Academic literature on the topic 'Dramatic criticism Dramatic criticism Theater Theater Theater Theater'
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Journal articles on the topic "Dramatic criticism Dramatic criticism Theater Theater Theater Theater"
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Annichev, О. Ye. "The interaction of theatrical journalism and theatrical criticism in the modern media." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 115–26. http://dx.doi.org/10.34064/khnum1-51.06.
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Background. Topicality of the theme. With the advent of the Internet, Internet journalism has appeared. In relating to theater, in essence, it is theatrical criticism, which has only undergone major changes. In recent years, there have been lively discussions in professional circles about the state and prospects of theater criticism as a profession, about the nature of theater criticism, its self-identification in the modern information space. Round tables with the participation of leading theater critics are devoted to the issues of the current state of theater criticism, a number of relevant materials have been published in specialized publications, often with indicative headings: “Who needs theater critics?” [1], “Theater criticism: final or transformation?” [9]; interviews of theater critics, in which they uphold the positions of the profession and, at the same time, speak about urgent problems and the need to update it taking into account rapidly changing realities: with S. Vasilyev [2], N. Pivovarova [5], Ya. Partola [6]; discussion articles on the status and prospects of the profession by M. Harbuziuk [3], M. Dmitrevskaya [4], N. Pesochinsky [7], I. Chuzhynova [10], S. Schagina, E. Strogaleva, E. Gorokhovskaya [11]. Thus, there are several points of view on this topic: that theatrical journalism has replaced theatrical criticism; that theatrical critics of the old school did not have time to adapt to the changing world and use new tools in this profession, and young critics just occupy their niches in the youth media and on the Internet; that the profession of a critic does not go beyond the framework of participation in expert councils, jury membership, attendance at theater festivals, and writing reviews on request. The question, however, is still open. The main goal of this article is to determine the degree and main character of the interaction of journalism and theatrical criticism in modern media. Results of the study. Those who are seriously engaged in theater studies and academic theater criticism feel the need for specialized publications, the number of which in Ukraine is reduced to a minimum. Therefore, those who had the opportunity to publish reviews in the socio-political periodicals, have to combine three professional areas in one, becoming a theater journalist. Academically trained theater critics can write and often write good books, but, as a rule, do not know how to write for newspapers and magazines. But graduates of journalistic departments who write about the theater are not familiar with professional terminology, which is able to give a correct assessment of the premiere performance. The question arises: how to combine those and these, that the theater journalism was both fascinating and acute, and moderately scandalous, but at the same time accurate and high-quality? To grow such specialists is a matter of work, there can be no conveyor system here. Modern theater criticism, gradually becoming obsolete, rather survives from the common theatrical space. The theater critic cannot be a free artist, and live on the money from the results of his work, because in non-capital cities the number of journals in which the theater specialist would have had time to publish his works has decreased by several times. In cities such as Poltava, Sumy, Chernigov, the issues relating to theatrical premieres are not covered by critics (they are simply not there), but by journalists who write on various topics and rarely specialize in one. The substitution of theatrical critique by journalism is quite natural, for example, for cities where there is no professional training of theater critics, however in Kiev, Kharkiv and Lviv theater studies continue, and a certain number of graduates hope for the viability of this profession. Theatrical criticism and theatrical journalism are in their own way demanded in certain circles. Criticism is closer to theaters, journalism – to the audience. It is difficult to debate with this statement that new epoch came with the Internet. Now, the spoken word has a completely different value. For example, а word thrown on Facebook can have the same effect on public opinion as a big, built, hard fought text. This does not mean that you do not need to write large texts and publish them on paper. You just need to understand and accept the new reality, its advantages and disadvantages, its danger and its benefits. It is a very important problem of our consciousness and the problem of our theater. The Internet has given a new push to the development of new type of media-translations, actively working in social networks. Sites appear on the network where online remote screenings of performances are held. They provide Internet audiences with the opportunity to be acquainted with the history of national and world theater art; they are introduced to modern avant-garde performances. Of course, this also brings the theater closer to a wide, as a rule, young audience and opens up new opportunities for a different kind of theater journalism. Сonclusions. Thus, the Internet becomes an active means of influencing the minds in the modern media space. The Internet influences everyone and everything, changing attitudes towards theatrical art, as well as contemporary theater criticism and theater journalism. However in this case, it is essential to remember that not the Internet, but only professional theater criticism that has been and remains the breeding ground for the scientific work of theater critics and art historians, while creating the history of dramatic, opera and ballet theater.
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Patsunov, V. "Conceptual basis of the art of “Theatre of Shock”." Culture of Ukraine, no. 72 (June 23, 2021): 131–35. http://dx.doi.org/10.31516/2410-5325.072.18.
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The purpose of this paper is to develop the fundamental basis of the art of “theatre of shock”, as the art of the highest spiritual and emotional level, as well as to identify the characteristic features and directorial components that provide it.
The methodology. We applied the analytic-conceptual and empirical approaches to identify the most energy-intensive artistic means of creating a theatrical product and the most effective directorial tools for influencing the spiritual-emotional sphere of the viewer by creating the highest energy and philosophical and aesthetic level that can bring the audience to a state of shock.
The results. For the first time in art criticism, an analysis of the generalization and systematization of director’s tools and ways was carried out, the creation of a “shock” for the creation of theatrical art. The concept proposed by the author crowns the triangle that, together with the art of “dissimulation theatre” and the art of “excitement theatre”, is the technological trinity of theatrical art: dissimulation — excitement — shock. The study conducted by the author gives grounds to conclude that the creation of theatrical performances, belonging to the art of the highest spiritual and emotional level — to the art of “theatre of shock”, is possible if such fundamental components as: sealed module of dramaturgy, “muscles” of play events, scenographic directing, metaphorical vocabulary, means of psychological theater and energy field of actors’ “emission” are embodied in the stage space. The model of the “theater of shock” assumes complete domination over the emotions of the spectator, the deepest immersion in the whirlpool of dramatic events and bringing to a deep trance with a powerful energy field of emission.
The topicality. This paper contains such terms as “theater of shock”, “theater of trance”, “scenographic directing”, “molecular directing” are introduced into scientific circulation.
The practical significance. Scientific development of ways, methods and means of creating the “theater of shock” as a kind of the most powerful energy and philosophical-typical level can be implemented in the educational process. Along with this presentation the concept of “theater of shock” can have its continuation in the theses of students with degrees in the field of art history, opens the prospect of updating the theatrical palette.
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Shchukina, Yu P. "Features of Volodymyr Morskoy’s theatrе criticism (1920–1940 years)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 70–83. http://dx.doi.org/10.34064/khnum1-51.03.
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Background. Today, analyzing the Ukrainian theatrical movement of the first half of XX century, we can’t bypass V. Morskoy’s critical legacy. Volodimir Saveliyovich Morskoy (the real name – Vulf Mordkovich) is one of the providing Ukrainian theatrical and film critics of the first half of the XX century. He left us his always argumentative, but sometimes contradictious evaluations of dramatic art masters: the directors of Kharkiv Ukrainian drama theatre “Berezil” (from 1935 it named after T. Shevchenko) L. Kurbas, B. Tyagno, L. Dubovik, Yu. Bortnik, V. Inkizhinov, M. Krushelnitsky, M. Osherovsky; the producers of Kharkiv Russian drama theatre named after A. Pushkin – O. Kramov, V. Aristov, V. Nelli-Vlad and many others. Due to the critic’s persecution by the repressive machine of USSR, his evaluations of theatrical process were not quoted in soviet time researches. They still were not entered to the professional usage, were not published and commented in the whole capacity. Methods and novelty of the research. The research methodology joints the historical, typological, comparative, textual, biographical methods. The first researcher, who made up incomplete description of the bibliography of dramatic criticism by V. Morskoy, became Kharkiv’s bibliographer Tetyana Bakhmet. She gave maximally full list of critic articles (more than eighty positions) for the 1924, 1926–1929, 1937, 1948–1949 years. Kharkiv’s theater scientist Ya. Partola [16] in the first encyclopedic edition, that contains the article about V. Morskiy, gave the description of the only publication by critic known for today, in Moscow newspaper “Izvestiya”. Forty six critical articles, half of which didn’t note in bibliographies of both scientists, were collected and analyzed in periodical funds of Kharkiv V. Korolenko Central Scientific Library by the author of this article. Objectives. V. Morskoy was writing the reviews about the new films; the programs of popular and philharmonic performers; was researching the musical theater. This article has the purpose to characterize the features of V. Morskoy’ critical reviews on the dramatic theater performances. Results. It was managed to find out the articles by V. Morskoy hidden for the cryptonym “Vl. M.”, which dedicated to the performances of the “Berezil” theater of the second half of 1920th: “Jacquery”, “Yoot”, “Sedi“. The critic wrote about the setting “Jacquery ” by director V. Tyahno : “Berezil in setting of ‘Jacquery’ emphases it’s ideology, approaching ‘Jacquery’ to nowadays viewer” [2]. Perceiving critically some objective features of avant-garde stylistic, such as cinema techniques, V. Morskoy remarks: “The pictures are discrete, too short, some of them are lasting for 2–3 minutes, they made cinematographically” [2]. In the same time, the young critic already demonstrates the feeling and flair to the understanding of acting art. So, he accurately pointed out the first magnitude actors from the “Berezil” ensemble: A. Buchma, Yo. Ghirnyak, M. Krushelnitsky, B. Balaban [2]. V. Morskoy connected his view to “Jacquery” with the tendency of the second half of the 1920th: “For recently the left theaters became notably more right, and the right one – more left”[2], that reveals his theatrical experience. His contemporaries due to the author’s sense of humor easily recognized the style of V. Morsky’s reviews. Critical irony passes through the his essay about the setting by director V. Sukhodolskiy “Ustim Karmelyuk” in the Working Youth Theatre: “Focusing attention to Karmelyuk, V. Sukhodolskiy left the peoples in shade. Often they keep silence – and not in the Pushkin sense “[14]. Despite on the “alive” style, one of the features of V. Morskoy journalism was adherence to principles. His human courage deserves a high evaluation. In 1940, after the three years after the exile of Les Kurbas, the leader director of “Berezil” Theater, to Solovki, the critic published in the professional magazine the creative portrait of this disgraced director’s wife – the actress Valentina Chistyakova [15]. V. Morskoy arguments on the relationship between the modern works and the tradition of prominent predecessors has always been ably dissolved in an analysis of a performance. Each time V. Morskoy was paying attention to the distinctions of principals of playwriting, stage direction and even creative schools, in the second half of 1930th – 1940th, when the words “stage direction”, “currents”, in condition of predomination the so-called “social realism” method, in the soviet newspapers practically were not mentioning. For example, the critic saw of realistically-psychological directions in the O. Kramov’s performance “Year 1919”[9]. In 1940, V. Morskoy made a review of the performance of the then Zaporizhhya theater named after M. Zankovetska “In the steppes of Ukraine”, insisting on the continuity of the comedies of O. Korniychuk in relation to the works of Gogol and others of playwrights-coryphaeuses: “The play of O. Korniychuk is characterized by profound national form...” [7]. However, in the fact that in the Soviet Union at that time reigned as the doctrine the methodology of the “socialist realism”, the tragedy of honest criticism comprised. In controversy with the critic O. Harkivianin, V. Morskoy expressed the credo about the ethics and fighting qualities of the reviewer: “Apparently, Ol. Kharkivianin belongs to the category of peoples, who see the task of critic in order to give only the positive assessments. The vulgar sociological approach to the phenomena of art could be remaining the personal mistake of Ol. Kharkivianin. But when he presents him as the most important argument, everyone becomes uncomfortable”[8]. In 1949, the political regime fabricated the case of a “bourgeois cosmopolitan” against the honest theatrical critic and accused him in betraying of public interests adjudged V. Morskoy to untimed death at a concentration camp (Ivdellag, 1952). However, the time arbitrated this long discussion in favor of V. Morskoy. Conclusions. For the objective analysis of theater life of the city and the country as a whole, it is imperative to draw from the historical facts contained in the reviews of V. Morskoy, and the methodology of the review while investigating studies of theatrical art and theatrical thought of 1920–1940th. Thus, the gathering of the full kit of the critical observations of the famous Kharkov theater expert of the first half of the XX century is the important task for further researchers.
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Kocherga, Svitlana, and Oleksandra Visych. "The antitheatrical discourse in Ukrainian metadrama in the early twentieth century." Przegląd Wschodnioeuropejski 11, no. 1 (June 30, 2020): 251–59. http://dx.doi.org/10.31648/pw.5985.
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The article analyzes methods of implementing antitheatrical discourse in Ukrainian dramaturgy. Different types of antitheatricality in literary texts are distinguished on the basis of plays by M. Starytskyi, I. Karpenko-Karyi, A. Krushelnytskyi, V. Vynnychenko, Ya. Mamontiv, V. Cherednychenko, and M. Kulish. The authors define key vectors that the antitheatrical discourse follows: criticism of theater as an institution, criticism of the drama school / method, criticism of theatricality and acting, including in offstage situations. It is arguably reasonable to examine the phenomenon of antitheatrical prejudice in the context of the theory of metadrama as one of its factors. Artistic interpretation of the theater in an ironic or farcical vein, discussions over the repertoire that is no longer relevant, the aesthetic nature of stage technique, and discredit of acting as an occupation all generally encourage dramatic conventionality to double. Most common metadramatic devices used to implement antitheatricality in Ukrainian drama are believed to include a play within a play, adaptation of spectator’s reception for stage, and intertextual references.
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Mehring, Franz. "On Hauptmann's ‘The Weavers’ (1893)." New Theatre Quarterly 11, no. 42 (May 1995): 184–89. http://dx.doi.org/10.1017/s0266464x00001202.
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Born in 1846, Franz Mehring as a young man was a follower of Ferdinand Lassalle, who in 1863 had organized Germany's first socialist party. As well as establishing a reputation as a journalist with his contributions to many liberal and democratic newspapers, Mehring was awarded his doctorate at Leipzig University in 1881 for his dissertation on the history and teachings of German social democracy. In his mid-forties he embraced Marxism and in 1891 joined the German Social Democratic Party, soon emerging as the intellectual leader of its left wing. He became editor of the Leipziger Volkszeitung and wrote prolifically for Die Neue Zeit and other radical journals on history, politics, philosophy, and literature. His book The Lessing Legend, published in 1893, is regarded as the first sustained attempt at Marxist literary criticism. His major biography of Karl Marx appeared in 1918, the year before his death. Completed in 1891, The Weavers was accepted for performance by the Deutsches Theater but was rejected by the Berlin censor as ‘a portrayal which specifically instils class hatred’. The first production of the play, discussed by Mehring below, was possible only because the Freie Bühne was a subscription society. In October 1893 a further private performance was given at the Neue Freie Volksbühne, followed by seven more in December at the Freie Volksbühne, where Franz Mehring was chairman. By now, the Prussian State censor had overruled his Berlin subordinate and The Weavers received its public premiere at the Deutsches Theater on 25 September 1894. On each occasion Hauptmann's play was greeted with great enthusiasm by the public, but found no favour with the Imperial family who indignantly cancelled their regular box at the Deutsches Theater. Subsequently The Weavers was banned from public performance in France, Austria, Italy, and Russia. Mehring's article appeared originally in Die Neue Zeit, XI, No. I (1893). Its translation in NTQ forms part of an occasional series on early Marxist dramatic criticism, which already includes Trotsky on Wedekind (NTQ28) and Lunacharsky on Ibsen (NTQ39). EDWARD BRAUN
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Viana Leite, Rafael De Araújo e. "O dever de Rousseau ou deixando Berenice: a propósito do Prefácio da Carta a d'Alembert." Princípios: Revista de Filosofia (UFRN) 24, no. 43 (May 19, 2017): 249. http://dx.doi.org/10.21680/1983-2109.2017v24n43id10036.
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O presente artigo tem por objetivo analisar o Prefácio da Carta a d’Alembert, de Jean-Jacques Rousseau, obra publicada em 1758. Para além da crítica ao teatro efetuada pelo filósofo, tentarei explicitar o registro em que a obra se insere, mostrando a ligação entre literatura, sentimento e política na qual desde o início da Carta a d’Alembert Rousseau parece se engajar. Para tanto, aproximarei a postura do filósofo genebrino à de dois personagens dramáticos do teatro clássico francês, estratégia que parece interessante se pensarmos na polêmica motivada pela obra e, também, na ausência de comentários consagrados exclusivamente ao Prefácio.[The goal of the present article is to analyze the Preface to the Letter to d’Alembert, written by Jean-Jacques Rousseau and published in 1758. Beyond the criticism against the theater made by the philosopher, I will try to clarify what is the work’s register by showing the connection among literature, feeling and politics and the work he seems to be engaged to from its beginning. In order to do so, I will compare Rous-seau’s posture with two dramatic characters from the French classical theater. This strategy seems interesting if we consider the polemic moti-vated by the mentioned work and also the lack of studies dedicated exclu-sively to its Preface.]
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Watson, Anna. "‘A Good Night Out’: When Political Theatre Aims at Being Popular, Or How Norwegian Political Theatre in the 1970s Utilized Populist Ideals and Popular Culture in Their Performances." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 87. http://dx.doi.org/10.7146/nts.v29i2.104615.
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Bertolt Brecht stated in Schriften zum Theater: Über eine Nichtaristotelische Dramatik (Writings on Theatre: On Anti-Aristotelian Drama) that a high quality didactic (and political) theatre should be an entertaining theatre. The Norwegian theatre company Hålogaland Teater used Brecht’s statement as their leading motive when creating their political performances together with the communities in Northern Norway. The Oslo-based theatre group, Tramteatret, on the other hand, synthesised their political messages with the revue format, and by such attempted to make a contemporaneous red revue inspired by Norwegian Workers’ Theatre (Tramgjengere) in the 1930s. Hålogaland Teater and Tramteatret termed themselves as both ‘popular’ and ‘political’, but what was the reasoning behind their aesthetic choices? In this article I will look closer at Hålogaland Teater’s folk comedy, Det er her æ høre tel (This is where I belong) from 1973, together with Tramteatret’s performance, Deep Sea Thriller, to compare how they utilized ideas of socialist populism, popular culture, and folk in their productions. When looking into the polemics around political aesthetics in the late 1960s and the 1970s, especially lead by the Frankfurter School, there is a distinct criticism of popular culture. How did the theatre group’s definitions of popular culture correspond with the Frankfurter School’s criticism?
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Sokolovska, S. F. "ART SPACE OF CONTEMPORARY DRAMA." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(94) (July 7, 2021): 49–57. http://dx.doi.org/10.35433/philology.1(94).2021.49-57.
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Sokolovska S. F.The study of the modern literary situation, in particular, new trends in drama, is a relevant task for literary criticism. The work of playwrights of the 90s of the twentieth century deserves special attention since the literary practice of this generation of artists caused a number of significant shifts in various formally substantive areas of drama. Indicative in this respect are the works of the modern German author R. Schimmelpfennig. In the process of literary study of the play «The Golden Dragon», an analytical model of a literary text has been built, which is correlated with the interpretation model of a literary work. The chronotope and structure of the narrative reflect the artistic picture of the world and the concept of personality. Creating these aspects of artistic reality, the playwright turns to the aesthetics of B. Brecht’s epic theater. First of all, this is the alienation effect, which occurs through seventeen roles that are distributed among five actors. However, the characters are not puppet heroes, human beings without identity, they play the role of storytellers, report events, addressing directly to the audience. The author’s presence is being augmented, which is realized in the epization of a dramatic text, in the author’s direct description of the characters, in the spatio-temporal organization of the work. The reality that the world of a multi-storey building reproduces in the play does not allow a person to realize themselves. Such a manifestation becomes possible in an imaginary world, in human consciousness. The acquisition of personal uniqueness, the establishment of deep, essential connections with other people occurs in an open, unlimited mental space.
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Bloom, Davida. "Feminist Dramatic Criticism for Theatre for Young Audiences." Youth Theatre Journal 12, no. 1 (May 1998): 25–35. http://dx.doi.org/10.1080/08929092.1998.10012492.
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Fensham, Rachel. "Farce or Failure? Feminist Tendencies in Mainstream Australian Theatre." Theatre Research International 26, no. 1 (March 2001): 82–93. http://dx.doi.org/10.1017/s0307883301000086.
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A feminist analysis of the repertoire written and directed by women within mainstream Australian theatre at the end of the millennium reveals that, in spite of thirty years of active feminism in Australia, as well as feminist theatre criticism and practice, the mainstream has only partially absorbed the influence of feminist ideas. A survey of all the mainland state theatre companies reveals the number of women making work for the mainstream and discusses the production politics that frames their representation as repertoire. Although theatre has become increasingly feminized, closer analysis reveals that women's theatre is either contained or diminished by its presence within the mainstream or utilizes conventional theatrical genres and dramatic narratives. Feminist theatre criticism, thus, needs to become more concerned with the material politics of mainstream culture, in which gender relations are being reconstructed under the power of a new economic and social order.
Dissertations / Theses on the topic "Dramatic criticism Dramatic criticism Theater Theater Theater Theater"
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Orand, Amber Werley Darden Bob. "A quantitative analysis of theater criticism in four American newspapers." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5169.
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Georges, Pierre Marie. "Dramatic space : Jerzy Grotowski and the recovery of the ritual function of theatre." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32820.
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This thesis explores temporal forms of architectural meaning through the investigation of the dramatic space of "ritual theatre." In particular, it analyzes the thought and several theatrical productions of the twentieth century Polish theatre director, Jerzy Grotowski: Grotowski is of particular interest because he designed a "total dramatic space" that incorporated both the actors and the spectators (although without necessarily integrating them) for each of his dramatic works. In each case, the spatial relationships created by the theatrical architecture were indissolubly connected to the meaning of the drama itself. In this way, space was used as a kind of third protagonist that, along with the actors and spectators, participates in the theatrical ritual.
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Lane, Michelle I. ""Why do hurt people hurt people?" A SERIES OF CASE STUDIES EXPLORING ABUSIVE RELATIONSHIPS IN DRAMATIC TEXTS AND ONSTAGE WITH TONI KOCHENSPARGER'S MILKWHITE." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492704228702652.
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Wright, Elizabeth Helena. "Virginia Woolf and the dramatic imagination." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.
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Reiger, Bryon E. "The Killing Noise of the Out of Style." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2355.
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Burnett, Linda Avril. "The argument against tragedy in feminist dramatic re-vision of the plays of Euripides and Shakespeare /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35857.
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This dissertation examines the arguments against tragedy offered by feminist playwrights in their "re-visions" of the plays of Euripides and Shakespeare.In the first part, I maintain that feminist dramatic re-vision is one manifestation of an unrecognized tradition of women's writing in which criticism is expressed through fiction. I also argue that the project of feminist dramatic re-vision embodies a feminist "new poetics."
In the second part, I examine the aesthetics and politics of tragedy from a feminist perspective. Feminist arguments against tragedy are, in effect arguments against patriarchy. But it is the theorists and critics of tragedy---not the playwrights---who are unequivocally aligned with patriarchy. Playwrights like Euripides and Shakespeare can be seen to destabilize tragedy in their plays.
In the third part, I show how recent feminist playwrights (Jackie Crossland, Dario Fo and Franca Rame, Deborah Porter, Caryl Churchill and David Lan, Maureen Duffy, Alison Lyssa, The Women's Theatre Group and Elaine Feinstein, Joan Ure, Margaret Clarke, and Ann-Marie MacDonald) counter tragedy by extrapolating from the arguments presented by Euripides and Shakespeare in The Medea, The Bacchae, King Lear, Hamlet, Romeo and Juliet and Othello , and by allocating voice and agency to their female protagonists.
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Craig, Jennifer J. "Inventing 'living emblems' : emblem tradition in the masques of Ben Jonson, 1605-1618." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/1307/.
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While it is widely held that Ben Jonson uses emblem tradition in the development of imagery in his court masques and entertainments, how or why Jonson employs this genre of word-image combinations is rarely addressed. This thesis offers an explanation for what is often assumed in studies of Jonson’s masques and entertainments. Rather than identifying particularly emblematic scenes or characters and analysing their construction, however, this investigation of the emblematic in Jonson begins with analysis of his theory of masque creation. The evidence he leaves in the introductions to masque publications and his notes in Discoveries (1641) points to a conscious decision to incorporate not emblems themselves but an emblematic method in his new literary masque form, especially between 1605 and 1618. Once Jonson’s familiarity with emblematic methods is realized, what is considered ‘emblematic’ in his imagery can be reassessed. The reason why Jonson’s masques appear to retain emblematic qualities but contain few true emblems can thus be explained. In order to explicate Jonson’s use of emblem tradition in his creation of masque imagery, this thesis is divided into three parts. The first part outlines Jonson’s theory of masque writing within three contexts. It initially looks at how Jonson’s literary methods compare to contemporary emblem and symbol theories, and thus works out a methodology for analysing the emblematic in his masques. Then, it considers the awareness of emblems in the early modern British court, both in material and intellectual culture. In so doing, these two sections on emblems in sixteenth- and seventeenth-century British culture highlight the prevalence of the emblematic mindset in Jonson and his aristocratic audience. This argues for the relevance of Jonson’s emblematic development of imagery for performances in the Stuart court. The second and third parts of this thesis then turn to the masques and entertainments themselves. Part II looks at how Jonson uses emblematic techniques to design characters. Recognizing Jonson’s different approaches to abstract personifications and mythological figures, it is split into two sections. The first section looks at key personifications in The Masque of Beautie (1608) and The Masque of Queenes (1609). It considers how Jonson changes the characters Januarius and Fama bona from personifications in Ripa’s Iconologia to emblematically-rendered figures. The second section then analyses Jonson’s reinvention of stock characters Cupid and Hercules. Discussion covers Cupid’s appearance in many of Jonson’s entertainments, and then concentrates on his appearance with Anteros in A Challenge at Tilt (1613) and Loves Welcome at Bolsover (1634). Hercules’ pointedly emblematic role in Pleasure reconcild to Vertue (1618) finally crowns study of Jonson’s characters. Part III extends investigation into Jonson’s development of themes and arguments in the masques. By identifying Jonson’s processes in the expression of certain themes, this part gives a full picture of Jonson’s use of emblematic techniques and material. The first section realizes their use in the moulding of Platonic themes of love into celebration of King and State. The second section then scrutinizes the invention of the Masques of Blacknesse (1605) and Beautie, Love Freed (1611), and The Golden Age Restor’d (1615). This is followed by analysis of the changes Jonson makes to emblematic constructions between Pleasure reconcild and its rewrite For the Honour of Wales (1618). The alterations highlight Jonson’s reliance on emblematic interpretation of his entertainments. At the same time, it marks his decision to subvert his techniques after 1618 in order to cater to court tastes following the failure of Pleasure reconcild. A conclusion to this thesis is thus derived from the comparison, which illustrates Jonson’s methods up to 1618.
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Park, Kyung Ran. "Philomela and her sisters : explorations of sexual violence in plays by British contemporary women dramatists." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/55822/.
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The theme of this thesis is women and violence explored in eleven plays by British contemporary women playwrights in the 1980s and 1990s. In order to explore these plays, I have made investigations into a basic knowledge of violence against women in the Introduction. Violence against women is also called sexual violence or gender-related violence. The knowledge I have gained includes how sexual violence is defined; why sexual violence occurs; what kinds of sexual violence there are; how people perceive sexual violence. My definition is that any act which limits the autonomy of women constitutes sexual violence. Based on a variety of definitions by feminist scholars, there are many forms of sexual violence in women's history around the world. As a result, I have found out the continuity, diversity, and universality of women's pain. The nature of sexual violence has been mistaken by many people from the perspective of prevailing myths about women's sexuality. Because of them, many women and female children become double victims. Having understood the true nature of sexual violence, I have selected eleven plays which explore women and violence: The Love of the Nightingale (1988) by Timberlake Wertenbaker; Crux (1991) by April de Angelis; The Taking of Liberty (1992) by Cheryl Robson; Augustine (Big Hysteria) (1991) by Anna Furse; The Gut Girls (1988) by Sarah Daniels; Ficky Stingers (1986) by Eve Lewis; Beside Herself (1990) by Sarah Daniels; Thatcher's Women (1987) by Kay Adshead; Money to Live (1984) by Jacqueline Rudet; Low Level Panic (1988) by Clare McIntyre; Masterpieces (1984) by Sarah Daniels. The thesis is divided into two parts depending on whether the plays are set in the past or present in order to identify the continuity of sexual violence. They depict the exercise of men's power through sexual violence. In the plays women experience violence committed by men and then they are silenced. However, the women demonstrate their fighting spirit and regain their voice or find ways to express themselves. Women's hope for change is expressed through theatre.
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Koutsourakis, Angelos. "'A film should be like a stone in your shoe' : a Brechtian reading of Lars von Trier." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/7458/.
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This central premise of this thesis is that Lars von Trier is a political director. Through a detailed formal analysis of five films I proceed to discuss the political implications of form, something that has not been acknowledged by scholarship so far. In this thesis, I employ Brecht as a methodological tool so as to discuss the shift from a dialectical cinema devoted to the production of knowledge effects, to a post-Brechtian one that brings together points of tension that remain unresolved. Chapter 1 proceeds to a historical evaluation of Brecht's reception in film theory and considers the ways that Brecht's theory and practice can address the cinematic and political concerns of the present. The chapter also locates von Trier under the rubric of the post-Brechtian by comparing him to past film practices. Chapter 2 moves to a discussion of von Trier's Europa trilogy and focuses on issues of historical representation. Emphasis is placed on formal elements that challenge the narrative laws of classical cinema. The chapter argues that von Trier follows Brecht's mistrust of a historical representation based on pictorial verisimilitude, without however sharing his forward-looking politics and his view of history as Marxist science. Chapter 3 discusses Dogme 95 and The Idiots (1998). Firstly, the chapter discusses Dogme's combination of a political modernist rhetoric with a realist one and places Dogme's return to the past in a historical context. Secondly, the chapter considers the role of performance as a formal and thematic element in The Idiots. I draw attention to the ways that the camera becomes performative and brings together material of dramaturgical importance with moments that are the product of cinematic contingency. My discussion is very much informed by contemporary post-Brechtian performance and film studies invested in the discussion of ‘corporeal cinema'. Chapter 4 discusses Dogville, a film with obvious references to Brecht. Unlike previous readings, I shift the emphasis from the film's assumed ‘Anti-Americanism' and proceed to a formal analysis that can rethink the film's politics and innovations. While Brecht has been thought to be as a fleeting presence in von Trier's films by most critics, this thesis suggests that our knowledge of von Trier's formal innovations can be deepened and enlivened by discussing them in conjunction with Brecht's theory. By returning to Brecht, we can also rethink the importance of form as the key to a film's politics.
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Hartwell, Jonathan William. "'Skill in the construction' : dramaturgy, ideology, and interpretation in Shakespeare's late plays." Thesis, University of Birmingham, 2004. http://etheses.bham.ac.uk//id/eprint/4484/.
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This thesis examines the way dramaturgical techniques in Shakespeare's late plays are used to create a complex and radical exploration of the relationship between ideology and interpretation. It links such concerns via the multiple meanings of "construction", illustrated using the scene of reading at the end of Cymbeline, centred upon the prophetic label. In Part I, major reservations are expressed about the standard interpretative paradigms applied to late Shakespearian drama, and their effect on critical understanding. The deficiencies of a "Romance" reading and the problems with traditional attitudes to chronology, authorship, and collaboration are stressed; elements often marginalized as aesthetically inferior are defended; and two related areas of dramaturgical technique, theatrical spectacle and reported action, are emphasized. Part II focuses on reading individual late plays, with special emphasis on Henry VIII and The Two Noble Kinsmen. It adopts a reconstructed, politicized close reading, concentrating on issues relating to the problematics of interpretation within the plays. Individual chapters highlight different forms of "construction": art, history, truth, authority, display, narrative. Attention is drawn to how reading and interpretation are shown to be always inscribed within power relations and the performative dynamic of language.
Books on the topic "Dramatic criticism Dramatic criticism Theater Theater Theater Theater"
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Schanze, Helmut. Goethes Dramatik: Theater der Erinnerung. Tübingen: M. Niemeyer, 1989.
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Billington, Michael. One night stands: A critic's view of modernBritish theatre. London: Nick Hern Books, 1993.
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Billington, Michael. One night stands: A critic's view of British theatre from 1971 to 1991. London: Nick Hern Books, 1993.
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Heteren, Lucia van. Theater, kritiek, jury en publiek: De totstandkoming van het kwaliteitsoordeel bij theater. Groningen: Passage, 1998.
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Dukore, Bernard Frank. Shaw's theater. Gainesville: University Press of Florida, 2000.
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Serious dialogue: Interviews with American theater critics. Newcastle: Cambridge Scholars, 2008.
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Kott, Jan. The memory of the body: Essays on theater and death. Evanston, Ill: Northwestern University Press, 1992.
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Robert, Wallace. Producing marginality: Theatre and criticism in Canada. Saskatoon, Sask: Fifth House Publishers, 1990.
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Kelz, Robert. "Introduction." In Competing Germanies, 3–26. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501739859.003.0001.
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This introductory chapter contextualizes three different competing German theater groups within the cultural backdrop of Argentina as well as German exilic literature. In doing so, the chapter describes a gap within German exile studies where it concerns the artistic output of Germans abroad. Additionally, it briefly demonstrates the link between the disparate disciplines of German, Jewish, Latin American, and migration studies as they are understood across historiography, dramatic theory, and literary criticism. Here, theater is the stage upon which these competing forces meet. At the core of their emphasis on the dramatic genre is the concept of theater as a community-building institution. The chapter thus reveals the social dimension of theater and how it applies to this volume's themes.
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Dossett, Kate. "Free at Lass!" In Radical Black Theatre in the New Deal, 203–50. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469654423.003.0006.
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The final chapter examines the Harlem Negro Unit’s immensely popular production of Haiti. Authored by white New York journalist William Dubois, white theatre critics attempted to place Haiti within a white dramatic tradition of Black primitivism which included Emperor Jones and Orson Welles’ recent Voodoo version of Macbeth. By contrast, the Black performance community worked to transform Dubois’s racist play into a celebration of the Haitian Republic’s Black heroes. The success of Haiti helped the Black performance community push the Federal Theatre to invest in Black dramatists. On the eve of the FTP’s closure two new Black dramas were being prepared for production: Panyared, (1939) explores the origins of African slavery and was the first instalment of a historical trilogy by Hughes Allison; Theodore Browne’s Go Down Moses (1938), is a dramatization of Harriet Tubman’s life which examines Black agency in ending slavery. While neither drama made it to the stage, centering Black theatre manuscripts, and the performance communities who developed them, allows us to see how African Americans imagined radical paths to the future.
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Litvin, Margaret. "Six Plays in Search of a Protagonist, 1976–2002." In Hamlet's Arab Journey. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691137803.003.0007.
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This chapter examines six Arab Hamlet offshoot plays performed between 1976 and 2002, describing how the Egyptian, Syrian, and Iraqi dramatists of the past thirty-five years have since deployed Hamlet for dramatic irony. The most recent of these plays, written in English, stands on the margins of the Arab Hamlet tradition. But the rest, aware of their predecessors' heroic Hamlet, turn him into a foil for their own pointedly inarticulate and ineffectual protagonists. These bitter, often hilarious plays criticize the political situation, but they are at their best in mocking allegorical political theatre. The only real political agency available, they suggest, is the power to set oneself above one's circumstances through ironic laughter.
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Marshall, Hallie. "The Early Years at the National Theatre: Harrison’s Molière and Racine." In New Light on Tony Harrison, 91–100. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266519.003.0009.
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While Tony Harrison’s career as a poet was perhaps inevitable by the early 1970s with the publication of his award winning volume The Loiners (1970), this chapter argues that it was not a given that a significant portion of Harrison’s poetic output would be for the stage, nor that the British Theatre would readily welcome a contemporary poet writing verse plays. I argue that Harrison’s career in the theatre was fostered by his early commissions from the National Theatre and the collaborators he worked with in those early years, especially director John Dexter. Their work together on Harrison’s translations/adaptations of two seventeenth-century French plays—Molière’s Le Misanthrope (1666) and Racine’s Phèdre (1677), staged as The Misanthrope (1973) and Phaedra Britannica (1975)—allowed Harrison to bring to bear on his theatrical translations for the modern stage the ideas that he had been exploring in his doctoral thesis on Vergil and translation. Moreover, the close involvement of Harrison from commission to production served to reinforce his belief that writing for the stage and the page are very different things, with theatrical texts needing to facilitate a three dimensional performance. This would shape the nature of Harrison’s dramatic verse for decades to come. The success of The Misanthrope, which critics praised for the brilliance of its translation, was essential in establishing the claim of contemporary poets to a place on the modern British stage.
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Emison, Patricia. "The Machine Aesthetic." In Moving Pictures and Renaissance Art History. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724036_ch02.
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Film was allied with live performance because of its movement and also because many actors started in vaudeville. Hollywood often reproduced Broadway plays, prompting critics to try to define what might be specifically cinematographic, such as a facility for shifting from one layer of consciousness to another. Film allowed for a new kind of experience of dramatic art, more remote than theater in some ways but also endowed with new resources such as the close-up, location shooting, and a broad public sometimes apt for unaccustomed themes and treatments. Urban anonymity and the social effects of an increasingly mechanized environment were recurrent themes. The displacement of silent film by talkies was widely lamented, often on the grounds that silent film was just coming into its own as an art form, an early instance of questioning the reliability of technological progress.
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Graziosi, Barbara. "Performing Epic and Reading Homer." In Epic Performances from the Middle Ages into the Twenty-First Century, 16–30. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0002.
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There are two long-recognized obstacles to dramatic performances of epic. The first is scale and the second is portrayal of the gods. This chapter argues that both these features have been important for the definition of what literature is—i.e. what is characteristic of literature as opposed to the performing arts. The first section of the chapter offers a close reading of Aristotle, because he identified scale and the gods as issues that differentiate epic from tragedy, and because his Poetics was foundational for the later development of both literary criticism and performance studies. The second section of this chapter discusses the place of Homer in relation to both literature and the performing arts—by focusing again on scale and the gods, and the history of their reception. The final section considers Simon Armitage’s versions of the Iliad and the Odyssey for the theatre and for BBC Radio.
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Litvin, Margaret. "Hamletizing the Arab Muslim Hero, 1964–67." In Hamlet's Arab Journey. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691137803.003.0005.
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This chapter examines a related bid for political agency (1964–67): the pursuit of interiorized subjectivity as proof of moral personhood. As the Egyptian theatre grew more ambitious, playwrights strove to create dramatic exemplars of authentic Arab political action. This in turn required characters who were “deep” enough to qualify as fully fledged moral subjects and hence modern political agents, such as Hamlet. Looking at two landmark plays in which critics have heard Hamletian echoes, Sulayman of Aleppo by Alfred Farag and The Tragedy of Al-Hallaj by Salah Abdel Sabur, the chapter argues that the “Hamletization” of their Muslim protagonists is neither subversive in spirit nor driven by any desire to seize mastery of a colonizer's text. Rather, Hamlet serves as a model and even an emblem of psychological interiority.
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"he was determined to ensure that he and his work would be available to both East and West, and thus his commitment to Communism was made on his own terms. Brecht also drew criticism from some of his supporters for appearing to condone Stalin’s barbaric form of Communism in Russia, and again for failing to criticise the East German government’s use of Russian tanks to restore order after the Berlin uprising of June 1953. As Peter Thomson says in his account of Brecht’s life: There is much about him, what he did and what he failed to do, that makes him vulnerable. He was a man who lived untidily, but who combined timorousness and combativeness as few people have. (Thomson and Sachs, 1994, p.38) Crucially, the corollary of Brecht’s Marxism was his creation of play-texts that were based on a social, economic and historical understanding of the development of human life and behaviour and its institutions, and which expressed Brecht’s passionate concern for the poor, the disempowered and the disenfranchised in society. His aim was not just to reflect the real world in his drama but to contribute to its change and improvement. While his deeply felt pacifism was readily acceptable to many at the time of and immediately after the war of 1939– 45, his anti-capitalist stance was more of a problem in the capitalist West. The ideals and heartfelt beliefs expressed in his plays were put into theatrical practice by Brecht operating through a working method and process that was open, experimental and collaborative, and which placed emphasis on the ensemble rather than on the individual performer. And this method and process were (and are) as much a stumbling block to his full acceptance in Britain’s theatre environment as was and is his Marxism per se. To compound the problem, much of his creative work appeared to arrive here already wrapped in the brown paper of Brechtian dramatic theory. There has always been an unwilling-ness in Britain to contemplate or work via a theoretical basis for art. British theatre, it might be argued, has never paid open respect to the intellectual approach; instead, it has thrived on traditional approaches and instinct, not on revolution and theoretical debate. Those ap-proaches include an eclectic manner in the creating of the professional actor (‘training’ is not a prerequisite for membership of the profession), though the predominance of a ‘naturalistic’ performance style in mainstream theatre (supported by television and film) results in the fact that a ‘psychological’ approach to character has been (and is) the dominant approach to a part for most actors. However, the paucity of rehearsal time in the British professional theatre, and the frequent concern on the part of directors to create ‘scenes’ rather than motivation, has encouraged the actors’ reliance on their own instinctual understanding of what a part requires rather than on the development of a systematic process based on training. This, plus a basic." In Performing Brecht, 13. Routledge, 2002. http://dx.doi.org/10.4324/9780203129838-9.
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