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Journal articles on the topic 'Drama theory'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Giles, Steve. "SZONDI'S THEORY OF MODERN DRAMA." British Journal of Aesthetics 27, no. 3 (1987): 268–77. http://dx.doi.org/10.1093/bjaesthetics/27.3.268.

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12

McGuire, Philip C. "Shakespeare's Theory of Drama (review)." Theatre Journal 52, no. 2 (2000): 290–91. http://dx.doi.org/10.1353/tj.2000.0052.

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13

Falkner, Gerhard, and Andrew Duncan. "Drama." Chicago Review 48, no. 2/3 (2002): 88. http://dx.doi.org/10.2307/25304879.

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14

Martine, James J. "Drama." American Literary Scholarship 1998, no. 1 (September 1, 2000): 391–416. http://dx.doi.org/10.1215/00659142-1998-1-391.

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15

Martine, J. J. "Drama." American Literary Scholarship 1999, no. 1 (January 1, 2001): 413–38. http://dx.doi.org/10.1215/00659142-1999-1-413.

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16

Martine, J. J. "Drama." American Literary Scholarship 2000, no. 1 (January 1, 2002): 417–34. http://dx.doi.org/10.1215/00659142-2000-1-417.

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17

Martine, J. J. "Drama." American Literary Scholarship 2001, no. 1 (January 1, 2003): 421–43. http://dx.doi.org/10.1215/00659142-2001-1-421.

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18

Martine, J. J. "Drama." American Literary Scholarship 2002, no. 1 (January 1, 2004): 399–423. http://dx.doi.org/10.1215/00659142-2002-1-399.

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19

Martine, J. J. "Drama." American Literary Scholarship 2003, no. 1 (January 1, 2005): 475–98. http://dx.doi.org/10.1215/00659142-2003-1-475.

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20

Martine, J. J. "Drama." American Literary Scholarship 2004, no. 1 (January 1, 2006): 433–52. http://dx.doi.org/10.1215/00659142-2005-014.

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21

Chansky, D. "Drama." American Literary Scholarship 2005, no. 1 (January 1, 2007): 427–55. http://dx.doi.org/10.1215/00659142-2006-009.

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22

Chansky, D. "Drama." American Literary Scholarship 2006, no. 1 (January 1, 2008): 421–51. http://dx.doi.org/10.1215/00659142-2007-020.

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23

Chansky, D. "Drama." American Literary Scholarship 2007, no. 1 (January 1, 2009): 437–63. http://dx.doi.org/10.1215/00659142-2008-014.

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24

Chansky, D., and J. Chambers. "Drama." American Literary Scholarship 2008, no. 1 (January 1, 2010): 415–39. http://dx.doi.org/10.1215/00659142-2009-013.

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25

Sauer, D. K. "Drama." American Literary Scholarship 2011, no. 1 (January 1, 2013): 391–414. http://dx.doi.org/10.1215/00659142-2076912.

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26

Sauer, David K., and Geoffrey Sauer. "Drama." American Literary Scholarship 2016, no. 1 (2018): 339–57. http://dx.doi.org/10.1215/00659142-4383882.

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27

Sauer, David K., and Geoffrey Sauer. "Drama." American Literary Scholarship 2017, no. 1 (September 1, 2019): 371–93. http://dx.doi.org/10.1215/00659142-7491877.

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28

Sauer, David K., and Geoffrey Sauer. "Drama." American Literary Scholarship 2018, no. 1 (September 1, 2020): 343–64. http://dx.doi.org/10.1215/00659142-8118622.

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29

Nastić, Radmila. "Anthropology and the Theory of Drama." Issues in Ethnology and Anthropology 5, no. 3 (May 14, 2010): 245–60. http://dx.doi.org/10.21301/eap.v5i3.12.

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The paper is an attempt at a systematic account of the history of influences between anthropology and the theory of drama in the twentieth century. The starting point is the definition of drama as a mimesis of the movement towards self-knowledge as rebirth. It is described as a variation of the original spring dance in honour of the regeneration of life represented in the figure of the twice-born Dionysus. Anthropologists whose contribution to the theory of drama has been acknowledged are Jane Harrison, Gilbert Murray, Arnold Van Genep, Joseph Campbell and Victor Turner.

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30

van de Water, Manon. "Drama in education: why drama is necessary." SHS Web of Conferences 98 (2021): 02009. http://dx.doi.org/10.1051/shsconf/20219802009.

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The article dwells on the use of drama and performance techniques in education and social work in connection with multiple intelligence theory, emotional intelligence theory, and brain based learning. The author connects the use of drama in the alternative theories of teaching and learning based on recent neuroscientific research, and lays out an integrative approach to teaching and learning that promotes inclusion, diversity, and social awareness, through embodied and contextualized learning. If we perceive cognition and emotion as interrelated, then drama as an educational tool becomes essential. It creates metaphors of our lives, which we lead through both cognitive and emotional domains. Art and creativity play an essential role in connections between the body, emotions, and the mind. Moreover, as we live in relationship to the rest of the world around us, our learning is embodied, our brain, emotions, and physiology are constantly connected. Thus, the article demonstrates that drama and performance are vital in teaching the whole child, whether taught as a discipline or used as a teaching tool. This means, the author claims, educators, neuropsychologists, and theatre and drama specialists have to have open minds and be willing to step out of comfort zones and together make a case for using theatre and drama methods as a way to improve human lives.

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31

Thomson, Peter, and J. L. Styan. "Modern Drama in Theory and Practice." Modern Language Review 80, no. 1 (January 1985): 140. http://dx.doi.org/10.2307/3729399.

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32

AKHMETELI, ANDREY. "IS NO DRAMA QUANTUM THEORY POSSIBLE?" International Journal of Quantum Information 09, supp01 (January 2011): 17–26. http://dx.doi.org/10.1142/s0219749911006909.

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The matter field can be naturally eliminated from the equations of the Klein-Gordon-Maxwell electrodynamics in the unitary gauge. The resulting equations describe independent dynamics of the electromagnetic field: if components of the 4-potential of the electromagnetic field and their first derivatives with respect to time are known in the entire space at some time point, the values of their second derivatives with respect to time can be calculated for the same time point, so the Cauchy problem can be posed, and integration yields the 4-potential in the entire space-time. This surprising result both permits mathematical simplification and can be useful for interpretation of quantum theory. For example, in the Bohm interpretation, the electromagnetic field can replace the wave function as the guiding field. Independent of the interpretation, quantum phenomena can be described in terms of electromagnetic field only. For the system of nonlinear partial differential equations of the Klein-Gordon-Maxwell electrodynamics, a generalized Carleman linearization procedure generates a system of linear equations in the Hilbert space, which looks like a second-quantized theory and is equivalent to the original nonlinear system on the set of solutions of the latter. Similar, but less general results are obtained for the Dirac-Maxwell electrodynamics.

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33

WOODBRIDGE, LINDA. "Resistance Theory Meets Drama: Tudor Seneca." Renaissance Drama 38 (September 2010): 115–39. http://dx.doi.org/10.1086/rd.38.41917472.

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34

Groves, B. "Capital Drama." Cambridge Quarterly 38, no. 4 (November 13, 2009): 392–97. http://dx.doi.org/10.1093/camqtly/bfp020.

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35

Sagar, Aparajita, and Bruce King. "Post-Colonial English Drama: Commonwealth Drama since 1960." World Literature Today 68, no. 1 (1994): 228. http://dx.doi.org/10.2307/40150112.

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36

Khan, Rooh Ul Amin, Ahsan Ul Haq, and Jamal Ud Din. "Portrayal of Families in Prime Time Urdu Drama." Global Sociological Review V, no. III (September 30, 2020): 48–57. http://dx.doi.org/10.31703/gsr.2020(v-iii).06.

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The current study was conducted to analyze the portrayal of families in Urdu drama serials right from the start of television drama to 2016. The Urdu drama serial period was divided in to two eras, pre-cable era and cable era. Through the lens of cultivation theory, message system analysis was done of Urdu drama serial for more than five decades. It was hypothesized that pre-cable era will depict more extended families and cable-era depict more nuclear families. The finding of study revealed that our assumption was not supportive and more nuclear families were found in both the eras. Similarly, the other important variable was sibling in pre-cable and cable era. Maximum dramas showed only two to three children in families of both the eras. More diversity of culture was found in terms of family depiction in pre-cable era, and more homogenous and urban elite class was found in cable era.

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37

Dahlhaus, Carl. "What is a musical drama?" Cambridge Opera Journal 1, no. 2 (July 1989): 95–111. http://dx.doi.org/10.1017/s0954586700002913.

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‘Dramaturgy’ is one of those vogue words to which frequent use lends the appearance of being increasingly well understood, whereas the wear and tear to which it is subjected actually makes it ever harder to understand. When a word has lost almost all meaning through overuse, the simplest way to make it usable again is, of course, to try to restore its original meaning. It should be possible to agree that dramaturgy is the composition of dramas tout court, and there can be no serious objection if that basic definition is understood to include the theories and principles of dramatic composition (as Lessing did in his Hamburgische Dramaturgie). In that sense ‘dramaturgy’ is to drama what ‘poetics’ is to poetry: it denotes the essential nature of the categories that form the basis of a drama and can be reconstructed in a dramatic theory.

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38

Keegan, Daniel L. "Indigested in the Scenes: Hamlet's Dramatic Theory and Ours." PMLA/Publications of the Modern Language Association of America 133, no. 1 (January 2018): 71–87. http://dx.doi.org/10.1632/pmla.2018.133.1.71.

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Discussions of the relation between drama and performance have been dominated by two symmetrical, emancipatory impulses. Performance scholars have, for the past half-century, sought to liberate performance from the authority of the drama. Literary scholars have, for centuries, if not millennia, sought to distinguish a “literary” dimension of the dramatic text free of the flux of performance. his essay diagnoses in Shakespeare's Hamlet an alternative story about the relation between drama and performance. Paying refreshed attention to the earlier and less famous of Hamlet's statements of dramatic theory—his blurb for the “excellent play” featuring Aeneas's speech to Dido—I find Hamlet bringing drama, especially in its “literary” dimension, crashing back into performance. his collision does not reinstitute the authority of the text; rather, it radically democratizes the scene of dramatic performance by “indigesting” the behaviors of the participants therein.

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39

Jones, Richard, and Barbara Goff. "History, Tragedy, Theory: Dialogues on Athenian Drama." Classical World 91, no. 5 (1998): 437. http://dx.doi.org/10.2307/4352136.

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40

Hoagwood, Terence. "Prolegomenon for a Theory of Romantic Drama." Wordsworth Circle 23, no. 2 (March 1992): 49–64. http://dx.doi.org/10.1086/twc24042423.

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41

Sajnani, Nisha. "Advancing theory and technique in drama therapy." Drama Therapy Review 3, no. 2 (October 1, 2017): 161–63. http://dx.doi.org/10.1386/dtr.3.2.161_2.

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42

James, Heather. "Shakespeare's Theory of Drama. Pauline Kiernan , Shakespeare." Modern Philology 96, no. 2 (November 1998): 229–33. http://dx.doi.org/10.1086/492746.

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43

Chrisman, Laura. "Post-Colonial Drama: Theory, Practice, Politics (review)." Research in African Literatures 30, no. 4 (1999): 202–5. http://dx.doi.org/10.1353/ral.2005.0029.

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44

Svetlov, Victor A. "The Drama Theory: Formalization and Development Prospects." European Journal of Psychological Studies 3, no. 3 (September 5, 2014): 102–9. http://dx.doi.org/10.13187/ejps.2014.3.102.

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45

Gallagher, Kathleen. "The social habitus of drama: the Ontario drama curriculum in theory and practice." Research in Drama Education: The Journal of Applied Theatre and Performance 21, no. 1 (January 2, 2016): 20–36. http://dx.doi.org/10.1080/13569783.2015.1126172.

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46

Czerwinski, E. J., and Alja Predan. "Contemporary Slovenian Drama." World Literature Today 71, no. 4 (1997): 832. http://dx.doi.org/10.2307/40153437.

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47

Parameswaran, Uma, and Erin B. Mee. "Drama Contemporary India." World Literature Today 76, no. 1 (2002): 144. http://dx.doi.org/10.2307/40157080.

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48

Hempel, Nele, and Doris Dörrie. "Happy: Ein Drama." World Literature Today 76, no. 3/4 (2002): 121. http://dx.doi.org/10.2307/40157691.

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49

Conteh-Morgan, John, and Tejumola Olaniyan. "Drama and Performance." Research in African Literatures 30, no. 4 (December 1999): 1–5. http://dx.doi.org/10.2979/ral.1999.30.4.1.

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50

Czerwinski, E. J., and Marketa Goetz-Stankiewicz. "Drama Contemporary: Czechoslovakia." World Literature Today 59, no. 4 (1985): 621. http://dx.doi.org/10.2307/40142085.

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