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Relevant bibliographies by topics / Drama productions

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Academic literature on the topic 'Drama productions'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "Drama productions"

1

Flanagan, Pamela. "The curated representation of Saga Norén: Interweaving narratives of fashion and interiors." Film, Fashion & Consumption 9, no. 1 (2020): 99–124. http://dx.doi.org/10.1386/ffc_00014_1.

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Abstract Nordic Noir dramas have dominated the landscape of contemporary television, transforming the crime genre beyond the traditional English-speaking productions whilst forging a path for female protagonists to dominate. This article seeks to analyse the relationship between the narrative, fashion and interiors through the main female protagonist Saga Noren (Sofia Helin) in Bron/Broen (The Bridge) (2011‐18), the Danish-Swedish production of the Nordic Noir drama.

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Puszak, Lubomir. "Твори Лесі Українки у світлі рампи сучасного театру". Kultury Wschodniosłowiańskie - Oblicza i Dialog, № 7 (31 липня 2018): 135–52. http://dx.doi.org/10.14746/kw.2017.7.11.

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The paper continues an earlier work on the stage production of dramatic works by Lesya Ukrainka in Ukrainian theatres. It presents the overview of stage productions put on in the years of 2012 to 2016, as well as productions, which had been staged earlier but are still performed on the stage. The study is based on the overview and the analysis of publications in Ukrainian theatre periodicals available online, as well as on the data presented on the websites of Ukrainian theatres. The analysis of the material leadsto the conclusion that Lesya Ukrainka’s dramatic works included in the current li

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Fitzgerald, Gerald. "Textual Practices and Euripidean Productions." Theatre Survey 33, no. 1 (1992): 5–22. http://dx.doi.org/10.1017/s0040557400009571.

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This paper has two principal, though interrelated, objectives: to survey issues concerning the status of the texts of Greek Tragedy, particularly with respect to specific distinctions between a play as text-based and as audience experienced, between the “eye” of the reader of a play text and the eye of the theatrical spectator; and to consider some implications of these distinctions for Euripidean drama, above all with respect to The Bacchae, since its procedures, albeit more developed or extravagant than elsewhere, may be construed as characteristic for this drama. Much of what I shall say ha

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Portmann, Alexandra. "Shakespeare’s new contemporariness, or Hamlet in the Yugoslav Drama Theatre of the 21st century." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (2018): 172–84. http://dx.doi.org/10.1177/0184767818763427.

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This article investigates how Shakespeare’s Hamlet has become a platform for negotiating memory politics in Serbia in the new millennium. Focusing on two productions in Belgrade’s Yugoslav Drama Theatre since 2005 (Dušan Jovanović, 2005 and Aleksandar Popovski, 2016) and one adaptation, Cirkus istorija (Sonja Vukičević, 2006), the specific conditions for each of the productions’ actualization are investigated. Through a discussion of these Hamlet productions, the analysis reveals the ways in which the repeated staging of classical dramatic texts, with each production embedded within a specific

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Dunleavy, Trisha. "Transnational co-production, multiplatform television and My Brilliant Friend." Critical Studies in Television: The International Journal of Television Studies 15, no. 4 (2020): 336–56. http://dx.doi.org/10.1177/1749602020953755.

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Rai/HBO co-production L’Amica Geniale/ My Brilliant Friend (2018–) provides an illuminating example of changing strategies for transnational drama co-production in television’s burgeoning ‘multiplatform’ era. Foregrounding institutional over textual analysis, the article places My Brilliant Friend ( MBF) within the industrial, creative and cultural contexts that have facilitated it. Important to these contexts is that transnational co-productions between non-US broadcasters and US-based premium networks are not only increasing but also exhibiting a new degree of cultural diversity. The article

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Richardson, Kay. "Multimodality and the study of popular drama." Language and Literature: International Journal of Stylistics 19, no. 4 (2010): 378–95. http://dx.doi.org/10.1177/0963947010377948.

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This article reviews a range of methodological issues in the study of dialogue in popular drama (film and television). First of all it discusses some of the factors that may until recently have acted to discourage such research, showing that there are no intractable difficulties. Secondly it compares two recent logocentric studies of dialogue-in-film, one emerging from stylistics itself (McIntyre, 2008) and one from film studies (Kozloff, 2000), both of which, despite a primary focus on interactive spoken language, recognize and address the multimodal character of film productions. Finally, it

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Loads, Matthew. "Transmedia Television Drama: Proliferation and Promotion of Extended Stories Online." Media International Australia 153, no. 1 (2014): 41–52. http://dx.doi.org/10.1177/1329878x1415300106.

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This article reports on a study of additional transmedia content that is available online in relation to all Australian television drama productions and high rating international drama productions in a five-month period, between January and June 2012. In particular, it asks what additional material exists, and develops a typology of different types of content in order to further explain the current state of play in Australian production. The study examines extended storytelling texts developed specifically for the internet, like ‘webisodes’. It also considers other video and further content th

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Adamou, Christina. "REVISITED: Answering the Question." Samuel Beckett Today / Aujourd'hui 15, no. 1 (2005): 201–10. http://dx.doi.org/10.1163/18757405-015001018.

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This article reads the two productions of for the screen, focusing on the ways in which they relate to modernism and postmodernism. The readings draw on methodologies developed for television drama and film and seek to draw attention to the role that aesthetics, production contexts and cultural assumptions may play in reading and 'classifying' a production.

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Smart, Billy. "Three Different Cherry Orchards, Three Different Worlds: Chekhov at the BBC, 1962–81." Critical Studies in Television: The International Journal of Television Studies 9, no. 3 (2014): 65–76. http://dx.doi.org/10.7227/cst.9.3.7.

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Unlike the theatre, there is no established tradition of plays being revived (new productions made from existing scripts) on television. The only instance of this mode of production in Britain has been the regular adaptation of classic theatrical plays. The existence of three separate BBC versions of Chekhov's The Cherry Orchard (1962, 1971, 1981) creates a rare opportunity to trace developing styles of direction and performance in studio television drama through three different interpretations of the same scene. Through close analysis of The Cherry Orchard, I outline the aesthetic and technol

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Holderness, Graham. "The Albatross and the Swan: Two Productions at Stratford." New Theatre Quarterly 4, no. 14 (1988): 152–58. http://dx.doi.org/10.1017/s0266464x00002682.

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Has the Royal Shakespeare Theatre in Stratford become an expensive irrelevance – actually hindering what should be the real work of the parent company, which has to expend so much of its cash and its energy in running it? Certainly, some were tempted to suggest so when the RSC's most exciting Shakespeare productions of the ‘seventies seemed to be emerging from the spartan environment of The Other Place. Now, Graham Holderness, through a detailed comparison of last season's main-house revival of The Taming of the Shrew and the Swan production of Titus Andronicus, argues that the creation of the

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Dissertations / Theses on the topic "Drama productions"

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Rice, Laura Elizabeth. "Productions of medieval drama in the 1951 Festival of Britain." Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.723442.

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Freitas, Maria da GlÃria Feitosa. "Palcos together lives manufacturing - a nomadic skill to learn of dramistas." Universidade Federal do CearÃ, 2006. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=149.

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FundaÃÃo de Amparo Ã Pesquisa do Estado do CearÃ<br>ABSTRACT This paper reports registrations from about 50 writers, who can be drama-players, from the first generation in the 1940âs to the last one (up to 2001), or drama-players from GuriÃ, in the west coast of CearÃ and even its players who followed their famous presentations. Such intense collection of beginning drama-playersâ and drama mistressesâ life stories shows their productions were immortalized by outstanding inventiveness in each production and also for incursions very appreciated by the neighbouring communities, which appreciated

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Garde, Ulrike 1964. "The Australian reception of Austrian, German and Swiss drama : productions and reviews between 1945 and 1996." Monash University, German Studies, 2000. http://arrow.monash.edu.au/hdl/1959.1/8820.

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Lau, Yuk-wah Margaret, and 劉玉華. "The role of English in Hong Kong theatre and dance productions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26852792.

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Beal, Ara Grabaskas. "MISCASTING THE SPECTATOR: DRAMATURGS AND AUDIENCES IN TRANSCULTURAL PRODUCTIONS." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1114146896.

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Streeter, Joshua Aaron. "Greek Tragedy and Its American Choruses in Open Air Theaters from 1991 to 2014: The Cases of Gorilla Theatre Productions and The Classic Greek Theatre of Oregon." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu155534000939454.

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Chow, Po-fun Wendy, and 周寶芬. "Marketing of local drama production in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31268730.

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Chow, Po-fun Wendy. "Marketing of local drama production in Hong Kong /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19876555.

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Benson, Simon. "The production of early modern dramatic space : practices, places and perceptions." Thesis, University of Hull, 2010. http://hydra.hull.ac.uk/resources/hull:2719.

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From the introduction:This dissertation explores the nature and development of dramatic space in early modern England. Arguing that essential to its quality and character was the early modern player’s ability to produce highly creative and productive spatial textures and experiences, this dissertation examines some of the shifting attitudes to and uses of space from ca. 1516 (the date of publication of Thomas More’s Utopia) to the first decade of the 17th century for what they reveal about the spatial economies that common playing responded to, participated in, developed and sustained. The the

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Whitfield, Sarah. "Kurt Weill : the 'composer as dramatist' in American musical theatre production." Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/657.

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The aim of this thesis is to critically examine Weill‘s negotiation of American cultural industries and his collaborative practice in making musicals there. It addresses the influence of the earlier, now discredited, concept of ‗Two Weills‘, which has engendered an emphasis on identity within the current literature. It proposes that Weill scholarship has been further constrained by problematic perceptions of Weill‘s position as both a European modernist composer and an exile in America. Each of these contexts suggests romanticised notions of appropriate behaviour, for a composer, and of autono

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Books on the topic "Drama productions"

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Dramatic structure and meaning in theatrical productions. EmText, 1992.

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No peeping under the curtain: Tips and scripts for school drama productions. Scarecrow Press, 1994.

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Jo, Martin, and Melville Josephine, eds. Aarawak Moon Productions and Theatre Royal Stratford East present Shoot 2 win. Oberon, 2002.

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Shakespeare in space: Recent Shakespeare productions on screen. Peter Lang, 2002.

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Outstanding Broadway dramas and comedies: Pulitzer Prize winning theater productions. Lit Verlag, 2013.

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6

Nordstrom, Mary. Outdoor drama: Pictorial guide to over fifty annual productions in the United States. North South Artscope Publications, 1985.

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Normington, Katie. Modern mysteries: Contemporary productions of medieval English cycle dramas. D.S. Brewer, 2007.

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Clare, Janet. Theatre of the air: A checklist of radio productions of Renaissance drama, 1922 - 1986 : with an appendix of television productions (excluding Shakespeare). Graduate School of Renaissance Studies, University of Warwick, 1986.

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Bhuchar, Sudha. Fourteen songs, two weddings and a funeral: Based on Rajshri Productions' film "Hum Aapke Hain Koun". Methuen Drama, 2001.

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Swanson, Dwight. The play book: A complete guide to quality productions for Christian schools and churches. Promise Productions, Inc., 1995.

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Book chapters on the topic "Drama productions"

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Weissmann, Elke. "The National in International Co-Productions." In Transnational Television Drama. Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283948_7.

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Sundet, Vilde Schanke. "Drama as Flagship Productions: Small-Nation Television and Digital Distribution." In Danish Television Drama. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40798-8_8.

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McElroy, Ruth, and Caitriona Noonan. "Locating Regional Production." In Producing British Television Drama. Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-57875-4_4.

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Pickering, Kenneth. "Production Concepts." In Key Concepts in Drama and Performance. Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-10965-1_3.

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Pickering, Kenneth. "Production Concepts." In Key Concepts in Drama and Performance. Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-80372-5_3.

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McElroy, Ruth, and Caitriona Noonan. "The Ecology of TV Drama Production." In Producing British Television Drama. Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-57875-4_3.

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McElroy, Ruth, and Caitriona Noonan. "Power and Sustainability in TV Drama Production." In Producing British Television Drama. Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-57875-4_7.

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Sundet, Vilde Schanke. "Changing Production Cultures." In Television Drama in the Age of Streaming. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-66418-3_3.

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Howard, Jean E. "Dancing Masters and the Production of Cosmopolitan Bodies in Caroline Town Comedy." In Localizing Caroline Drama. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9780230601611_8.

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Cardwell, Sarah. "Persuaded? The Impact of Changing Production Contexts on Three Adaptations of Persuasion." In British Television Drama. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137327581_9.

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Conference papers on the topic "Drama productions"

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Kumagai, Masashi, and Kiyotaka Aoki. "Utilizing “Synthe-Vision” for Drama Production." In SMPTE Technical Conference. IEEE, 1995. http://dx.doi.org/10.5594/m00509.

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Van Rijsselbergen, Dieter, Maarten Verwaest, Barbara Van De Keer, and Rik Van de Walle. "Introducing the Data Model for a Centralized Drama Production System." In Multimedia and Expo, 2007 IEEE International Conference on. IEEE, 2007. http://dx.doi.org/10.1109/icme.2007.4284725.

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Chijimatsu, Tatsuo, Toru Higashi, Yasuko Tabata, Naoyuki Ishiwata, Satoru Asai, and Isamu Hanyu. "Implementation of attenuated PSMs in DRAM production." In SPIE's 1996 International Symposium on Microlithography, edited by Gene E. Fuller. SPIE, 1996. http://dx.doi.org/10.1117/12.240918.

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Bergendahi, Albert, and David Horak. "Cluster Processing For 16-Mb DRAM Production." In 1989 Microelectronic Intergrated Processing Conferences, edited by Robert S. Freund. SPIE, 1990. http://dx.doi.org/10.1117/12.963942.

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Shirai, Hisatsugu, Katsuyoshi Kobayashi, and Kenji Nakagawa. "64-Mbit DRAM production with i-line stepper." In Optical/Laser Microlithography IV, edited by Victor Pol. SPIE, 1991. http://dx.doi.org/10.1117/12.44786.

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Fischer, Werner, Ines Anke, Giorgio Schweeger, and Joerg Thiele. "Simulation-based proximity correction in high-volume DRAM production." In Microlithography 2000, edited by Christopher J. Progler. SPIE, 2000. http://dx.doi.org/10.1117/12.389078.

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Kim, Youngil, Hyungchae Jeon, Jaeguen Chung, et al. "New Insight into Interconnect Defect Analysis for DRAM." In ISTFA 2017. ASM International, 2017. http://dx.doi.org/10.31399/asm.cp.istfa2017p0508.

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Abstract As various types of DRAM package have been developed, new defects in interconnection in chip have been discovered after assembly process such as flip chip bump mount or wire bonding. There are lots of regular inspections in manufacturing process to detect assembly defects, but it is not easy to find all of the defects. We used a method to classify physical failures based on electrical measurements. Conventional open and short tests by using ISVM were used to support the mass production. External voltage sweep is employed to distinguish weak defects from strong defects of interconnecti

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Conley, Will, William R. Brunsvold, Richard A. Ferguson, et al. "Negative DUV photoresist for 16Mb-DRAM production and future generations." In SPIE'S 1993 Symposium on Microlithography, edited by William D. Hinsberg. SPIE, 1993. http://dx.doi.org/10.1117/12.154744.

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Sewell, Harry, Scott J. Smith та Daniel N. Galburt. "0.10-μm overlay for DRAM production using step and scan". У Microlithography '90, 4-9 Mar, San Jose, редактор Victor Pol. SPIE, 1990. http://dx.doi.org/10.1117/12.20193.

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Kim, Jang-Sun, Jin-Moo Byun, Remco Lancee, et al. "YieldStar uDBO overlay metrology in Samsung D1y DRAM volume production." In Metrology, Inspection, and Process Control for Microlithography XXXIII, edited by Ofer Adan and Vladimir A. Ukraintsev. SPIE, 2019. http://dx.doi.org/10.1117/12.2514931.

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Reports on the topic "Drama productions"

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Lotz, Amanda, Anna Potter, Marion McCutcheon, Kevin Sanson, and Oliver Eklund. Australian Television Drama Index, 1999-2019. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.212330.

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This report examines changes in the production and commissioning of Australian television drama from 1999–2019, a period marked by notable changes in the business of television in Australia and globally. More production companies now make drama in Australia; however, the fact that more companies share less than half the annual hours once produced raises concerns about sustainability. Several major Australian production companies have been acquired by foreign conglomerates and challenge the viability of domestic companies that lack access to international corporate capital and distribution. The

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