Relevant bibliographies by topics / Drama theory

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Drama theory'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Drama theory"

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Knowles, Ronald, and Peter Buse. "Drama + Theory: Critical Approaches to Modern British Drama." Modern Language Review 99, no. 1 (January 2004): 181. http://dx.doi.org/10.2307/3738894.

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Berger, Thomas L., and Pauline Kiernan. "Shakespeare's Theory of Drama." Modern Language Review 93, no. 2 (April 1998): 466. http://dx.doi.org/10.2307/3735369.

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Goldstein, Peter, and Pauline Kiernan. "Shakespeare's Theory of Drama." Sixteenth Century Journal 28, no. 1 (1997): 378. http://dx.doi.org/10.2307/2543347.

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Leggatt, Alexander, and Pauline Kiernan. "Shakespeare's Theory of Drama." Shakespeare Quarterly 48, no. 3 (1997): 342. http://dx.doi.org/10.2307/2871024.

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Sterling, Eric, and Pauline Kiernan. "Shakespeare's Theory of Drama." Sixteenth Century Journal 31, no. 2 (2000): 493. http://dx.doi.org/10.2307/2671639.

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Akhmeteli, Andrey. "No Drama Quantum Theory?" Journal of Physics: Conference Series 361 (May 10, 2012): 012037. http://dx.doi.org/10.1088/1742-6596/361/1/012037.

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BLACKBURN, SIMON. "Theory, Observation and Drama." Mind & Language 7, no. 1-2 (March 1992): 187–230. http://dx.doi.org/10.1111/j.1468-0017.1992.tb00204.x.

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Diamond, Elin. "Modem Drama/Modernity's Drama." Modern Drama 44, no. 1 (March 2001): 3–15. http://dx.doi.org/10.3138/md.44.1.3.

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Burghardt, Lori Hall, Peter Szondi, and Michael Hays. "Theory of the Modern Drama." South Atlantic Review 53, no. 4 (November 1988): 105. http://dx.doi.org/10.2307/3200675.

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Bryant, J. "Drama theory: dispelling the myths." Journal of the Operational Research Society 58, no. 5 (May 2007): 602–13. http://dx.doi.org/10.1057/palgrave.jors.2602239.

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Dissertations / Theses on the topic "Drama theory"

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Warner, Kathleen Marie. "Historical theory, popular culture and television drama /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19144.pdf.

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Cheung, Man-hon Michael, and 張文瀚. "Toward a theory of Chinese comedy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31949393.

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Cheung, Man-hon Michael. "Toward a theory of Chinese comedy." [Hong Kong : University of Hong Kong], 1989. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12754493.

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Swart, Rufus. "Towards an integrated theory of actor training : conjunctio oppositorum and the importance of dual consciousness." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95983.

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Thesis (PhD)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: The proliferation of Western actor training methods in the past century had mainly been derived from the groundbreaking research undertaken by Vladimir Nemirovich-Danchenko and Constantin Stanislavski at the Moscow Art Theatre, as well as their students Michael Chekhov, Vsevolod Meyerhold and Evgeny Vakhtangov. Poor translations of their original Russian texts have however meant that many of the principles they discovered were compromised due to misinterpretations. Yet, the ‘system’ of Stanislavski, a veritable repository of these theories, served as a template for acting teachers ranging from former American Group Theatre members such as Stella Adler, Morris Carnovsky, Robert Lewis, Sanford Meisner and Lee Strasberg, and the Polish director Jerzy Grotowski, to formulate their own distinctive techniques. The result has been a challenge to traditional notions of actors as impersonators to a more holistic view of actor-performers; versatile, multi-skilled artists willing to reveal themselves through sincere disclosures to an audience, as the theatre poet Antonin Artaud advocated they should. Although this interrogation of the essential nature of the 2,600 year old art of Thespis was necessary, there is a danger that its core tenets may have been marginalised in the process, a setback which might further delay the formulation of its own science. This research was undertaken to identify the core principles of the actor’s art that distinguish it from the other performing arts, as well as to determine how these might best be conveyed to student actors in a contemporary context. Employing the ‘system’ as a guide, in particular its ‘work on oneself’ process, which refers to an actor’s personal training, as opposed to ‘work on a role’, which relates to characterisation and performance, the theories of the abovementioned practitioners were examined and compared to Stanislavski’s to ascertain if they contributed to the further evolution of the art. Once an integrated theory of training emerged it was then tested in praxis, working with different groups of students during a three year period. This thesis documents the findings of both the literary research, based on an analysis of texts related to actor training, and those derived from ‘real-world’ applications of these theories in an Higher Education environment. A key aim of the study was thus to determine whether a ‘work on oneself’ form of training could be offered in the formal education sector, despite its psychological implications, and how this might be approached in a ‘healthy’ manner. A selection of audio-video recordings done during the empirical investigation accompanies the thesis in order to substantiate its theory.
AFRIKAANSE OPSOMMING: Die verspreiding van opleidingsmetodes vir Westerste akteurs in die afgelope eeu het hoofsaaklik ontstaan uit die baanbrekers-navorsing van Vladimir Nemirovich-Danchenko en Constantin Stanislavski aan die Moskou Kunsteater, sowel as dié van hul studente Michael Tsjechov, Vsevolod Meyerhold en Evgeny Vakhtangov. Swak vertalings van die oorspronklike Russiese tekste beteken egter dat van die beginsels wat hulle ontdek het weens misverstande gekompromiteer is. Tog het die 'stelsel' van Stanislavski, as neerslag van hierdie teorieë, as 'n templaat vir toneelspelopleiders gedien wat wissel van voormalige lede van die Amerikaanse Groep Teater soos Stella Adler, Morris Carnovsky, Robert Lewis, Sanford Meisner en Lee Strasberg, sowel as die Poolse regisseur Jerzy Grotowski, om hul eie kenmerkende tegnieke te formuleer. Die gevolg was 'n uitdaging van tradisionele sienswyses van akteurs as nabootsers tot 'n meer holistiese sienswyse van akteurs as veelsydige, multi-bekwame kunstenaars wat gewillig is om hulself opreg te onthul voor 'n gehoor, soos die teater-digter Antonin Artaud voorgestel het hul moet. Alhoewel hierdie bevraagtekening van die essensiele aard van die 2,600 jaar oue kuns van Thespis nodig was, is daar 'n gevaar dat sy kern-beginsels in die proses gemarginaliseer is, 'n terugslag wat die formulering van die kunsvorm se eie wetenskap verder mag vertraag. Hierdie navorsing is onderneem om hierdie kernbeginsels van die akteur se kuns te identifiseer wat dit van die ander uitvoerende kunste onderskei, asook om te bepaal hoe hulle die beste oorgedra kan word aan student-akteurs in 'n kontemporêre konteks. Deur die 'stelsel' as 'n gids aan te wend, in besonder die ‘werk aan jouself’ proses wat verwys na 'n akteur se persoonlike opleiding in teenstelling met ‘werk aan 'n rol’ wat verwys na karakterisering en performance, is die teorieë van die bogenoemde praktisyns ondersoek en vergelyk met Stanislavski s’n om te bepaal of hul bygedra het tot die kunsvorm se verdere ontwikkeling. Toe 'n geïntegreerde teorie van opleiding te voorskyn gekom het, is dit prakties getoets met verskeie groepe studente oor 'n tydperk van drie jaar. Hierdie tesis dokumenteer die bevindinge van beide die literêre navorsing, gebaseer op 'n ontleding van tekste wat verband hou met akteuropleiding, en die bevindinge wat uit die toepassing van die teorieë in 'n Hoër Onderwys omgewing gegroei het. 'n Belangrike doel van die studie was dus om te bepaal of 'werk aan jouself’ as opleiding in die formele onderwys sektor aangebied kan word, ten spyte van die sielkundige implikasies, en hoe dit dalk op 'n ‘gesonde’ wyse benader kan word. 'n Seleksie van klank-en-video opnames wat tydens die empiriese ondersoek gedoen is, word dus by die tesis ingesluit om sekere teorieë te ondersteun.
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Fraser, Jemima W. "Museums, drama, ritual and power : a theory of the museum experience." Thesis, University of Leicester, 2009. http://hdl.handle.net/2381/4223.

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This thesis presents a new model of the museum visitor experience. My model analyses the dynamic interplay of visually powerful objects in authoritative institutions with the power of visitors to draw upon the knowledge, values and ideals of their own life experience and use the displays as a resource to make and take ownership of meaning. The model shows that the key factors affecting how people make meaning of displays are transaction, ritual, identity and power. I investigate the museum experience through the varied roles visitors adopt, as revealed in written comments made by visitors to my case study museum. I analyse these through a wide range of theory and through using drama as a metaphor for the visitor experience. The museum arranges the objects and spaces in a symbolic performance, leading visitors to engage in aesthetic and social rituals. Through the frames of their interpretive communities, visitors engage intellectually, emotionally and aesthetically in transactions with the objects which modify or reinforce their identities. Visitors' meaning-making is influenced, but not wholly determined, by how well the museum drama works for them. This depends largely not just on the quality of the museum but on how comfortable and familiar visitors are with museum rituals. At its best, the museum drama can engage visitors' emotions and imagination and enable them to experience intellectual, psychological, emotional and perhaps spiritual growth. At its worst, visitors' negative experiences alienate them not just from the museum but from trying such experiences again in the future. In my model, authority, power and the task of creating knowledge are shared between visitors and curators. If the museum embraces this epistemological shift, and recognises the complex transactions of ritua', drama and power, it could enable visitors to experience not just learning but growth, and greatly increase the educational and cultural value of museums.
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Alzoubi, Najah Ahmad Fayiz. "Bowen family systems theory and family disintegration in Tennessee Williams's drama." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37096.

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The thesis examines the American psychiatrist Murray Bowen’s major contribution to his profession, Bowen Family Systems Theory, as a literary-critical tool to interrogate the theme of family disintegration in Tennessee Williams’s early and middle plays written between 1945 and 1962. Both Williams and Bowen were writing in a specific intellectual and cultural context in terms of post-World War II attitudes towards the American family and its social function. Bowen theory understands family as an interrelated emotional system, in which a change in the functioning of one part of the system directly relates to changes in the whole system. I argue that we find a parallel to this in Williams’s plays: members of the family do not function separately, but within the context of the system that shapes their feelings, thoughts, and behaviour. The four chapters of the thesis pair eight of Williams’s major works using the eight interlocking concepts that form the basis of Bowen theory: chapter 1 examines differentiation of self and triangles in The Glass Menagerie (1945) and A Streetcar Named Desire (1947); in chapter 2, nuclear family emotional system and family projection process in Summer and Smoke (1948) and Period of Adjustment (1961); in chapter 3, multigenerational emotional process and sibling position in Cat on a Hot Tin Roof (1955) and Sweet Bird of Youth (1959); and, in chapter 4, emotional cutoff and societal emotional process in Suddenly Last Summer (1958) and The Night of the Iguana (1962). Not only does Bowen help to elucidate a central theme of Williams’s writing, but the psychodynamics of therapy are reflected in Williams’s dramatic accounts of the plight of the mid-twentieth century family. In the introduction I argue that Bowen theory is a useful tool for the analysis of modern American literature, developing the ways in which psychoanalytical theory has been used by literary critics to gain a broader understanding of the group context of family life in the postwar period. This will be demonstrated through the four chapters, while the conclusion considers what Bowen offers to literary studies more broadly, and what the limitations of his theory might be.
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Barboza, Katherine Ann. "TV Dads: A Grounded Theory Analysis of Viewer Perceptions of Fathers in Television Dramas." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6926.

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The present study aims to identify what viewer perceptions individuals have regarding fathers in television dramas. Framed through uses and gratifications theory and executed through the grounded theory method, 12 participants were interviewed. After analysis, findings revealed that although participants say that general perceptions of fathers on TV are negative, they have seen personally the diversity and variety of father portrayals in their favorite television dramas. Additionally, the realism of the TV dramas and characters influence the relatability to both the father figures and other characters in the show. This relatability, in turn, influences the likeability and loyalty to the TV drama. Such findings imply that negative portrayals are more often and more strongly remembered among television viewers. Likewise, because of the popularity in relatable characters, television networks and producers could have the chance to increase their viewership by including a variety of identifiable characters, especially fathers, within their TV dramas. Four major perceptions emerged from the data and inform the significance of this study. These four perceptions were that fathers in TV dramas were perceived more positively than TV sitcom fathers, fathers in TV dramas are perceived as the "flawed hero," fathers in TV dramas are perceived as a prompt for discussion, and lastly, fathers from TV dramas are perceived as someone who is worthy of emulation.
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Finneran, Michael J. "Critical myths in drama as education." Thesis, University of Warwick, 2008. http://wrap.warwick.ac.uk/1987/.

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Drama as education is a relatively young concern, which has been primarily occupied with developing a strong tradition of practice. As a result it has suffered from a dearth of theoretical and critical engagement. This situation has led to the existence of a range of unquestioned beliefs and practices that underpin much of the governance, traditions, knowledge and operation of drama in educational settings. The thesis examines the existence and location of the community of drama as education, reviews the discourse of the community, and seeks to understand previous attempts at demythologising. This thesis proposes a critical understanding of the idea of myth in order that it can be used in a positive and beneficial manner. Utilising a post-modern critical research methodology, it constructs a bricolage of theoretical perspectives that collectively are used to locate, identify and interrogate areas of myth. A new typography of myth reveals four dominant areas of operation, and examines the manner in which myths impact upon the educational and cultural institutions in which they occur. The forces that conceive of, operate and perpetuate myth are understood to be language, power and ideology. These elements operate in conjunction with each other, with human agency at the helm. The thesis is in nine chapters. Chapter 1 sets the scene and introduces the range of the research. It is followed by Chapter 2 which seeks to put in place a range of theoretical perspectives upon which the methodology is constructed. Chapter 3 provides further theoretical insight into the location of the research, and Chapter 4 constructs a critical mythic bricolage, defines its usage, and proposes a contemporary typology of myth. Chapter 5 identifies the ‘Point of Entry Text’ – the primary school drama curriculum in the Republic of Ireland, and deals with the category of governing myths. Chapter 6 is concerned with traditional myths, Chapter 7 examines epistemological myths, and Chapter 8 teases out operational myths. Finally, Chapter 9 looks to the future of myth after demythologising, and seeks to begin engaging with the inevitable process of remythologising.
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Huismans, Anja. ""A just and lively image" - performance in Neo-classic theatre criticism and theory." Thesis, Link to the online version, 2005. http://hdl.handle.net/10019/1756.

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Adiseshiah, Sian Helen. "Theory, politics and cultural practice in the plays of Caryl Churchill." Thesis, Online version, 2003. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.274420.

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Books on the topic "Drama theory"

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Kiernan, Pauline. Shakespeare's theory of drama. Cambridge: Cambridge University Press, 1996.

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Drama + theory: Critical approaches to modern British drama. Manchester: Manchester University Press, 2001.

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Crook, Tim. Radio drama: Theory and practice. London: Routledge, 1999.

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Balthasar, Hans Urs von. Theo-drama: Theological dramatic theory. San Francisco: Ignatius Press, 1988.

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Schechner, Richard. Performance theory. London: Routledge, 1988.

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Harvey, Stephen. Towards a theory for drama education. [s.l.]: typescript, 2000.

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Drama and intelligence: A cognitive theory. Montreal: McGill-Queen's University Press, 1990.

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Mousley, Andy. Renaissance drama and contemporary literary theory. New York: St. Martin's Press, 2000.

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1961-, Tompkins Joanne, ed. Post-colonial drama: Theory, practice, politics. London: Routledge, 1996.

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Courtney, Richard. Drama and feeling: An aesthetic theory. Montreal: McGill-Queen's University Press, 1995.

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Book chapters on the topic "Drama theory"

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Barry, Peter. "Drama." In Issues in Contemporary Critical Theory, 178–86. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-89244-0_14.

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Hart, Jonathan. "Narrative, Theory, Drama." In Shakespeare and His Contemporaries, 107–27. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118140_6.

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Kluge, Sofie. "Theory of Drama." In Literature and Historiography in the Spanish Golden Age, 127–56. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003203575-8.

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Goodman, Lizbeth. "Representing Gender/Representing Self: A Reflection on Role Playing in Performance Theory and Practice." In Drama on Drama, 196–214. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-25443-9_13.

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Bryant, Jim. "From Game Theory to Drama Theory." In Handbook of Group Decision and Negotiation, 1–21. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-12051-1_14-1.

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Bryant, Jim. "From Game Theory to Drama Theory." In Handbook of Group Decision and Negotiation, 1–21. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-12051-1_14-2.

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Bryant, Jim. "From Game Theory to Drama Theory." In Handbook of Group Decision and Negotiation, 1–20. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-12051-1_14-3.

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Bryant, Jim. "From Game Theory to Drama Theory." In Handbook of Group Decision and Negotiation, 1–20. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-12051-1_14-4.

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L’Abate, Luciano, Mario Cusinato, Eleonora Maino, Walter Colesso, and Claudia Scilletta. "Model14: A Pathogenic Drama Triangle." In Relational Competence Theory, 213–21. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-5665-1_16.

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Leeming, Glenda. "Yeats and the Development of his Theory and Practice." In Poetic Drama, 23–49. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-19860-3_2.

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Conference papers on the topic "Drama theory"

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Lombardo, Vincenzo, and Antonio Pizzo. "The Visualization of Drama Hierarchies." In International Conference on Information Visualization Theory and Applications. SCITEPRESS - Science and and Technology Publications, 2015. http://dx.doi.org/10.5220/0005314801630170.

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Kaixian Hu, Keith W. Hipel, and Liping Fang. "Ivory coast toxic waste dumping dispute: A comparison of the graph model and drama theory." In 2007 IEEE International Conference on Systems, Man and Cybernetics. IEEE, 2007. http://dx.doi.org/10.1109/icsmc.2007.4414204.

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Zhang, Yue, and Yujuan Feng. "A Study of the Historical Period Drama lDownton Abbeyr from the Perspective of Face Theory." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.79.

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Marrucci, Luca, and Erika Piazzoli. "Evaluating Learner Engagement in Arts Education: Perspectives from Music and Drama in Education." In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5516.

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In this paper we aim to investigate learner engagement and how it can be evaluated, in the context of higher education research. Specifically we consider learner engagement evaluation in Arts Education, where the educational focus is on the process, rather than the product – drawing on music and drama in education research and practice. First, we position the notion of evaluation as opposed to assessment, with attention to its etymological roots. Second, we discuss the multifaceted notion of engagement as process, exploring the nature of learner engagement and a number of possible engagement indicators. We then synthesize these categories into descriptors which, we argue, can be useful to evaluate learners’ engagement in arts education practices. Third, we ground theory into practice by offering two examples drawn from the authors’ PhD case study research, respectively in music education and drama in education. We conclude that engagement is a multifaceted construct, which we frame as a mutual exercise of agency – whereby the teacher and the students act in a partnership as co-artists.
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Miyazono, China, Akinori Ito, and Ken'ichiro Ito. "A Case Study on Sound Design Analysis of Romantic Audio Drama for Female Applied the Theory of Cinema Audio." In 2018 Nicograph International (NicoInt). IEEE, 2018. http://dx.doi.org/10.1109/nicoint.2018.00014.

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Zhu, Yanyan, and Weifeng Li. "An Analysis of Self-Presentation in the Post-90s Micro-Social Field from the Perspective of Drama-Simulator Theory." In 2021 5th International Seminar on Education, Management and Social Sciences (ISEMSS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210806.020.

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Chi, Shu-Che, Cheng-Ying Chang, and Cheng-Hung Chang. "Exploring the Application of Both Internet of Things and Artificial Intelligence under the Omni Channel from the Perspective of Drama Theory." In ICIBE 2019: 2019 The 5th International Conference on Industrial and Business Engineering. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3364335.3364343.

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Rafi, Morad, Mohsine El Euldj, and Zouhair Guennoun. "DRMAA : DRM Adaptable Architecture." In Communication Technologies: from Theory to Applications (ICTTA). IEEE, 2008. http://dx.doi.org/10.1109/ictta.2008.4530176.

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Nakagawa, Hiroshi, Yoshitomo Yaginuma, and Masao Sakauchi. "Scene direction based reference in drama scenes." In Referring Phenomena in a Multimedia Context and their Computational Treatment. Morristown, NJ, USA: Association for Computational Linguistics, 1997. http://dx.doi.org/10.3115/1621585.1621594.

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Malek, Maciej. "К вопросу о видах драматургического перевода." In Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.12.

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The article brings arguments in favour of the ways of drama translation. Author analysed all available stage realisations of dramatic texts. On their example distinguished few ways of translation taking into account the translation techniques. Each of these ways was described and illustrated by relevant examples from world’s stages: Polish, Russian, Czech, Canadian etc. Author draw also attention to challenges faced by the translators.
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Reports on the topic "Drama theory"

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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 decrease in adult drama hours commissioned by commercial broadcasters has reshaped Australian television drama more than any other change. The national broadcasters have increased their role in commissioning, particularly in children’s drama. Titles have not decreased nearly as significantly as the number of episodes per series. Commercial broadcasters’ drama decreased from an average of 21 episodes per title in 1999 to seven in 2019, a 60 per cent decrease that, along with the increasing peripheralization of soaps, has diminished available training grounds and career paths in the Australian scripted production industry.
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