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Journal articles on the topic 'Drama productions'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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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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3

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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6

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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El-Nasr, Magy Seif. "Interaction, narrative, and drama." Interaction Studies 8, no. 2 (2007): 209–40. http://dx.doi.org/10.1075/is.8.2.03eln.

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Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due

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Turnbull, Sue, and Felicity Collins. "Old Dogs, New Tricks: Beyond Simpson Le Mesurier, Crime-Comedy and the Telemovie Series." Media International Australia 100, no. 1 (2001): 33–48. http://dx.doi.org/10.1177/1329878x0110000106.

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Roger Simpson and Roger Le Mesurier are veterans of commercial television drama production (from Division 4 to Stingers). In the post-Skase/Bond era of deficit funding, their innovative telemovie series (Halifax f.p., Dogwoman) and crime-comedy series (Good Guys Bad Guys) have tested the boundaries of Australian television's staple drama format, the crime series. Taking actors (Rebecca Gibney, Marcus Graham, Magda Szubanski) as hooks for the networks, the joint venture company Beyond Simpson Le Mesurier has brought elements of sketch comedy and a high-concept film aesthetic to the crime series

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Mateo, Marta. "Successful strategies in drama translation: Yasmina Reza’s “Art”." Meta 51, no. 1 (2006): 175–83. http://dx.doi.org/10.7202/013006ar.

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Abstract Yasmina Reza’s “Art” has been widely acclaimed ever since it opened in Paris in 1994: the different productions which have followed the French original in more than 40 countries have enjoyed equal success. This success, both among audiences and critics, may be attributed to the play’s universal themes, to the tone and richness of its dialogue and to the good acting most productions have displayed. But the fact that the play has been appreciated in so many different countries and languages inevitably implies that translation is also at the centre of its success. This paper analyses two

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Lešnik, Irina. "Drama in Education Reaching Beyond the “Art Form or Teaching Tool” Dichotomy." European Journal of Social Science Education and Research 5, no. 3 (2018): 70–77. http://dx.doi.org/10.2478/ejser-2018-0059.

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Abstract In the following article we try to re-evaluate, the place drama occupies in contemporary elementary education. By limiting the role of drama to literature studies and theatre productions, we lose a greater potential Theatre Pedagogy has to offer to a much broader educational spectrum. The participatory practices of Theatre and Drama in Education (TiE, DiE) promote active learning, based on a most organic children’s activity - play. While students co-create the fictional world of drama, teacher's guidance is crucial in setting new challenges, encouraging students to find creative solut

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Rogers, Megan. "Actors of Dionysus." Journal of Classics Teaching 20, no. 40 (2019): 35–36. http://dx.doi.org/10.1017/s205863101900031x.

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Actors of Dionysus (aod) is a charity and theatre company with 26 years of experience of creating radical adaptations of Ancient Greek drama and new writing productions inspired by myth. Since 1993 we have toured over 50 productions nationally and internationally, performed to over 750,000 people and become the UK's leading interpreters in this field.

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Diamond, Catherine. "The Floating World of Nouveau Chinoiserie: Asian Orientalist Productions of Greek Tragedy." New Theatre Quarterly 15, no. 2 (1999): 142–64. http://dx.doi.org/10.1017/s0266464x00012835.

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Criticism is increasingly being levelled at western directors who, in the name of a vague intercultural aesthetic, embark on experiments combining western texts with various kinds of oriental movement, costume, and music. In this article, Catherine Diamond raises the same issues in regard to productions of western drama in Asia, and offers a detailed analysis of three productions of ancient Greek tragedies to reveal how a new kind of non-specific orientalism has come to pervade the international stage, originating no less in Asia than in the West. Lavish productions, mounted to impress the int

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Sand, Stine Agnete, and Thomas Vordal. "‘Northern, not Nordic noir’: A Norwegian case study on crime series and strategies for transnational television." Journal of Scandinavian Cinema 11, no. 2 (2021): 157–76. http://dx.doi.org/10.1386/jsca_00045_1.

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This article discusses transnational television and what strategies public service broadcaster NRK Drama has pursued to make the Norwegian crime series Monster: Brutally Far North travel. Monster was the first Norwegian-language television series bought by a major American cable network, Starz. Using the concept of production values, we argue that NRK has made a series that is able to ride the Nordic noir wave of success while also offering a new northern Norwegian version of the western. These two factors made Monster a good fit for the American market. The series is a result of strategic cha

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Dunleavy, Trish. "A Soap of Our Own: New Zealand's Shortland Street." Media International Australia 106, no. 1 (2003): 18–34. http://dx.doi.org/10.1177/1329878x0310600104.

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Shortland Street is a prime-time soap opera that launched on New Zealand television in 1992 and was created to meet a combination of commercial and ‘public service’ objectives. Shortland Street is institutionally and culturally significant as New Zealand's first attempt at daily drama production and one of the first major productions to follow New Zealand television's 1989 deregulation. Placing Shortland Street in the context of national television culture and within the genre of locally produced TV drama, this paper explores several key facets of the program, including: its creation as a co-p

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Hill, John. "From Five Women to Leeds United!: Roy Battersby and the Politics of ‘Radical’ Television Drama." Journal of British Cinema and Television 10, no. 1 (2013): 130–50. http://dx.doi.org/10.3366/jbctv.2013.0126.

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Focusing on the work of the left-wing film and television director Roy Battersby, this article seeks to shed light on the issues at stake in the controversies surrounding the production and reception of ‘radical television drama’ during the late 1960s and early 1970s. Through an examination of a number of BBC productions that were either cut (Five Women), banned (Hit Suddenly Hit) or the subject of moral and political objections (The Operation and Leeds United!), the discussion indicates how arguments over ‘radical’ television drama involved a degree of shift away from concerns with the blurri

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Shevtsova, Maria. "Lev Dodin and the Maly Drama Theatre: Uncle Vanya to King Lear." New Theatre Quarterly 22, no. 3 (2006): 249–56. http://dx.doi.org/10.1017/s0266464x06000455.

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Audiences who marvelled at the Maly Theatre’s Uncle Vanya during its 2005 UK tour will be astonished to discover Sergey Kuryshev and Pyotr Semak, Vanya and Astrov respectively, transformed virtually beyond recognition in King Lear, the Maly’s most recent production. Lear, here briefly previewed by Maria Shevtsova, will be performed at the Barbican Centre in London from 10 to 14 October 2006, and plans are under way for it to travel elsewhere in the country. The Maly Drama Theatre – Theatre of Europe (its full title since 1998) has developed a unique approach in both rehearsing and performing i

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Johnson, Eric J. "A THEATRICAL AND TEXTUAL LABORATORY: THE CLAUDE E. ANIBAL COLLECTION OF SPANISH DRAMA." Theatre Survey 53, no. 2 (2012): 279–87. http://dx.doi.org/10.1017/s0040557412000099.

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For generations, scholars of seventeenth- and eighteenth-century Spanish drama have been attempting to define the parameters that characterize the comedia suelta, but to date no firm consensus about the form's textual or generic qualities has been reached. Broadly defined, the term comedia suelta embraces theatrical works written in a variety of styles, including farsas (short, humorous, carnivalesque texts); sainetes (short productions or distinct portions of larger works that are normally danced and sung); eglogas (brief pastoral works, often with sad or somber overtones); entremeses (concis

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Samsel-Chojnacka, Monika. "Figura błazna jako alter ego Bergmana w teatrze." Studia Scandinavica, no. 2 (22) (December 28, 2018): 46–62. http://dx.doi.org/10.26881/ss.2018.22.03.

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One of Bergman’s favourite figures was the jester or the clown. When appearing on stage, they gather the whole attention of both audience and other characters. In theatre productions Bergman used three strategies to express his fondness for this figure – he either emphasized jesters already existing in the text of the drama, provided other characters with clownish features (both visual and mental), or he even created clown-like figures and added them to the original drama. This was done not only to stress comic aspects, but mainly to expose the psychological complexity of the personalities of

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Ruru, Li. "Sino the Times: Three Spoken Drama Productions on the Beijing Stage." TDR/The Drama Review 45, no. 2 (2001): 129–44. http://dx.doi.org/10.1162/105420402760157727.

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Today's modern theatre in Beijing shows new talents and direc—tionsas well as problems that are part of the uncertainties of Chi-nese society—in what may be the most intriguing transitional period in Chinese history.

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Ward, Susan, and Anna Potter. "H2O: Just Add Branding: Producing High-Quality Children's TV Drama for Multi-Channel Environments." Media International Australia 133, no. 1 (2009): 31–42. http://dx.doi.org/10.1177/1329878x0913300108.

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This is a case study of the Australian company Jonathan M. Shiff Productions and its ‘tween’ program, action series H2O: Just Add Water. The program has sold in 150 countries including the United States, where it was ‘the first non-American live action to be bought by Nickelodeon in America’ and screens every Sunday night as family entertainment. It is also the highest rating children's drama series on Nickelodeon UK. While Australia's content regulations are important to its production, of critical importance is ZDF Enterprises, the commercial arm of one of Germany's two public service broadc

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McNaughton, Douglas. "‘Constipated, studio-bound, wall-confined, rigid’: The Influence of British Actors’ Equity on BBC Television Drama, 1948–72." Journal of British Cinema and Television 11, no. 1 (2014): 1–22. http://dx.doi.org/10.3366/jbctv.2014.0189.

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Critical orthodoxies around the multi-camera television studio characterise it as a ‘theatrical’ space, driven by dialogue and performance. Troy Kennedy Martin (1964) decried television drama's essential naturalism, demanding a more filmic form of drama in a polemic which has strongly influenced critical thinking on multi-camera studio television. Caughie (2000) suggests that Armchair Theatre created a ‘space for acting’, but in the main, the studio is seen as a constraining and interiorising dramatic site, in thrall to liveness and reliant on theatrical unities. This article draws on research

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Shevtsova, Maria. "Lev Dodin's ‘Musical Dramatic Art’ and the World of Opera." New Theatre Quarterly 20, no. 4 (2004): 341–53. http://dx.doi.org/10.1017/s0266464x04000235.

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Lev Dodin has broken numerous boundaries with the Maly Drama Theatre of St Petersburg, the company he has directed since 1983. Their collective devising, explorations, and discoveries for a repertory theatre based on the long-term development of its actors and the change, over time, of its productions make Dodin and the Maly unique on the international stage. Maria Shevtsova, whose recently published book Dodin and the Maly Drama Theatre: Process to Performance (Routledge, 2004) closely follows the company's work, here details Dodin's direction of opera, which, she argues, is inextricable from

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SUGIERA, MAŁGORZATA. "Beyond Drama: Writing for Postdramatic Theatre." Theatre Research International 29, no. 1 (2004): 6–28. http://dx.doi.org/10.1017/s0307883303001226.

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The article begins with a short description of the current situation in Polish theatre where the traditional understanding of a dramatic text has made the reception of formally innovative European playwriting difficult. On the basis of recent German plays by Rainald Goetz, Dea Loher and Roland Schimmelpfennig, which have been translated into Polish and published but have not yet received significant productions, the article tries to answer two important questions. Firstly, how the postdramatic texts written for avant-garde, feminist and postcolonial theatre during last three decades have influ

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Bar-Yosef, Eitan. "Zionism, Apartheid, Blackface." Representations 123, no. 1 (2013): 117–53. http://dx.doi.org/10.1525/rep.2013.123.1.117.

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Numerous theatrical productions in 1950s Israel employed blackface to simulate negritude on the stage. Focusing on Habima’s 1953 production of Lost in the Stars—the musical drama based on Alan Paton’s best-selling novel Cry, the Beloved Country—and reading it in the context of Israel’s involvement in postcolonial black Africa, this essay demonstrates how, by reflecting the slippery nature of Jewish whiteness, blackface performances on the Hebrew stage captured the complex relationship between Zionism and apartheid.

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Aslam, Shabina, and Eleanor Dare. "Skype, Code and Shouting: A Digitally Mediated Drama between Egypt and Scotland." Leonardo 48, no. 3 (2015): 284–85. http://dx.doi.org/10.1162/leon_a_01011.

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Springtime (Tron Theatre, Glasgow, 19 May 2012) was a computationally mediated theatrical performance involving Arab and Glaswegian-Arab actors and musicians. The project was produced by Ankur Theatre Productions, Scotland’s foremost black and ethnic minority theatre company. Springtime was directed by the dramaturge Shabina Aslam. Against the backdrop of the “Arab Spring” and its aftermath, the play explored issues of authenticity and identity as mediated through multiple technologies. This paper explores the impact and significance of the production and evaluates the use of Skype, social med

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Prunet, Monique. "A Melting Pot of Talents." Theatre Research International 25, no. 2 (2000): 149–59. http://dx.doi.org/10.1017/s0307883300012979.

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Over the last forty years, Bulgarian drama has displayed a remarkable variety, reflecting recent political changes. Most playwrights write poetry as well as plays, which may account for the metaphorical quality of a great proportion of contemporary Bulgarian drama. Their talents have blossomed in a wealth of productions dealing with topical issues and concerns, deeply rooted in the country's cultural traditions and way of life. In the following, non-exhaustive, survey, we shall try to present that variety through brief vignettes of those playwrights most familiar to a Bulgarian audience.

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Liew Kai Khiun. "Post-Confucian East Asian television dramas: Staging medical politics inside the White Tower." International Journal of Cultural Studies 14, no. 3 (2011): 251–64. http://dx.doi.org/10.1177/1367877910391865.

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Between 2003 and 2007, three versions of the Japanese novel, Shiroi Kyotou ( The Great White Tower) were screened as television drama serials in Japan (2003), Taiwan (2006) and South Korea (2007). The phenomenon of White Tower reflects the vibrant multiculturality and transnationality of East Asian television dramas. Accordingly, this article seeks to use the various narratives of White Tower as manifestations of the underlying tensions of post-authoritarian and post-miracle economies of Taiwan, South Korea and Japan. While audiences are awed by the technologically sophisticated hospital setti

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Pelletier, Martine. "Brian Friel on the french stage: from Laurent Terzieff to women directors of Dancing at Lughnasa." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 73, no. 2 (2020): 85–97. http://dx.doi.org/10.5007/2175-8026.2020v73n2p85.

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The success of Brian Friel's drama on stage in the English-speaking world is beyond dispute. Many plays of his plays have also been widely translated leading to numerous productions worldwide. My concern in this article is with French-language productions. The focus in this article will be, first, on the association between Brian Friel and the late great French actor and director Laurent Terzieff, who introduced French theatre professionals and audiences to Friel; and secondly on Dancing at Lughnasa, the play that has been most often performed on French stages, with specific reference to produ

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Katona, Eszter. "Bodas de sangre de Federico García Lorca en las tablas húngaras. Algunas representaciones memorables entre 1957-2014." Acta Hispanica 19 (January 1, 2014): 79–100. http://dx.doi.org/10.14232/actahisp.2014.19.79-100.

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The House of Bernarda Alba was the first play of Federico Garcia Lorca that was staged by a Hungarian company in 1955. Hungarian directors followed with close attention the dramas of the Andalusian playwright and two years later, in 1957, the Hungarian National Theater included on its program another play of Lorca, Blood Wedding, written in 1933. Since then, the popularity of this drama on Hungarian stages has not diminished at all, it also inspired dance and opera adaptations. Recently, in the 2013-2014 season, Magyar Színház theater has also staged this play. The aim of this paper, which has

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Pasto, David J. "The Origin of Public Attendance at the Spanish Court Theatre in the Seventeenth Century." Theatre Survey 28, no. 2 (1987): 41–49. http://dx.doi.org/10.1017/s004055740000048x.

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During the Siglo de Oro, the Golden Age of Spanish drama (1580–1680), the Spanish court sponsored many types of theatrical entertainments. The kings and queens of Spain enjoyed re-enactments of battles, processions using triumphal arches and cars, invenciones (scenic charades), ballets, and máscaras (masques). In addition to these theatrical forms, two major types of drama developed at court towards the end of the sixteenth century. N.D. Shergold refers to these forms as particulares, or command performances of plays from the public repertory, and festival plays: elaborate productions involvin

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ROMERO, RAMÓN ESPEJO. "Some Notes about Arthur Miller's Drama in Francoist Spain: Towards a European History of Miller." Journal of American Studies 39, no. 3 (2005): 485–509. http://dx.doi.org/10.1017/s0021875805000629.

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Since Arthur Miller is frequently considered the most European of American playwrights it is hard to understand why we still lack a history of his drama in our continent and hence ignore much more about its presence here than we know. Unfortunately that has given rise to misconceptions which it would be the task of historians to refute and place in correct focus. One such misconception is that his drama was extremely successful in Europe during the 1950s. Some European productions of Miller were not successful at all and many of those that were proved less spectacularly so than is often held.

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Bolton, Gavin. "Weaving Theories is not Enough." New Theatre Quarterly 2, no. 8 (1986): 369–71. http://dx.doi.org/10.1017/s0266464x00002396.

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Despite the successful production of Ödön von Horvath's Tales from the Vienna Woods. In the translation by Christopher Hampton at the National Theatre in 1977. the work of this inter-war contemporary of Brecht's remains little known in the English-speaking theatre. James L. Rosenberg. Professor of Drama at Carnegie-Mellon University. Pittsburgh, is himself a professional playwright who has translated some of Horvath's work previously unavailable in English. In an illuminating biographical and critical introduction to this checklist, he both outlines the reasons for our ignorance of Horvath, an

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Hutson, William. "Elizabethan Stagings of Hamlet: George Pierce Baker and William Poel." Theatre Research International 12, no. 3 (1987): 253–60. http://dx.doi.org/10.1017/s0307883300013717.

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On 21 February 1900, William Poel staged the First Quarto Hamlet for a single performance in the Carpenters' Hall, London. On 5 and 6 April 1904, George Pierce Baker mounted a production of Hamlet with Johnston Forbes Robertson in Sanders Hall at Harvard University. The two productions shared a number of remarkable similarities. Both were attempts to stage the play in the Elizabethan manner; therefore, they departed from illusionistic traditions of the nineteenth century. Although there were distinct differences – for example, one had a cast of amateurs, one was professional; one was performed

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Sutherland, Lucie. "‘The Power of Attraction’: the Staging of Wilde and his Contemporaries at the St James's Theatre, 1892–1895." New Theatre Quarterly 31, no. 1 (2015): 33–48. http://dx.doi.org/10.1017/s0266464x15000044.

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The actor-manager system remained pivotal to West End production throughout the later nineteenth century. Focusing on one actor-manager, George Alexander, and using records of his expenditure on productions during the early 1890s, Lucie Sutherland demonstrates how financial data can be used to examine evolving relationships between industry leaders and dramatic authors in this era. She argues that this kind of evidence demonstrates not only the fiscal dimension to such relationships – level of investment per production, percentage of royalties paid – but also that the data may be analyzed to a

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Utomo, Ichsan Widi, and Christopher Yudha Erlangga. "IMPLEMENTASI MATERI PRODUKSI PADA IKLAN LAYANAN MASYARAKAT “Kita Indonesia”." JIKE : Jurnal Ilmu Komunikasi Efek 2, no. 2 (2019): 270–82. http://dx.doi.org/10.32534/jike.v2i2.611.

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This study seeks to implement appropriate production management in the production of "Kita Indonesia" public service advertising produced by the broadcasting study program of the University of Bina Sarana Informatika communicating with the Ministry of Home Affairs of the Republic of Indonesia. In this production special production theories are applied that are in accordance with the concept of production of public service advertising. This production is different from the production of television programs related to no drama but does not cover estimation Production material can be used in the

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Wasserman, Jerry. "Büchner in Canada: Woyzeck and the Development of English-Canadian Theatre." Theatre Research in Canada 8, no. 2 (1987): 181–92. http://dx.doi.org/10.3138/tric.8.2.181.

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The production history of Büchner's Woyzeck in Canada's English-language theatres corresponds closely with the development of an indigenous English Canadian drama during the period of 1960-80. Particular qualities of the style, structure, and political tone of Woyzeck made it an attractive vehicle for the 'alternate' theatre companies that blossomed during this era. Its most profound impact was felt via the productions of George Luscombe, John Herbert, Richard Rose and Gordon McCall, all of whom were subsequently to do important work which would be indebted to their experience with Büchner's p

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Pukan, Miron. "Medzi liminalitou a slobodou aj ako prejav diskurzivity popsubkultúry v súčasnom slovenskom alternatívnom divadle." Prace Literackie 57 (July 12, 2018): 117–28. http://dx.doi.org/10.19195/0079-4767.57.10.

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Between liminality and freedom as the manifestation of the discourse of the popsubculture in the contemporary Slovak alternative TheaterThe release in postmodern and postdramatic society after 1989 was reflected — was also reflected in many changes in theatre and drama. A lot of new authors and shows have appeared. The original drama, however, is very slow at the stage of major theatres. Whereas, in the seventeenth and eighteenth century normalization seasons, the determinations of individual categories prevailed in the culture and art and not only the theatrical strict genological rules. Neve

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Tian, Min. "The Reinvention of Shakespeare in Traditional Asian Theatrical Forms." New Theatre Quarterly 14, no. 55 (1998): 274–84. http://dx.doi.org/10.1017/s0266464x00012203.

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Especially during the later decades of the twentieth century, Shakespeare's plays have been adapted for production in many of the major Asian traditional theatrical forms – prompting some western critics to suggest that such forms, with their long but largely non-logocentric traditions, can come closer to the recovery or recreation of the theatrical conditions and performance styles of Shakespeare's times than can academically derived experiments based on scantily documented research. Whether in full conformity with traditional Asian styles, or by stirring ingredients into a synthetic mix, Min

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Spodniaková, Zuzana. "The Interpretation of the Authorial Creation of Vladimir Vysotsky on Contemporary Moscow Stages." Slovenske divadlo /The Slovak Theatre 66, no. 3 (2018): 267–87. http://dx.doi.org/10.2478/sd-2018-0016.

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Abstract The study presents an overview and analysis of contemporary Moscow productions inspired by the personality and work of the legendary Russian actor and poet of the latter half of the 20th century, singer and songwriter Vladimir Semyonovich Vysotsky (1938 – 1980). The authoress covers both the older productions which have been on the repertoires of theatres for several years and more recent productions staged this year on the occasion of the artist’s unlived 80th birthday. Researching on the productions by different theatre makers, staged by various theatres and drama ensembles, points

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Reeve, William C. "Büchner's Woyzeck on the English-Canadian Stage." Theatre Research in Canada 8, no. 2 (1987): 169–81. http://dx.doi.org/10.3138/tric.8.2.169.

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This article examines the various English-Canadian productions and adaptations of Georg Büchner's incomplete drama Woyzeck , beginning with George Luscombe's North-American premiere in 1963 and ending with Will H. Rockett's recent version (April 1987). In addition an attempt is made to put these stagings into the broader context of the European theatre.

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Wagumba, Collins Auta, and Michael M. Kamau. "Balancing Audience’s Needs and Producer’s Expectations in Television Serial Drama Programming." Jurnal Komunikasi Islam 10, no. 2 (2020): 173–97. http://dx.doi.org/10.15642/jki.2020.10.2.173-197.

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The study sheds light on how the TV station executives balance the entertainment needs of its audience and the producers' expectations within a changing digital broadcast environment. The study is anchored on uses, gratification, and the encoding and decoding theories. The research employs a mixed-method design approach by using survey questionnaires (415), FGDs and in-depth interviews with 5 TV station executives in Kenya and serial drama fiction producers’. The results indicate that the station executive takes centre stage to fulfil the urban audience needs and the producers’ needs respectiv

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Edwards, Gwynne. "Theatre Workshop and the Spanish Drama." New Theatre Quarterly 23, no. 4 (2007): 304–16. http://dx.doi.org/10.1017/s0266464x0700022x.

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In the course of her long career as a director with Theatre Union and Theatre Workshop, Joan Littlewood staged some twenty foreign-language plays, of which three were Spanish: Lope de Vega's Fuente Ovejuna, Lorca's The Love of Don Perlimplín for Belisa in His Garden, and Fernando de Rojas's La Celestina, while there were also plans to perform Lorca's Blood Wedding. Gwynne Edwards argues in this article that Littlewood's attraction to the Spanish plays was sometimes political but always due to a similarity in performance style which, influenced by the methods of leading European theatre practit

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Xiaofei, Ren, Feng Qinghua, and Wang Nan. "A translator on the target stage." Babel. Revue internationale de la traduction / International Journal of Translation 56, no. 4 (2010): 363–76. http://dx.doi.org/10.1075/babel.56.4.05xia.

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Ying Ruocheng, an admirable artist in China and abroad, was responsible for the translation and production of many foreign plays in China and Chinese plays abroad, with which Ying played an important role in transforming China’s cultural life, encouraging international exchange and promoting modern drama. Based on his experience in drama and film acting and directing as well as translating, he argues that the major concern of theatre translation is its performability and speakability, which can be achieved through the recreation of the orality and gestic text with each role’s unique discourse

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Zlotnikova, Tanjana S., and Anastasia V. Samsonova. "Theatrical interpretation of the classics as cultural experience of the post-soviet era." Verhnevolzhski Philological Bulletin 1, no. 24 (2021): 173–77. http://dx.doi.org/10.20323/2499-9679-2021-1-24-173-177.

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The article analyzes the post-soviet artistic practice of working with theatrical interpretations of the russian classical plays «The Forest» by A. N. Ostrovsky and «The Seagull» by A. P. Chekhov. The productions of the Yaroslavl Volkov Drama Theatre were chosen as novel empirical material. The main objective of the study is to identify the features that characterize modern understanding of the classics, emphasizing the socio-moral and socio-cultural range of problems in the works. The main methods of the research are, above all, cultural and historical, resorting to which the authors present

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Heinrich, Anselm. "‘It is Germany where he Truly Lives’: Nazi Claims on Shakespearean Drama." New Theatre Quarterly 28, no. 3 (2012): 230–42. http://dx.doi.org/10.1017/s0266464x12000425.

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That the Nazis tried to claim Shakespeare as a Germanic playwright has been well documented, but recently theatre historians have claimed that their ‘success’ was rather limited. Instead, commentators have asserted that plays such as Othello, Antony and Cleopatra, and The Merchant of Venice offended National Socialist precepts and were sidelined. This article attempts a re-evaluation and shows that the effect of the Nazi claims on Shakespeare was substantial, and the official efforts that went into realizing these in productions were considerable. It is also argued that the Nazis established a

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Kraševec, Eva. "Approaching the real: The directorial approach of Jernej Lorenci in staging the Crazy Locomotive by Stanisław Ignacy Witkiewicz and The Wedding by Rudi Šeligo." Maska 30, no. 175 (2015): 44–57. http://dx.doi.org/10.1386/maska.30.175-176.44_1.

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“Approaching the Real” utilises the author’s dramaturgical involvement in both to reflect on the creative process behind Jernej Lorenci’s productions of Stanisław Ignacy Witkiewicz’s The Crazy Locomotive and Rudi Šeligo’s The Wedding at SNG Drama Ljubljana, both characteristic of the director’s work. By revealing methods and concepts behind the staging of the plays, we can gain an insight into the director’s thinking, that is, the “reflective processing” of the creative team. These are productions in which we can talk about approaching the authentic or, better said, the so-called “real”, and w

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