56. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-150-156.
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The article deals with the works of such famous playwrights as Ihor Kostetskyi and Eugene Ionesco. The comparison of the work of the Ukrainian playwright with the dramatic works of the world level made it possible to distinguish the laws that show that Ihor Kostetskyi's drama is a multi-faceted and ambiguous phenomenon in the literary process of the second half of the twentieth century. The study of the peculiarities of the literary heritage of I. Kostetskyi involves a profound analysis of the influence of the emigration factor on creative process of the writer. His close interweaving of universal, national, and moral issues was caused by life in emigration and the loss of Ukraine. The combination of Ukrainian mentality with the understanding of the philosophical concepts of the West allowed the playwright-emigrant to consider social and moral problems more panoramic. Using techniques such as phantasmagority of individual scenes, deconstructivistic distrust to language, the destruction of syntactics and paradigmatics and logical structural connections in some places allows us to characterize the poetics of I. Koste-tskyi’s style as an absurdity experiment based on the drama of the Baroque era.In the result of comparison of the heritage of Eugen Ionesco and Ihor Kostetskyi the author found that both dramatists rejected the canons of classical drama with its traditional plot, experimented with the form of works, the language of characters. The artistic material of their dramatic works unfolds through absurd situations that contrast with the world of reality.One of the problems raised by the authors is the problem of human communicability, which leads to leveling of the personality. Their verbal experiments are one of the factors in the creation of new generations of heroes. The dramatists did not abandon one of the main problems of existentialism - time as characteristics of human being.
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Akhmadiev, Rif Barievich, Ramzia Davletkulovna Mustafina, Gulfira Nigamatovna Gareeva, Sono Abdimamatovna Alieva, Rida Marsovna Latypova, and Alina Rinatovna Khairullina. "Ideological and artistic features of Azat Abdullin's dramas." SHS Web of Conferences 164 (2023): 00112. http://dx.doi.org/10.1051/shsconf/202316400112.
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This article provides a comprehensive analysis of the stage works by the Bashkir playwright, publicist, people's writer of the Republic of Bashkortostan Azat Abdullin "Do not forget me, sun!" and "Garden from Nowhere", dedicated to the creation of an artistic portrait of famous personalities of Russian literature and ballet art with tragic fates such as Sergey Chekmarev and Rudolf Nureyev. The study explored ideological-thematic, problematic, genre-style, plot-compositional features of the works, the writer's skill in revealing the inner world and creating psychological portraits of the characters. With the drama "Do not forget me, Sun!" the playwright entered literature in the 1960s. The psychological drama “The Thirteenth Chairman” written in the 1970s made him famous. The author also wrote the continuation of the drama "The Last Patriarch". The dilogy marked the resurrection of the method of critical realism even before the onset of the reform of the 1980s. Over the last decades of the 20th century, Bashkir playwrights created stage works. These plays were highly appreciated by specialists, loved by the audience and awarded high government awards. The play "Bibinur, ah, Bibinur!" by Florida Bulyakova was one of the first to be awarded the State Prize of the Russian Federation (1980). The dramatic trilogy "Validi" by N. Asanbaev about Akhmet-ZakiValidiTogan is a landmark work which became a truly creative discovery in modern Bashkir literature. One more creative achievement of the Bashkir authors was the play by the same AzatAbdullin– the drama “An Otherworldly Garden”
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Nurgali, Kadisha, Aman Zhumsakbayev, Gaini Zhambabayeva, Aiman Zeinulina, and Gauhar Tileuberdi. "Philosophical ideas in drama on the example of women's drama." XLinguae 16, no. 3 (June 2023): 48–56. http://dx.doi.org/10.18355/xl.2023.16.03.05.
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In this article, specific methodological approaches to analyzing drama from a philosophical point of view are formulated. Our research’s principal conceptual basis consists of considering the personalities of the drama characters animated in the text (and especially in the stage action) as primary attractors for readers-viewers (recipients). Drama consideration (in addition to philological, psychological, semiotic, and other aspects) is proposed as a metaphor that leads to a holistic intellectual and spiritual understanding of its social and philosophical meanings in the unity of the personal-conscious, collective unconscious, and socially determined content. In addition, a conceptual system of socio-philosophical analysis of drama as a unity of society’s real microsocial and macrosocial environments, expressed by the images of the virtual world of the dramatic work in society as a whole, is proposed and implemented. The author explains and systematizes the socio-philosophical ideas and the geo-sociocultural aspect of feminism and feminist literature (features of feminism and feminist drama in the Anglo-American reality). In addition, the author contributes to understanding an important aspect of the modern Western mentality. It is shown that women’s drama is one of the most significant genres of expression of the “philosophy of women’s lives” in the socio-cultural dimension and contains relevant social and philosophical ideas related to gender issues. The article considers the application of the modern literary approach of “feminist criticism” in combination with traditional philological and philosophical approaches, which allowed us to offer a more systematic understanding of the phenomenon of “women’s drama” and revealed the links between the ideology and practice of the feminist movement with the peculiarity of expressing the positions of specific subjects in the form of dramatic works.
Books on the topic "Drama (dramatic works by one author)"
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Lillo, George. The dramatic works of George Lillo. Oxford [England]: Clarendon Press, 1993.
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Grey, Farrar Paxton, and French Samuel 1821-1898, eds. Dramatic debuts, volume 2. Los Angeles, CA: Baker's Plays, 2010.
Find full textBook chapters on the topic "Drama (dramatic works by one author)"
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Galatà, Francesco. "Per la fortuna del Decameron nella letteratura di fine Ottocento: riscritture pascoliane edite e inedite." In Studi e saggi, 155–74. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-668-1.09.
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Although Boccaccio’s name is rarely encountered in published works of Giovanni Pascoli (1855-1912), traces of a constant reading and reuse of the Decameron have emerged and continue to emerge from the poet’s manuscripts. The article outlines the history of the already known contacts between the two authors and adds a new document: the unknown verse drama ‘Messer Gentile’, inspired by the novella X 4. This drama, designed as a one-act play with a prologue and three scenes, has been left unfinished: only the prologue and the first scene are preserved, but it is enough to appreciate some dynamics that characterize the rewriting process. A dense network of references to the most ancient Italian poetic tradition emerges from the dramatic lines, and among the manuscripts one discovers an experimental rhythmic prose composed of hendecasyllables arranged in a line that the study reconnects to the reform of modern tragic theater envisaged by Pascoli. Sebbene il nome di Boccaccio si incontri molto raramente nell'opera di Giovanni Pascoli (1855-1912), dai manoscritti del poeta sono emerse e continuano a emergere tracce di una lettura costante del Decameron. Il contributo ripercorre la storia dei contatti già noti tra i due autori e aggiunge un nuovo documento: l'inedito dramma in versi 'Messer Gentile' ispirato alla novella X 4. Il dramma, progettatto come atto unico con prologo e tre scene, rimase incompiuto: ci sono giunti soltanto il prologo e la prima scena, che sono sufficienti per apprezzare alcune delle dinamiche che caratterizzano la riscrittura. Dai versi emerge una fitta rete di riferimente alla tradizione poetica italiana delle origini e tra i manoscritti si ritrova un esperimento di prosa modulata sul ritmo continuato degli endecasillabi riconducibile all'idea di moderno teatro tragico di Pascoli.
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Fischer, Conrad. "Zwischen Historia und Fabula. Maria Stuart als gespenstische Schwellenfigur in Andreas Gryphius’ Carolus Stuardus." In Neues von der Insel, 399–414. Berlin, Heidelberg: Springer Berlin Heidelberg, 2024. http://dx.doi.org/10.1007/978-3-662-66949-5_18.
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ZusammenfassungThis article seeks to contextualize a comment by the author Gryphius on the appearance of Mary Stuart in his tragedy Carolus Stuardus (1657/1663). To explain her entry, Gryphius lectures on the historical sources from Buchanan to Camden for the portrayal of Mary Stuart as the sufferer of a trial of injustice. In contrast, there is the literary history of reception, which Gryphius doesn’t mention. Here, after her death, for example in Joost van den Vondel's drama Maria Stuart (1646), Mary Stuart is staged primarily as a Christian Catholic martyr. Gryphius, in turn, according to the central thesis of this article, transforms her Christian martyrdom into a political one by staging Mary as a spirit of the dead. As a dramatic example, Mary thus lends her (ghostly) voice to the historical injustice of the English regicide.
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Lyubimova, Marina Yu. "E.N. Chirikov’s Works in Dramatic Censorship Reports." In Maxim Gorky and World Culture: A Collection of Scientific Articles (Materials of the Gorky Readings 2018 “World Value of M. Gorky (on the 150th Anniversary of the Birth)”, 557–64. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0693-2-557-564.
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This article is devoted to the censorship history of the works written by Evgeny Nikolayevich Chirikov (1864–1932). As a writer of democratic orientation, he published his works regularly at the Knowledge Association leaded by Maxim Gorky. In 1900–1910s he was one of the most frequently staged playwrights in Russia: his plays were highly demanded by the metropolitan and provincial theatres. Many of the productions turned into significant events in the history of the Russian theatre. Leading theatre and cinema directors worked with Chirikov’s dramatic works. The most famous theatre columnists and reviewers wrote about the productions of his plays. The author of this paper provides survey of the published and archival sources for the study of the drama censorship reports describing the staging of Chirikov’s plays, as well as accompanying documents of the Russian Imperial Censorship Agency, kept in the Russian State Historical Archives (RGIA, F. 776). These documents are important for the censorship history studies: they demonstrate in detail the practice of censorship in 1902–1915s — the critical period for Russia, while the public mood upsurged before and during the 1st Russian Revolution and then recessed again. Moreover, these documents present a valuable source for the history of Russian literature and theatre. They provide rich material that helps to reconstruct the creation process of Chirikov’s dramatic works, history of their staging, and biographies of theatre troupes who worked with these plays.
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Hebbel, Friedrich. "The Relationship of Dramatic Art to its Age and Allied Matters: The Preface to Mary Magdalene(1844)." In Modern Theories of Drama, 71–79. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711407.003.0010.
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Abstract Friedrich Hebbel (1813-63) published this preface together with his third play, Mary Magdalene, in 1844. Since Mary Magdalene, then considered shocking for featuring an illegitimate pregnancy, was not to be performed until two years after publication of the text, the preface was a manifesto justifying the author’s work. In an earlier polemic, My Word about Drama (1843), Hebbel had declared his intention of combining social, historical, and philosophical motives in his playwriting. This preface, not as well known to English readers as it deserves to be for its argument, is reproduced here in shortened form. It is more than the defence of just one particular play. Unfortunately it showed Hebbel’s prose style at its most ponderous, in contrast to the highly speakable dialogue of the play itself; and it somewhat unfairly gained the author a reputation as a playwright inspired more by philosophical considerations than by living characters.
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Chesnokova, Tatiana G. "The Metamorphoses of Tradition in О. Wilde’s Comedies: Between the Comedy of Manners and the “Well-made Play”." In O. Wilde and Russia: The Issues of Poetics and Reception, 43–66. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0711-3-43-66.
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The variety of literary links and the lines of succession connecting Wilde’s comedies with the past and the future seem to be one of the truisms of Wildean studies. On the level of their formal structure Wilde’s comedies were influenced, in particular, by the English 17–18 centuries’ comedy of manners as well as the 19 century melodrama (including its manifestations in the works of the authors associated with the so-called “wellmade play”). Melodramatic elements in Wilde’s dramatic oeuvres are balanced (and partly neutralised) by those of “pure” comedy, while in the last (and the most brilliant) of his plays of the 1890s ― “The Importance of Being Earnest” ― they totally fade away. The features of both “witty” comedy of manners and sentimentally coloured melodrama, being repeatedly found in Wilde’s “society” drama, become still more dazzling if one compares his chosen comedies with the texts representative of each of the named genre models and containing the complex of motifs later used by Wilde in one of his “society” plays. In the article the above mentioned task is solved through comparative studies of Wildean comedy “Lady Windermere’s Fan” and the drama by V. Sardou “Odette”, linked with the former by shared motifs, as well as of the comedies by H. Fielding “The Modern Husband” and Wilde “An Ideal Husband” also demonstrating some plot parallels. The comparison contributes to the clarification of the role played by comedy and melodrama (especially in their interrelation) in the process of realization of the Wildean aestheticism artistic program in his works of the early and mid-1890s.
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Rojas-Lamorena, Álvaro J., Salvador del Barrio-García, and Juan Miguel Alcántara-Pilar. "No More Drama." In Handbook of Research on Contemporary Storytelling Methods Across New Media and Disciplines, 274–99. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-6605-3.ch015.
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The undeniable development of the television series sector in recent years has resulted in viewers having access to a large amount of television content, thanks largely to the development of technologies such as the internet and the emergence of video on demand. Given the scarcity of academic works that categorise these television contents, this chapter comes to conceptually delimit the television drama genre, as well as its different sub-genres. With this, the authors seek to centralise in a single academic work the main characteristics of each dramatic sub-genre that causes a series to be ascribed to a certain category, serving as a guide for potential academic works related to this growing sector.
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Maeterlinck, Maurice. "The Tragical in Daily Life (1894)." In Modern Theories of Drama, 115–21. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711407.003.0015.
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Abstract The following essay by the playwright, poet, and essayist Maurice Maeterlinck (1862-1949) was first published in Le Figaro in 1894. This manifesto, widely noted at the time and frequently quoted since, called for a new type of drama, a drama of stasis. The theory came on the heels of the success of Maeterlinck’s early plays—e.g. The Blind and The Intruder (both 1890)—which had death at the centre of the action, or rather inaction, and which had caused the young author to be hailed by one French critic as the ‘Belgian Shakespeare’. With their emphasis on stillness and inwardness, these plotless ‘death dramas’ were like motionless tableaux rather than dramatic events in the conventional sense. They set out to capture a timeless moment which would invite the spectators to contemplate ineffable mysteries in a meditative frame of mind. While the ‘soulful’, 1890-ish style of the essay may well strike the modern reader as dated; while Maeterlinck’s approach to dramatic structure was diametrically opposed to what, from Aristotle onwards, had always been regarded as the one essential ingredient of drama, viz.
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Barker, Howard. "Theatre without a Conscience (1990)." In Modern Theories of Drama, 55–61. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711407.003.0008.
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Abstract In his dramatic output of over fifty works for stage, radio, television, and film, the English author Howard Barker (b. 1946) occupies a singular niche. Though originally taking a left-wing satirical stance he has come to advocate a morally and politically ambiguous ‘Theatre of Catastrophe’; this aggressively black viewpoint he has defended in a collection of essays, Arguments for a Theatre. The following piece from that book was first delivered as a paper at the University College of Wales, Aberystwyth, in 1990. Barker’s plays present striking but ambiguous images rather than conventionally readable plots and refuse to give any easy guidelines for deciphering the action. In order to force audiences to do their own thinking, Barker uses disjunctions of every kind-abrupt changes of character, multivalent time and place, sudden switches of tone. Since the British theatre and broadcast media have not proved wholly sympathetic to this difficult genre, a company-the Wrestling School-began work in 1988 with the sole aim of staging his plays.
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White, John. "What Would it Be to “Turn the World Upside Down”? Fanny Lye Deliver’d (Thomas Clay, 2019)." In British Cinema and a Divided Nation, 35–48. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474481021.003.0003.
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This film challenges the conventional boundaries of the period drama more strongly than the preceding film. The historical context positions us once more at dramatic moment of tension between radical ideas and conservative values. Charles I has been executed less than ten years before but a few years further on will see the restoration of the monarchy. Patriarchy and the female position in society are challenged, and freedom of personal (sexual) expression is set against oppressive religious strictures. The film is conscious of its place both within the context of a particular genre in British cinema and within the lineage of auteur-work in British cinema that has challenged conventional cinematic form.
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Prushkovska, Iryna. "TURKISH TRANSLATIONS OF SHAKESPEARE’S WORKS: LITERARY INTEGRATION." In European vector of development of the modern scientific researches. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-077-3-18.
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The article is devoted to the analysis of the functioning of Turkish translations of Shakespeare's poetry and dramaturgy, the formation of a holistic picture of the stages of discovery of Shakespeare by the Turks. The aim of the study is to identify and present the main points related to the transfer of Shakespeare's word into Turkish culture through translations from European languages. The proposed study is focused on translation aspects, as translation has become the first link in the dialogue between English and Turkish literature during the contact and interaction of Turkish literature with the Western, the processes of familiarization of the Shakespeare with the Turks, the perception and reproduction of Shakespeare's creativity on Turkish soil. In this study we used such methods as the cultural-historical method, which focuses on the translation of Shakespeare's works in relation to the cultural-historical development of Turkish society; a comparative method aimed at comparing the original sonnets and dramas of Shakespeare with translations into Turkish; receptive-aesthetic method, focused on focusing on how the pictorial and expressive artistic means of Shakespeare's works in Turkish translations are projected on the recipient (reader), convey to him the author's idea. Particular attention is focused on the translation analysis of some sonnets and dramas. Working with factual material revealed the basic prerequisites for entry into the Turkish literature of Shakespeare's works (Divan literature, the period of reforms), made it possible to characterize the first stage of translation studies – namely, the translation of Shakespeare through the prism of the French language, and accordingly the translation from the French language. As a result, we conclude that no artistic translation, especially poetic one, can be definitive, since there are always unrealized reserves of the original hidden in the multifacetedness of its associative relations. And each translation is only a certain link, the voicing of voices in the process of functioning of the artistic image. This can be explained by the considerable number of translations in Turkish of both the poetic and dramatic works of Shakespeare from the second half of the 19th century to the present. Also the great potential of the Turkish youth in the translation field has been revealed, which is certainly facilitated by the popularity of English and literature in higher education. institutions.