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1
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.
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Goldhill, Simon. "Reading Performance Criticism." Greece and Rome 36, no. 2 (October 1989): 172–82. http://dx.doi.org/10.1017/s0017383500029740.
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Fred Astaire once remarked of performing in London that he knew when the end of a play's run was approaching when he saw the first black tie in the audience. Perhaps this is an American's ironic representation of the snobbishness of pre-War London (though he was the American who sang the top-hat, white tie and tails into a part of his personal image). Perhaps it is merely an accurate (or nostalgic) picture of the dress code of the audiences of the period. The very appeal to such a dress code, however – in whatever way we choose to read the anecdote – inevitably relies on a whole network of cultural ideas and norms to make its point. It implies tacitly what is easily recoverable from other sources about the theatre of the period: the expected class of the audience; the sense of ‘an evening's entertainment’ – attending the fashionable play of the season, with all the implications of the theatre as a place not merely for seeing but also for being seen; the range of subjects and characters portrayed on the London stage of the period; the role of London as a European capital of a world empire (with a particular self-awareness of itself as a capital); the expected types of narrative, events, and language, that for many modern readers could be evoked with the phrase ‘a Fred Astaire story’. If we want to understand the impact of the plays of Ibsen or Brecht or Osborne or Beckett, it cannot be merely through ‘dramatic techniques’, but must also take into account the social performance that is theatre. Ibsen's commitment to a realist aesthetic is no doubt instrumental to the impact of his plays, but it is because his (socially committed) dramas challenged the proprieties of the social event of theatre that his first reviewers were so hostile.
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Morash, Chris. "The Girls in the Big Picture: Gender in Contemporary Ulster Theatre. By Imelda Foley. Belfast: Blackstaff Press, 2003; pp. xvi + 170. $25.95 paper." Theatre Survey 45, no. 2 (November 2004): 298–99. http://dx.doi.org/10.1017/s0040557404300268.
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“A new language of criticism is essential to describe and inscribe dramatic forms” (145): so writes Imelda Foley at the conclusion of her study of gender in contemporary Ulster theatre, The Girls in the Big Picture. It is not without irony, therefore, that her book is a perfect example of the exuberantly lively business of theatre in performance continually bursting through the limits of an overly schematic theoretical paradigm.
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Frendo, Mario. "Ancient Greek Tragedy as Performance: the Literature–Performance Problematic." New Theatre Quarterly 35, no. 1 (January 16, 2019): 19–32. http://dx.doi.org/10.1017/s0266464x18000581.
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In this article Mario Frendo engages with the idea of ancient Greek tragedy as a performance phenomenon, questioning critiques that approach it exclusively via literary–dramatic methodologies. Based on the premise that ancient Greek tragedy developed within the predominantly oral context of fifth-century BCE Greece, he draws on Hans-Thies Lehmann's study of tragedy and its relation to dramatic theatre, where it is argued that the genre is essentially ‘predramatic’. Considered as such, ancient Greek tragedy cannot be fully investigated using dramatic theories developed since early modernity. In view of this, Walter J. Ong's caution with respect to the rational processes produced by generations of literate culture will be acknowledged and alternative critiques sought, including performance criticism and performance-oriented frameworks such as orality, via which Frendo traces possible critical trajectories that would allow contemporary scholarship to deal with ancient tragedy as a performance rather than literary phenomenon. Reference will be made to Aristotle's use of the term ‘poetry’, and how performance criticism may provide new insight into how the Poetics deals with one of the earliest performance phenomena in the West. Mario Frendo is lecturer of theatre and performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is director of CaP, a research group focusing on links between culture and performance. His research interests include musicality in theatre, ancient tragedy, and relations between philosophical thought and performance.
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Senelick, Laurence. "Stanislavsky's Second Thoughts on ‘The Seagull’." New Theatre Quarterly 20, no. 2 (April 21, 2004): 127–37. http://dx.doi.org/10.1017/s0266464x0400003x.
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Stanislavsky's first production of The Seagull is well documented in English, in The Seagull Produced by Stanislavsky, edited by S. D. Balukhaty in 1952. But little is known of his exploratory work on an intended second production almost two decades later amidst the turmoil of the revolutionary period, and the rehearsal notes made by Stanislavsky's assistant Pyotr Sharov remained unpublished even in Russian until 1987. Here, Laurence Senelick provides the first English translation of these notes, contextualizing them with an account of the difficulties under which Stanislavsky and the Art Theatre were working at the time. Laurence Senelick is Fletcher Professor of Drama and Oratory at Tufts University, and a long-time contributor to TQ and NTQ, which published his articles on the Craig–Stanislavsky Hamlet, serf theatre in Russia, and Wedekind and Lenin at the music hall. His last book, The Changing Room: Sex, Drag, and Theatre, won the George Jean Nathan award as the best work of dramatic criticism of 2000–01, and his previous book, The Chekhov Theatre: a Century of Plays in Production, won the Barnard Hewitt award of the American Society of Theatre Research. He is currently translating and editing the complete plays and dramatic fragments of Anton Chekhov for Norton Publishers.
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Özmen, Özlem. "Identity and Gender Politics in Contemporary Shakespearean Rewriting." European Judaism 51, no. 2 (September 1, 2018): 196–204. http://dx.doi.org/10.3167/ej.2017.510226.
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Julia Pascal’s The Yiddish Queen Lear, a dramatic adaptation of Shakespeare’s King Lear, merges racial identity politics with gender politics as the play both traces the history of the Yiddish theatre and offers a feminist criticism of Shakespeare’s text. The use of Lear as a source text for a play about Jews illustrates that contemporary Jewish engagements with Shakespeare are more varied than reinterpretations of The Merchant of Venice. Identity politics are employed in Pascal’s manifestation of the problematic relationship between Lear and his daughters in the form of a conflict between the play’s protagonist Esther, who struggles to preserve the tradition of the Yiddish theatre, and her daughters who prefer the American cabaret. Gender politics are also portrayed with Pascal’s use of a strong woman protagonist, which contributes to the feminist criticism of Lear as well as subverting the stereotypical representation of the domestic Jewish female figure in other dramatic texts.
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Özmen, Özlem. "Identity and Gender Politics in Contemporary Shakespearean Rewriting." European Judaism 51, no. 2 (September 1, 2018): 196–204. http://dx.doi.org/10.3167/ej.2018.510226.
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Abstract Julia Pascal’s The Yiddish Queen Lear, a dramatic adaptation of Shakespeare’s King Lear, merges racial identity politics with gender politics as the play both traces the history of the Yiddish theatre and offers a feminist criticism of Shakespeare’s text. The use of Lear as a source text for a play about Jews illustrates that contemporary Jewish engagements with Shakespeare are more varied than reinterpretations of The Merchant of Venice. Identity politics are employed in Pascal’s manifestation of the problematic relationship between Lear and his daughters in the form of a conflict between the play’s protagonist Esther, who struggles to preserve the tradition of the Yiddish theatre, and her daughters who prefer the American cabaret. Gender politics are also portrayed with Pascal’s use of a strong woman protagonist, which contributes to the feminist criticism of Lear as well as subverting the stereotypical representation of the domestic Jewish female figure in other dramatic texts.
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Earnest, Steve. "Justus Leibig Universität Giessen: a New Direction in German Theatre Training." New Theatre Quarterly 19, no. 3 (August 2003): 278–85. http://dx.doi.org/10.1017/s0266464x03000174.
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Since the post-war reorganization of education that began in 1949, the purpose and nature of German theatre training has perpetuated a division between performance and technical training, provided by vocational schools (or Hochschulen), while university programmes offer degrees in Theatre Science (Theaterwissenschaft), theory, or other academic areas. The course of studies at Justus Leibig Universität Giessen is one of the first to break away from this established model, offering a hybrid programme combining the study of theory and practice. Having featured a number of international guest artists as teachers, including Robert Wilson, Heiner Müller, John Jessurun, and Heiner Goebbels, the programme continues to be a centre of innovation in the changing landscape of German theatre education. Steve Earnest is an Assistant Professor of Theatre Arts at California State University, San Bernardino. His published work includes The State Acting Academy of East Berlin (Mellen Press, 1999), and articles in Performer Training (Harwood Publishers, 2001), Theatre Journal, Western European Stages, and The Journal of Dramatic Theory and Criticism. He is also active in southern California professional theatre.
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Haslett, Rosalind. "Architecture and New Play Development at the National Theatre, 1907–2010." New Theatre Quarterly 27, no. 4 (November 2011): 358–67. http://dx.doi.org/10.1017/s0266464x11000674.
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In recent criticism a perceived dichotomy has emerged between ‘new writing’ and ‘new work’ for the theatre. In this article Rosalind Haslett contends that this dichotomy is often reflected in the infrastructure of theatre organizations and theatre spaces themselves. Thus ‘new writing’ is seen to refer to a literary process which takes place in a conventional theatre building, while ‘new work’ tends to occur in non-traditional forms and spaces. The relationship between non-conventional spaces and the performance work that might take place in them has received some critical attention, but there has been less exploration of the ways in which theatre architecture can inform the processes which surround new writing for the theatre. Tracing the history of the National Theatre in London back to its origins, long before it occupied a building of its own, Rosalind Haslett explores the relationship between the policies and processes taking place within the organization and the physical and architectural development of actualizing its building. She suggests that, if the layout of a theatre building has the power to influence the kind of work and the modes of production which take place within it, the activities of the individuals and organizations residing within such structures can also drive architectural change. Rosalind Haslett is Lecturer in Dramatic Literature at Newcastle University. Her research interests include dramaturgy and literature management, theatre architecture, and theatre history.
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Kelly, Veronica. "Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia." New Theatre Quarterly 20, no. 2 (April 21, 2004): 99–116. http://dx.doi.org/10.1017/s0266464x04000016.
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A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).
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Sierz, Aleks. "Still In-Yer-Face? Towards a Critique and a Summation." New Theatre Quarterly 18, no. 1 (February 2002): 17–24. http://dx.doi.org/10.1017/s0266464x0200012x.
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The dramatic upsurge of contemporary new writing on British stages in the past decade, and the emergence of a fresh generation of playwrights led by such talents as Mark Ravenhill, Philip Ridley, Joe Penhall, Phyllis Nagy, Patrick Marber, and the late Sarah Kane, has been variously characterized as the ‘New Brutalism’ or even, in Germany, as the ‘Blood and Sperm Generation’. Here, Aleks Sierz summarizes the argument for ‘In-Yer-Face Theatre’ as the most pertinent and inclusive description for the phenomenon, listing its salient characteristics and suggesting the areas in which it is most vulnerable to criticism. Aleks Sierz is theatre critic of Tribune and writes about theatre for several publications. He is the author of In-Yer-Face Theatre: British Drama Today (London: Faber, 2001) and teaches journalism at Goldsmiths College, University of London. An earlier version of this article was given as a paper at the In-Yer-Face Theatre: Sarah Kane and the New British Dramaturgy conference at Stendhal University 3, Grenoble, in May 2001.
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Elam Jr., Harry J. "Making History." Theatre Survey 45, no. 2 (November 2004): 219–25. http://dx.doi.org/10.1017/s0040557404000171.
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These three quotes will serve as a starting point as I enter into this discussion of the import and role of theatre history. While I make a case for theatre history generally, my examples and thesis are drawn from African American theatre history most specifically. My argument is for a critical historicism, a process that recognizes the need to historicize and situate dramatic criticism as well as the need to theorize history or, as Walter Benjamin suggests, to “rub history against the grain.” Rubbing history against the grain means that we must interrogate the past in order to inform the present, remaining cognizant of the material conditions that not only shape theatrical production but the historical interpretations of production. It implies a need to work against conventional historical narratives and the ways in which history has been told in the past.
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Stephenson, Jenn. "Hearing Hope: Metatheatrical Utopias in the ‘Staging’ of Radio Drama." New Theatre Quarterly 26, no. 1 (February 2010): 49–60. http://dx.doi.org/10.1017/s0266464x10000059.
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The radio play has long survived the competition from television in Britain, and also has a long tradition in the German-speaking world in the form of the Hörspiel – but its strength has lain precisely in demanding a visual contribution from the listener's imagination. What happens when a radio play is ‘staged’ before a live audience? In 2005, under commission from the Royal Festival Hall, the composer Carter Burwell proposed writing a sound score for new plays; and under the banner of Theatre of the New Ear, he recruited his long-time collaborators on film, Charlie Kaufman and Joel and Ethan Coen, to write specifically for sound-only. In this article Jenn Stephenson describes the experience of ‘watching’ a radio play, and offers a theorization of its qualities and the effects on its audience. Jenn Stephenson received her PhD from the University of Toronto in 2003 and is now Associate Professor of Drama at Queen's University in Kingston, Canada. Her recent publications include articles in Theatre Journal, Journal of Dramatic Theory and Criticism, Studies in Theatre and Performance, and Theatre Research in Canada. She is co-editor of the ‘Views and Reviews’ section of Canadian Theatre Review.
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Harari, Dror. "Artificial, Animal, Machinal: Body, Desire, and Intimacy in Modernist and Postmodernist Theatre." New Theatre Quarterly 29, no. 4 (November 2013): 311–20. http://dx.doi.org/10.1017/s0266464x1300064x.
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Exactly one hundred years separate two notorious dramatic aristocrats: Alfred Jarry's wild Ubu and Sarah Kane's apathetic Hippolytus. Ubu is iconic of Jarry's surreal reaction to nineteenth-century positivism and, at the same time, a criticism of modernism's abstract poetics and will-less aesthetic experience. Kane's Hippolytus is a witty and macabre response to the late twentieth-century ‘logic’ of capitalism. Nevertheless, these seemingly diametrically opposed characters share one trait that binds them – spending desire. In this article Dror Harari considers these figures as conspicuous waypoints along a broader spectrum of indispensable relations between body and desire in modern theatre. He tracks certain dramaturgies of desire, as theorized and/or realized by theatre practitioners and philosophers. Starting with modernist attempts to overcome desire by likening the performer's body to a machine, he closes with the indifferent Hippolytus becoming a desiring machine. Dror Harari is senior lecturer in the Department of Theatre Arts, Tel Aviv University. His recent articles have appeared in The Drama Review, Samuel Beckett Today/Aujourd'hui, Theatre Research International, and Theatre Annual. His study Self-Performance: Performance Art and the Representation of Self is forthcoming in Hebrew from Resling Publications, an Israeli academic publishing house.
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Staniškytė, Jurgita. "Between (in)Visible Influences and (Im)Pure Traditions: Hybrid Character of the Postdramatic in Lithuanian Theatre." Art History & Criticism 15, no. 1 (December 1, 2019): 97–102. http://dx.doi.org/10.2478/mik-2019-0007.
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Summary Lithuanian theatre has always been known for its visual metaphors and dramaturgy of directorial images, where the language of literary text is translated into visual metaphors created on stage by a director. Due to this quality, some critics have argued that Lithuanian theatre has been demonstrating postdramatic characteristics for a long time. However, one should note that visual metaphors of modern Lithuanian theatre have been based on and controlled by literary text and never quite established a more autonomous and self-contained visuality. Dramatic text remained the point of departure whether the director chose to illustrate or concretise it, to transform or deform it. However, in post-Soviet Lithuanian theatre, these relations have been gradually turning discontinuous, their intensity often varied within the framework of the same performance. Fragmentary cracks, when images, departed from the roles of commentators or illustrators of textual meanings, turned into flashes of independent visions that were seen by the critics as an obvious shift towards a radical image-centric position or, to use the term of Hans-Thies Lehmann, postdramatic theatre. However, the recent performance Lokis (2017, Lithuanian National Drama Theatre) by Polish theatre artist Lukasz Twarkowski, produced twenty years after the initial introduction of the term postdramatic into the Lithuanian context, has paradoxically started a storm of divisive opinions in the Lithuanian theatre milieu. It became the focal point of discussions about the intrinsic character of Lithuanian theatre, especially its embedded attitudes towards drama text and acting—notoriously challenging factors for many international collaborations. The article analyses the ongoing debates about the term postdramatic theatre and its interpretations in Lithuanian theatre criticism, taking the example of Lokis as a case study.
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Castagno, Paul C. "Varieties of Monologic Strategy: the Dramaturgy of Len Jenkin and Mac Wellman." New Theatre Quarterly 9, no. 34 (May 1993): 134–46. http://dx.doi.org/10.1017/s0266464x00007727.
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Playwrights, directors, and theatre teachers interested in understanding the theatrical possibilities and functions of monologue soon discover that critical analysis in this area is limited alike in extent and depth. In the following analysis of contemporary dramatic monologue, Paul C. Castagno therefore begins by exploring its more expected or traditional uses, and proceeds to examine its present expanded function with particular reference to the plays of two contemporary American playwrights, Len Jenkin and Mac Wellman – both multiple Obie Award-winning writers, whose dramaturgic techniques have been highly influential yet who remain largely overlooked in the critical arena. He concludes that monologue in the new dramaturgy is actually moving in various and often complex ways back towards a kind of dialogism. Paul C. Castagno, who is himself a practising playwright, is director and dramaturg of the New Playwrights' Program at the University of Alabama, where he has developed a number of new playscripts for award-winning productions. He has published articles in the Journal of Dramatic Theory and Criticism, Text and Presentation, Theatre History Studies, and Theatre Topics, among others, and will shortly be taking on the editorship of the journal Theatre Symposium. His study The Early Commedia dell'Arte, 1550–1621: the Mannerist Context is due for publication by Peter Lang in 1993, and he is is currently preparing a playwriting text that explores elements of the new dramaturgy.
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Dharwadker, Aparna. "Authorship, Metatheatre, and Antitheatre in the Restoration." Theatre Research International 27, no. 2 (June 18, 2002): 125–35. http://dx.doi.org/10.1017/s0307883302000214.
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Restoration theatre theory, polemic, and practice are closely concerned with questions of value, although they have received little attention in recent criticism that considers the formation of the English canon up to and during the eighteenth century. The main issue addressed concerns the legitimacy of dramatic form, which dominates the metatheatre of 1668–75, but also appears unexpectedly in the political drama (especially the comedy) of the early 1660s and the antitheatrical rhetoric of the 1690s. In all these instances, the complexity, integrity, and completeness of drama-in-performance are seen to determine the value of plays as well as playwriting. While the attack on heroic drama in metatheatrical plays such as Shadwell's The Sullen Lovers (1668) and Buckingham's The Rehearsal (1671) is directed by authors of one persuasion against another, Thomas Duffett's burlesque attack on the theatre of spectacle in the 1670s paradoxically is reinforced by the self-criticism of his targets. Moreover, Jeremy Collier's antitheatrical offensive in the late 1690s shows an atypical concern with specific dramatic content, especially in comedy, suggesting that both metatheatre and antitheatre in the Restoration focus their oppositional energies on the particulars of genre.
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Nowak, Olga. "Ku czytelnikowi zaangażowanemu. Hiszpański teatr i komiks w procesie kształtowania krytycznego odbiorcy kultury." Politeja 16, no. 3(60) (March 1, 2020): 67–83. http://dx.doi.org/10.12797/politeja.16.2019.60.05.
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Towards an Engaged Reader: The Spanish Theatre and Comic in the Process of Educating Critical Cultural Observers
Political, social and historical engagement has always been one of the preferred ways of being for writers and intellectuals. Over the past few decades, we have been able to observe how social engagement of artists and writers seems to express itself through two forms that stay at the frontier of literature: theatre and comic. Although the Spanish theatre was conscious of the importance of its social commitment back in the mid-70s of the last century, it wasn’t until several decades later when the comic book for adults engaged in the moral task of acknowledging and dealing with the collective trauma of the Spanish Civil War and the Franco’s regime. Both have then become, in fact, testimony genres. The objective of this paper is to demonstrate the richness of learning experience that can be generated from bringing these two genres into the Spanish literature classrooms. The Author analyses the themes and functions of both: comic and theatre, understood here as a dramatic text as well as dramatic performance, and suggests that they share a number of similarities when it comes to their subjects and poetics. By resorting to the visual code, theatre and comic are able to provoke an immediate affective reaction, thus simultaneously opening a space for commentary and reception. Consequently, the confluent impact of image and representation can contribute to the creation of a conscious reader capable of engaging in deft social criticism, especially in the case of an alien cultural environment.
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MERVANT-ROUX, MARIE-MADELEINE. "The Fragility of Beginnings: The First Genetic Stratum of Le Square by Marguerite Duras (1956)." Theatre Research International 33, no. 3 (October 2008): 263–75. http://dx.doi.org/10.1017/s0307883308003969.
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It was as a branch of ‘genetic criticism’ that a genetics of the theatre first established itself in France as a scientific field of study. Applied to literature alone in the first place, it has since then gradually widened its scope of investigation. Taking Marguerite Duras's first play, Le Square (1956) as an example, this essay aims to demonstrate the main effects of such a disciplinary gestation on the ‘French’ approach to the creative processes as regards the theatre. On the one hand, the existence of well-tried methodological procedures for the study of manuscripts permits both a dynamic re-examination of dramatic works and a criticism of the myths which often surround them. On the other, apprehending the different textual materials and the other kinds of genetic documents produced around the stage according to a methodologically coherent manner reveals the constant interdependence of techniques and arts, and the need to improve models constructed for altogether different studies.
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Goldberg, Sander M. "Plautus on the Palatine." Journal of Roman Studies 88 (November 1998): 1–20. http://dx.doi.org/10.2307/300802.
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It was probably in the agora at Athens and possibly in the seventieth Olympiad (i.e. 499–496 B.C.) that a wooden grandstand collapsed while a play by Pratinas was being performed. The Athenians responded quite sensibly to this disaster by moving their dramatic performances to the precinct of Dionysus Eleuthereus, where the audience could be more safely accommodated on the south slope of the acropolis. Or so it appears: no fact of this early period in ancient theatre history is ever entirely secure. By the time of Aeschylus, however, what we call the Theatre of Dionysus was certainly the place where Athenian tragedies and comedies were performed, and the facility grew in size and grandeur along with the festivals it served. One result of this continuity has been a great boon to the performance-based criticism of Greek drama.
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Cixous, Hélène. "‘Humanity Doesn’t Exist Yet’: Democracy as a Kind of Prophecy." New Theatre Quarterly 33, no. 3 (July 10, 2017): 203–15. http://dx.doi.org/10.1017/s0266464x17000252.
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This roundtable discussion with Hélène Cixous took place at St John's College, Cambridge, on 20 September 2014 as part of the Cambridge ‘Conference for a Poetics of Critical Political Theatre in Europe’. It was subsequently transcribed and prepared for publication by Joseph Long and Eva Urban to pay homage to the acclaimed critical theorist, novelist, and dramatist Hélène Cixous on her eightieth birthday on 5 June 2017, and to celebrate her important contribution in particular to political European theatre. The conversation centres on the recurring themes of her major plays, many of which were written in creative collaboration with Ariane Mnouchkine and the Théâtre du Soleil, where they were performed. Her epic modern tragedies are deeply concerned with ethics, politics, social criticism, and ideas of utopian social projects and their tragic failures. Here Cixous, with Maria Shevtsova, Joseph Long, Eric Prenowitz, Marta Segarra, and Eva Urban highlight both the passionate political commitment of her plays and their innovative textual and poetic forms within the wider context of Cixous's writings for the theatre.1 The conversation followed a keynote address by NTQ co-editor Maria Shevtsova, attended by Hélène Cixous, prior to the roundtable discussion, and published as ‘Political Theatre in Europe: East to West, 2007–2014’, in New Theatre Quarterly, XXXII, No. 2 (May 2016).
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Borkowska-Rychlewska, Alina. "Zamek na Czorsztynie Karola Kurpińskiego – romantyczność in statu nascendi?" Roczniki Humanistyczne 67, no. 1 (July 4, 2019): 53. http://dx.doi.org/10.18290/rh.2019.67.1-5.
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Karol Kurpiński’s operatic works played a unique role in the process of shaping new trends in Polish opera theatre and in theatrico-musical criticism at the border of Enlightenment and Romanticism. The article presents press discussions devoted to the operas of the author of Zamek na Czorsztynie [The Czorsztyn Castle] in the 1920s, i.e. at the time of their first stagings in the National Theatre in Warsaw. Numerous controversies and contradictions that appear in the 19th-century reviews of Kurpiński’s operas testify to how difficult it was for his contemporary critics to explicitly classify and evaluate these works. A thorough review of the press at that time also shows that the dramatic and musical works by the author of Pałac Lucypera [Lucyper’s Palace], as great examples of the genological complexity of opera forms at that time and an important element of the process of formation of the so-called national opera programme, constituted an excellent starting point for discussions between the two opposition socio-cultural camps formed in Warsaw in the last years of the 1920s, which represented different aesthetic ideals and understood the tasks and functions of theatre criticism in two different ways. However, as it turns out, the statements of the representatives of the antagonistic camps about Kurpiński’s works did not follow a single, simple scheme – on the contrary, the controversies between the Classicist critics and their opponents were arranged in a very complicated and heterogeneous pattern. This multi-faceted reflection of the 19th-century critics on his works perfectly illustrates the fluidity and fuzziness of tendencies regarded in the research tradition as contradictory, i.e. the “Classical” and “Romantic” tendencies, which leads to the verification of some judgments about the composer and the reception of his output formulated in the contemporary works of music, theatre and literary historians.
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Gramsci, Antonio. "Gramsci on Theatre." New Theatre Quarterly 12, no. 47 (August 1996): 259–65. http://dx.doi.org/10.1017/s0266464x00010253.
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Our occasional series on early Marxist theatre criticism – which has already included Trotsky on Wedekind in NTQ28, Lunacharsky on Ibsen in NTQ39, and Mehring on Hauptmann in NTQ 42 – continues with two essays by the Italian Marxist philosopher Antonio Gramsci, whose concepts of hegemony, the national-popular, and the organic intellectual have had a profound influence on twentieth-century western thought. From 1916 to 1920 Gramsci was also a theatre critic, writing a regular drama review column in the Piedmont edition of the socialist daily newspaper Avanti! in which he first explored ideas about the ideological function of theatre. His review of a 1917 Italian production of Ibsen's A Doll's House is a particularly strong example of his attempt to generate notions of the theatre as an arena of political struggle in which the cultural values of the bourgeoisie were expressed, but which also had the potential to subvert these values and provide the proletariat with the critical wherewithal to express its hegemony. He saw the function of the theatre critic as promoting social, cultural, and moral awareness in the spectator, and Ibsen's play as a particularly apt vehicle for critiquing the moral superficiality of Italian bourgeois women in its powerful portrayal of the oppressions of a patriarchal society. While Gramsci's review of A Doll's House can be seen as a forerunner to contemporary feminist ideas, he saw Pirandello's use of the ‘power of abstract thought’ as making him a potentially revolutionary playwright, whom he described as ‘a commando in the theatre’. His plays were ‘like grenades that explode inside inside the brains of spectators, demolishing their banalities and causing their feelings and thoughts to crumble’. After reviewing ten of Pirandello's early plays for Avanti! Gramsci later expressed his intention of writing a full-length study of the playwright's ‘transformation of theatrical taste’. All that came of these intentions were the rather fragmented notes he made in the Prison Notebooks, in which he expressed his views on Pirandello in the context of the politics of culture and the idea of a national popular literature. Gramsci saw Pirandello's metatheatre as subverting traditional dramatic principles, but failing to establish new ones or to subvert the social and economic aspects of tradition. Gramsci responds to the critical debates on Pirandello in the 1920s by Tigher and Croce about Pirandellism's combination of art and philosophy and its conflict between ‘life’ and ‘form’, but his final comments about his views being taken with a ‘pinch of salt’ indicate that they are not definitive.
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Addyman, David. "Rest of Stage in Darkness: Beckett, his Directors and Place." Samuel Beckett Today / Aujourd'hui 22, no. 1 (October 1, 2010): 301–14. http://dx.doi.org/10.1163/18757405-022001021.
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This paper analyses the treatment of place in Beckett's dramatic works. A number of directors have made Beckett's places much more naturalistic than the texts actually allow. Place is by something else, but the attitude misses the way in which the texts juxtapose heterogeneous places – something only possible in the theatre – the effect of which is precisely to prevent places cohering into wider, naturalistic regions, while at the same time insisting on the irreducible facticity of existence and thus resisting the reduction to placelessness found in some criticism.
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BARNETT, DAVID. "Reading and Performing Uncertainty: Michael Frayn's Copenhagen and the Postdramatic Theatre." Theatre Research International 30, no. 2 (July 2005): 139–49. http://dx.doi.org/10.1017/s0307883305001148.
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Michael Frayn's play about quantum mechanics, memory and history, Copenhagen, has taken a lot of criticism for ‘misrepresenting’ its historical characters, primarily Werner Heisenberg. This essay analyses the dramaturgy of the play and argues for a postdramatic reading in which questions of representation are dissolved by formal strategies that ally themselves with the thematics of the work. The text is viewed as a hybrid, somewhere between the dramatic and the postdramatic, set, as it is, in a fictional afterlife where conventional human categories no longer function. The postdramatic theatre, in refusing to interpret text, becomes a viable mode for performance in that the indeterminacy of meaning on stage equates with the uncertainty principle that lies at the scientific and moral heart of Copenhagen.
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Blair, Rhonda, and John Lutterbie. "Introduction: Journal of Dramatic Theory and Criticism’s Special Section on Cognitive Studies, Theatre, and Performance." Journal of Dramatic Theory and Criticism 25, no. 2 (2011): 63–70. http://dx.doi.org/10.1353/dtc.2011.0020.
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Canning, Charlotte M. "Dramatic Criticism's Imperial Ambitions: Brander Matthews and the Establishment of Theatre in US Higher Education." Journal of Dramatic Theory and Criticism 32, no. 2 (2018): 53–65. http://dx.doi.org/10.1353/dtc.2018.0004.
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Freeman, Lisa A. "On the Art of Dramatic Probability: Elizabeth Inchbald's Remarks for The British Theatre." Theatre Survey 62, no. 2 (April 6, 2021): 163–81. http://dx.doi.org/10.1017/s0040557421000053.
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In 1806, Longman & Co. publishers commissioned the accomplished actress, playwright, and novelist Elizabeth Inchbald to compose a series of prefatory remarks for the plays to be included in their British Theatre series. One hundred and twenty-five in all, each of the plays for Longman's British Theatre was originally published and sold separately at a rate of about one per week. Once the series was complete, the plays were bound together and sold as a twenty-five-volume set. As the surviving diary entries from the two-year period during which she wrote her Remarks testify, the task proved both arduous and unrelenting for Inchbald, especially as she had no hand in selecting the plays to be included and no control over the order in which she was asked to compose her critical commentaries. Working almost constantly, no sooner had she read one play, drafted her remarks, and copyedited the proof, than she had to turn to the next play sent by Longman, collect her thoughts, and start the process all over again. For the most part, as Annibel Jenkins has noted, “[T]here seems to be no pattern of publishing by date or genre; a tragedy by Shakespeare came out one week and a contemporary comedy the next.” At one point, the strain of this process was so unbearable that Inchbald even tried to renege on her contractual obligations, writing to Longman, “begging to decline any further progress.” This request, as her first biographer, James Boaden, records, Longman “could not be expected to permit; and she was therefore compelled to remark through the whole year.” In the event, and however “dreadful” the task may have been for Inchbald, the widely advertised series proved a “great commercial success,” and Inchbald's Remarks have come down to us as one of the first great achievements in English dramatic criticism of the early nineteenth century.
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Baldyga, Natalya. "Corporeal Eloquence and Sensate Cognition: G. E. Lessing, Acting Theory, and Properly Feeling Bodies in Eighteenth-Century Germany." Theatre Survey 58, no. 2 (April 19, 2017): 162–85. http://dx.doi.org/10.1017/s0040557417000059.
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Most know Gotthold Ephraim Lessing (1729–81) for his dramatic theory, specifically that which is found in his periodical the Hamburg Dramaturgy (1767–69), a collection of 101 essays that has since earned Lessing the moniker of “the first dramaturg.” Many are also familiar with Lessing's major plays, Miss Sara Sampson (1755), Minna von Barnhelm (1767), Emilia Galotti (1772), and Nathan the Wise (1779). Fewer, however, may be familiar with his acting theory and his long association with actors, an association that began in his college years and which so disturbed Lessing's father that the respectable pastor lured the wayward student home by falsely claiming that Lessing's mother was ill. During his time as a university student in Leipzig, Lessing translated plays for the troupe of Karoline Neuber (1697–1760) and socialized with the company's actors; over time he would continue to accrue significant firsthand knowledge of actors and the art of acting, not only through his frequent theatregoing but also through the coaching of his own plays. Lessing's familiarity with actors and acting informs both his performance and dramatic theory, including that which one finds in the Hamburg Dramaturgy; in Anglophone studies of Lessing's journal, however, one infrequently sees Lessing's dramatic theory placed in conversation with his acting theory, reception theory, or performance reviews. Due to the short and contentious life of the Hamburg National Theatre, the experimental theatre project to which the Hamburg Dramaturgy was ostensibly attached, historical narratives more often focus on Lessing's strained relations with the actors of the Hamburg acting company. If one views Lessing's writing about performance solely in terms of a frustrated critic's attempts to rein in “unruly” actors, however, one loses sight of how Lessing's acting theory supports his wider ideas about the form and function of theatre and about how the Hamburg Dramaturgy and the Hamburg theatre experiment might function as a force for social change.
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Wolf, Stacy. "All about Eve: Apple Island and the Fictions of Lesbian Community." New Theatre Quarterly 10, no. 37 (February 1994): 28–32. http://dx.doi.org/10.1017/s0266464x00000063.
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We continue our occasional series on the actuality and the ideology of lesbian performance with a study of Apple Island, a performance space in Madison, Wisconsin. Many of the productions of this ‘women's cultural and art space’ could, suggests Stacy Wolf, be categorized as performance art: she looks at these in the context of other modes and definitions of cultural production, and at the ‘complex interplay of identity and knowledge’ which constructs Apple Island's potential spectators. Looking at both positive negative critiques of its work, she concludes that the activity through which its refusal of political and performative divisions is best exemplified is the weekly class-cumperformance of country western line dancing, and suggests through folkloric analogy how this helps to define or redefine the meaning of cultural feminism. Stacy Wolf is a doctoral candidate in Theatre and Drama and a lecturer in Women's Studies at the University of Wisconsin, Madison. She has also published articles in Theatre Studies, Women and Performance, and the Journal of Dramatic Theory and Criticism.
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Kristinsdóttir-Urfalino, Guðrún. "The Popular and the Academic: The Status of the Public’s Pleasure in the Quarrel of Le Cid." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 28. http://dx.doi.org/10.7146/nts.v29i2.104604.
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The unprecedented success of Le Cid (1637) triggered a ferocious literary quarrel about the value of the judgement of the least “considerable” part of the theatre audience – the people. This article explains how the social and gendered distribution of the audience in the few Parisian theatres of the period could reveal the difference of the appreciation of various categories of the audience. The article then develops that at this time in France, the notion of the “public” does not refer to the audience but to the res publica, the edifying character of the plays meant to serve the public good. Indeed, the theatre was given a moral dimension, as an heritage to Horace’s Ars poetica in which the role of theatre was to please and instruct.This is followed by a discussion of two aspects of the quarrel. It was first set off by the fact that Corneille with his attitude disrupted the rules of the economy of cooptation in vigour in the Republic of letters, thus deeply shocking his peers. The second aspect of the quarrel pertained to the dramatic rules which were being established at the time. Le Cid transgressed some of these rules, in particular the rule of decorum. But the condemnation of the transgression of these rules put in question their purpose and their value. Corneille maintained that like Aristotle, he was concerned with the public’s pleasure and that Horace’s precept of moral instruction was secondary in theatre.The conjunction of the criticism of peers concerning the non-respect of the dramatic rules and the actual success with the public posed the question of the valid tribunal of literary works – peers or the public. Ultimately, the fact that the play had touched all categories of the audience – the people and the courtiers – facilitated the valorization of the people’s pleasure and the people’s judgement vis-à-vis the peers.
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Bentley, Eric. "From Half-Century to Millennium: the Theatre and the Electric Spectator." New Theatre Quarterly 10, no. 37 (February 1994): 3–10. http://dx.doi.org/10.1017/s0266464x00000038.
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Well into his eighth decade, Eric Bentley now regards himself as primarily a playwright, having redefined the agenda of serious criticism during the early post-war years, pioneered the understanding, translation, and production of Brecht in the West, and for long combined academic work at Columbia with producing the best kind of regular theatre reviews. Apart from several collections of that ‘occasional’ writing, and anthologies of plays in translation which have helped to extend the range of the English-language repertoire, he has produced several full-length studies of seminal importance – from his early re-evaluation of Shaw and, in The Playwright as Thinker, of other major modern dramatists, to the more theoretical but invariably stimulating ‘rethink’ of dramatic genres in The Life of the Drama. More recently, he has devoted his time to active playwriting, and it was during a production of his Lord Alfred's Lover in Miami that the director and self-proclaimed ‘counterfeit critic’ Charles Marowitz persuaded him to discuss the present state of both the active theatre in the West – and of the condition of the critical trade he had once pursued.
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Hassan Al Ghareeb, Sanaa’ Lazim. "Man’s Politics Towards God: A Study in American and Iraqi Theatre Represented by Tony Kushner’s Angels in America: A Gay Fantasia on National Themes; Perestroika and Ali Abdul Nabi Azzaidi’s Ya Rab/Oh!God." Advances in Language and Literary Studies 9, no. 4 (August 31, 2018): 13. http://dx.doi.org/10.7575/aiac.alls.v.9n.4p.13.
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Contemporary Theater is greatly influenced by the changes happening politically and socially all over the world. Man no longer looks for being part of a society or defining himself according to certain standards of tradition; he/she no longer search for their identity or feel suffocated by the new technology, his main concern in contemporary age is to redefine the identity away from politics and the judgmental eye of the society he is living in. Man is calling for resurrections of the god he admitted killing during the past millennium. A new perception of that god has been defined and this seems to be interesting in a world ruled by fighting sectors of extremists who are classified into two categories those who are against the rule of that god and those who are with. This paper examines the perception of that god in two different societies by two authors through studying their plays to explain how this theme is pictured by the two. The first is the American controversial playwright Tony Kushner who’s Angels In America: A Gay Fantasia on National Themes; Perestroika raised epic questions in this matter, the other playwright is the Iraqi dramatist Ali Abdul Nabi Azzaidi who’s play Ya Rab/Oh!God introduced a new trend in the Iraqi theater. The paper adopts a socio-political school of criticism to achieve its goals.
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Nathan, Rajan, Trevor J. Gibbs, and Kenneth C. M. Wilson. "Problem-based psychiatry in a new undergraduate medical curriculum." Psychiatric Bulletin 23, no. 7 (July 1999): 436–39. http://dx.doi.org/10.1192/pb.23.7.436.
Full textAbstract:
Traditional British undergraduate medical education has evolved with the development of medicine as a profession. However, despite dramatic progress in the provision of healthcare, the medical curriculum has remained mostly unchanged until recently. Conventional medical courses rely on the teacher-centred didactic setting of a lecture theatre to transmit vast quantities of information. This one-way traffic of facts is divided initially into the preclinical basic sciences and later into the medical specialties, with relatively little horizontal or vertical integration. Much of the assessment of students relies on their reproducing information as accurately as possible. This traditional format has been widely criticised (Lowry, 1992).
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REINELT, JANELLE. "Generational shifts." Theatre Research International 35, no. 3 (October 2010): 288–90. http://dx.doi.org/10.1017/s0307883310000593.
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Thirty-five years, the age of TRI, is roughly the length of time I have been involved in our discipline. I completed my Ph.D. in 1974 and entered the profession on the cusp of a generational shift. During my first decade in the academy, a number of new young scholars emerged and began to take the places of an older cohort who were primarily theatre historians and/or drama critics and interpreters. The theory explosion changed the way that both theatre history and dramatic criticism were carried out, and a whole new range of methods and objects of study began to appear in our journals and conferences. Post-structural and postmodernist ideas upset the reigning conventions of scholarship and also influenced creative artists who changed their practice to reflect these new ideas. Feminism transformed our field, as did new research on race, class and sexuality, while competing theories of the subject brought forward psychoanalysis and phenomenology as important tools for performance analysis. Cultural studies and the new historicism challenged positivist historiography and began to change the kind of theatre history (including subjects and documents) scholars researched and wrote about. Political critique was in the ascendency, after a battle to discredit what many of us perceived as a false objectivity in previous scholarship. This became, eventually, the new orthodoxy for many of us, and the senior scholars in our field today (for example Sue-Ellen Case, Elin Diamond, Josette Féral, Erika Fisher-Lichte, Freddie Rokem, Joseph Roach) all participated in making these major changes happen as young scholars – while not necessarily agreeing with each other: the new generation was thoroughly heterodox in its approach to methods and topics.
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Williams, Bronwyn. "Games People Play: Metatheatre as Performance Criticism in Plautus' Casina." Ramus 22, no. 1 (1993): 33–59. http://dx.doi.org/10.1017/s0048671x00002538.
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Casina is one of Plautus' most metatheatrical comedies. Self-reflexive role-play, plays within plays, explicit references to theatrical context or convention are usual in Plautine drama. In Casina they constitute much or most of the dramatic action. During the prologue the audience is encouraged to sit back and enjoy the games (23ff.); whereas by Act 5 it is the play's women who have come out ‘to watch the wedding games out here on the street’ (Judos visere hue in viam nuptialis, 856). The stage-set, which the audience accepts implicitly as ‘a street’, has been turned back into a stage-set. The women converse like a regular audience: Myrrhina in particular has ‘never laughed so much in one day’ (numquam … ullo die risi adaeque, 857) and thinks theirs the equal of any play ever written (860f.). Moreover, when Olympio enters, he acknowledges the ‘real’ audience with his narrative of events inside Alcesimus' house, but seems oblivious of the on-stage audience—which is dependent for its early information concerning Olympio's wedding night on his relations to the former, real audience. What is involved here is a complete reversal of the conventions of illusionistic theatre, in which the audience finds out about off-stage action from the conversation of characters inside the drama. Pardalisca's interruption restores the conventional order: the remainder of Olympio's narrative is told, ostensibly, to her; the audience is returned to the condition of unseen eavesdroppers.
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BULLOCK, PHILIP ROSS. "Staging Stalinism: The search for Soviet opera in the 1930s." Cambridge Opera Journal 18, no. 1 (March 2006): 83–108. http://dx.doi.org/10.1017/s0954586706002114.
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With the exception of Shostakovich's Lady Macbeth of the Mtsensk District, Soviet opera in the 1930s has been relatively little studied. Yet this was an era in which opera was vigorously promoted as an ideal Soviet form after more than a decade of criticism from radical proletarian groups. This article considers three main aspects of Soviet operatic culture in the 1930s. First, opera's emotional power was valued as a way to mobilise mass opinion and the opera house was increasingly seen as a highly ideological site. Second, whilst most of the work in founding a Soviet repertory was carried out at Leningrad's Malyi Opera Theatre, Moscow became increasingly involved as the decade continued. Third, Soviet opera was highly dependent on adaptations of socialist realist novels. This phenomenon of ‘transposition’ is seen here as an attempt to invest scores with an unimpeachable political message. Moreover, transposition was an ideal method of regulating ambiguous literary texts by condensing their cardinal features in dramatic form. Although the story of Soviet opera was largely one of failure, its study sheds important light not only on the development of the Russian operatic tradition, but also on the dynamics of Stalinist culture.
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Pratt, Paula. "Dancing with Myriam: Creating and Staging a New Metaphor for the Process of Translation." TranscUlturAl: A Journal of Translation and Cultural Studies 7, no. 1 (June 15, 2015): 71. http://dx.doi.org/10.21992/t9q62m.
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This article tells the story, and analyzes the development, of a “staged metaphor” for the translation process, from its chance inception over ten years ago, to the more recent revision and staging of the script. In 2005, I was teaching world literature at Al Akhawayn University in Ifrane, Morocco, while also researching the writing of Irish and North African women. I chose to focus on those women writing in Irish, Tachelhit, Arabic, or French, whose work had been translated into English. I was initially inspired by Nuala Ni Dhomhnaill’s poem, “The Language Issue,” which compares the "sending forth" of her writing to a potential reader, to the story of Moses being discovered by Pharoah’s daughter. My ultimate goal was to produce a chamber theatre play, based on the Irish and North African texts, which would dramatize a metaphor for the translation process. This was an outgrowth of my doctoral work, in which I had drawn on oral interpretation theorists, who see the performance of literary texts as an accepted means of doing literary criticism. Accordingly, I also expanded the project to include the observations of translation theorists, and I incorporated these into the creation of the script for a chamber theatre performance. After directing a staging of the script in Morocco in 2007, I realized that I needed to add more choreographed movement, and to incorporate the character of Moses’s and Myriam’s mother into the metaphor. The addition of dance, and the foregrounding of the relationship between Myriam and her mother, draws unapologetically on female relationships. It is my conclusion that the revised metaphor, with the addition of these elements, is validated by Yves Bonnefoy’s and Henri Meschonnic's depictions of “translation as relationship with an author,” and that, the metaphor does indeed “provide . . . fresh insights.”
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Mizitova, A. A. "Marko Marelli’s vision of “Turandot” by Giacomo Puccini." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 249–63. http://dx.doi.org/10.34064/khnum2-15.13.
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Background. As a notion, an opera theater led by a stage director has a strong presence in modern artistic practice, as it puts forward its own range of cognitive and evaluative tasks that undergo criticism. The fi rst task is related to compliance of the proposed rendition with the composer’s concept and music drama of a particular opera music piece. The second one is related to the director’s vision and understanding the peculiarities, which allows us to form an opinion about the comprehension degree of an author’s idea and the individuality of its implementation. The relevance of the designated semantic constants is reinforced by the variety of opera classics incarnation on famous opera stages. Objectives. The purpose of the article is to study and analyze the scenographic techniques that allow M. Marelli with his bright talent as a director to embody the opera plot and uncover incentive-psychological motifs that defi ne the deep content layer of G. Puccini’s “Turandot” opera. Methods. The study is based on a comparative method of analysis, with the help of which the validity of M. Marelli’s directorial concept by the dramatic concept and the semantic lines peculiarities of G. Puccini’s opera is revealed. Results. The stage performance of “Turandot” by G. Puccini on the famous opera stage of the Lake Constance was timed to coincide with the 70th anniversary of the Bregenz festival. For the implementation of this project, the Swiss stage director and designer Marco Arturo Marelli was invited for the fi rst time to organize it. The specifi c features of the huge stage forced all the natural conditions to be considered: wind, water, its level, and the weight of the theatrical scenery elements. Therefore, before creating the intended environment, M. Marelli built several preliminary models in search of the only solution that would combine the oriental fl avor and plot intrigue, hidden psychologism and bare emotions, intimacy and pompous mass scenes. The dramatic composition of the scenario, created by M. Marelli, makes it possible to tell how deep his comprehension of Puccini’s music is, as we observe its semantic components and the interaction of contrasting fi gurative lines, author’s remarks in the score, personal circumstances in the composer’s life, his letters, the conditions for creating an opera and a long search of ways to cut the knot of plot contradictions in the Finale part. The techniques he used reveal his artistic and aesthetic principles. This allowed him to create an organic fusion of intense musical and dramatic action, defused by ensemble, choral and dance scenes, visual effects that decode psychological subtext, and the theatrical scenery itself, which specifi es the exact place of events, complements the missing verbal commentary, allowing the stage area to look massive and versatile. As a result, the ideological concept of M. Marelli appears in the interdependence of the internal and external planes; their content is determined by his understanding and vision of the opera “here and now”, that is, as a single musical and theatrical piece. The internal plane is directly connected with the events of the fairy-tale plot, interpreted by the stage director’s individual consciousness. The external one forms the design of the performance through the variety of static and mobile forms, transformed according to the sequence of light effects, and the silent video by A. Kitzig, which gives a slight expressionistic taste. M. Marelli’s intellectual and emotional immersion in the “history” of the opera contributed to the formation of a symbolic by-plot through two fi gures: Puccini and Calaf (a character of the opera). It is played on a small platform at the bottom of the main stage, depicting the “blue room” (O. Schmitt), where you can see the instrument with the scores on the music stand, a table with a jewel-box on it, an armchair, and a bed. The man that appears clearly personifi es the composer, who “looks for” music ideas. As the events are unfolding, Calaf appears in the “room”; he is tormented by the desire to melt the cold heart of Turandot and feverishly looking for a way out of this situation. The novelty of interpreting a well-known fairy-tale plot lies in a fundamentally different motivation for the behavior of Turandot. She identifi es herself with Lou-Ling, who was tortured and murdered by a man long ago, so Turandot is driven by a thirst for revenge. The story about the cry of the miserable princess Turandot, which she constantly hears inside of her, looks differently as if she becomes one with her distant ancestor. By the end of the story, she appears as in a cocoon shell, unattainable and invincible. This is followed by a scene of puzzles that move events to a turning point in the plot twists and turns and mark a kind of a going-back fl ow of time. The director increases of effect of the symbolic line in the performance by adding the silent video by A. Kitzig. The parallel dynamics of the stage action and the metamorphosis of the masks visualizes the psychological component of Puccini’s opera. The whole set of plot and scenery means exists only with the purpose of revealing this psychological component. As a result, the scene of the test Calaf must pass acquires a different dimension, delineating the fate twists of both heroes. Again and again, the pieces of clothes fall down from Turandot like scales of a snake. This is accompanied by the transformation of the previously unfi red face of the mask, which ultimately cracks like a clay cast and fi nally collapses. The heroine remains in a thin silky dress shirt and tries to cover her bare shoulders with her hands. Her nakedness is akin to defenselessness, the loss of solid ground under your feet. This way, M. Marelli resolved not only the problem of the impossibility to show a psychological degeneration of personality on the huge stage by traditional acting techniques, but also contradictions of plot twists that haunted the composer. Conclusions. The experience of the Bregenz version shows that an important role played by the conditions of the stage space, which was used by a talented stage director and designer as a component of the multi-level system, where everything goes with accordance to the hierarchical subordination of the play. This seems to be the masterful combination of M. Marelli’s personal artistic and aesthetic philosophy, the features of the last opera by J. Puccini and all theatrical resources of a unique theatrical scene of the Lake Constance.
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Hidalgo Tenorio, Encarnación. "“GOOD EVENING TO YOU, LADY OF THE HOUSE”: CONSIDERACIONES SOBRE EL PRINCIPIO DE CORTESÍA EN EL TEATRO DE J.M. SYNGE." RAUDEM. Revista de Estudios de las Mujeres 1 (May 22, 2017): 201. http://dx.doi.org/10.25115/raudem.v1i0.574.
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ResumenEn el ámbito de los estudios irlandeses se ha estudiado con profusión el inesperado fracaso del fenómeno teatral encabezado por W.B. Yeats y en el que John Millington Synge se llevó la peor de las partes. La subversión que sus personajes implicaban a todos los niveles explica el rechazo de los mismos por parte del público que acudía en masa al Abbey Theatre solo para silbar y patalear durante alguna de sus representaciones (Kilroy 1971). Un análisis detallado de la forma en la que hace que se expresen apunta en esta dirección. La incorrección verbal es una seña característica del teatro de esta figura clave de la literatura irlandesa. Partiendo de ahí, en el presente trabajo se aplica el principio de cortesía lingüística (Brown y Levinson 1987) a tres de las obras más destacadas de este dramaturgo: In the Shadow of the Glen, The Tinker’s Wedding y The Well of the Saints. Con la intención de refutar los resultados de trabajos anteriores (Hidalgo-Tenorio 1999) y demostrar la validez de este modelo en la investigación de textos de ficción, se comprueba que esas mujeres, que rompen con la norma social y conversacional una y otra vez, en casos muy excepcionales hacen un uso magistral de todas las estrategias posibles de cortesía. Las razones son tan diversas como las que se darían en cualquier transacción conversacional del mundo real. Este artículo se proponer desgranarlas como uno de sus objetivos.Palabras clave: Pragmática, principio de cortesía, género, teatro irlandés, J.M. Synge.English title: “Good Evening to You, Lady of the House”: Considerations on the Politeness Principle in J.M. Synge’s DramaAbstract: In the field of Irish studies, scholars have considered extensively the failure of the theatrical experience led by W.B. Yeats and J.M. Synge, who bore the brunt of popular criticism. The subversion embodied in Synge’s characters explains their rejection by the public, who flocked to the Abbey Theatre just to whistle and stamp their feet during some of his performances. One in January 1907 caused a particularly furious reaction from the press and political nationalists (Kilroy 1971). Since verbal impropriety (Bousfield and Locher 2008, Culpeper 2011) is their most outstanding characteristic, the analysis of how this major literary figure makes them express themselves can shed light on a phenomenon of much sociological relevance. Accordingly, here I apply the politeness principle (Brown and Levinson 1978, 1987) to four of his most well-known plays: The Well of the Saints, The Tinker’s Wedding, In the Shadow of the Glen and The Playboy of the Western World. Apart from demonstrating the validity of this model in the exploration of fiction, I will show that those women, who regularly break social and conversational norms, make use of all politeness strategies in very exceptional cases. The reasons are as diverse as those articulated in any real-world transaction, and this article aims to disentangle them. Thus, it will be easier to tackle the issue of gender role construction (Holmes 1995, Weatherall 2002, Litoselitti 2006), which is definitely one of the grounds on which Dublin’s dismissal of the Irish Dramatic Movement was based (Hidalgo-Tenorio 1999).Keywords: Pragmatics, politeness theory, gender, Irish Theatre, J.M. Synge.
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Jurak, Mirko. "Jakob Kelemina on Shakespeare's plays." Acta Neophilologica 40, no. 1-2 (December 15, 2007): 5–49. http://dx.doi.org/10.4312/an.40.1-2.5-49.
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Among Slovene scholars in English and German studies Jakob Kelemina (19 July 1882- 14 May 1957) has a very important place. Janez Stanonik justly places him among the founding fathers of the University of Ljubljana (Stanonik 1966: 332). From 1920 Kelemina was professor of Germanic philology and between 1920 and 1957 he was also the Chair of the Deparment ofGermanic Languages and Literatures at the Faculty of Arts of this university. The major part of Kelemina's research was devoted to German and Austrian literatures, German philology, German-Slovene cultural relations, and literary theory; his work in these fields has already been discussed by severa! Slovene scholars. However, in the first two decades of the twentieth century Kelemina also wrote severa! book reviews of Slovene and Croatian translations of Shakespeare's plays as well as three introductory essays to Slovene translations of Shakespeare's plays. They are considered as the first serious studies on Shakespeare in Slovenia (Moravec 1974: 437), and have not been analysed yet. Therefore this topic presents the core of my study, together with an evaluation of Kelemina's contribution to Slovene translations of Shakespeare's plays done by Oton Župančič (1878-1949) during the first half of the twentieth century. Župančič's translations became the criterion for all further translations of Shakespeare's dramatic works in Slovene. Župančič is stili one of our most important poets and translators of this time and Kelemina's advice and criticism undoubtedly also helped him to achieve such a high standard in his translations. In the central part of my study I also include some new material (e.g. Kelernina's letters), which is relevant for our understanding of his co-operation with Oton Župančič and other Slovene authors and critics. In order to put Kelemina's work into a historical perspective I present at the beginning of my study a brief survey of the development of drama and theatre in Slovenia, particularly as regards pro ductions and early attempts oftranslating Shakespeare's plays into Slovene. This information, which may be particularly relevant for foreign readers, ends with the year 1922, when Kelemina's last writing about Shakespeare's plays appeared. In 2007 we commemorate the one hundred and twenty-fifth anniversary of Kelemina's birth and fiftieth anniversary of his death, which is another reason why his work on Shakespeare should be finally researched and evaluated. This study should also help expand our knowledge about Jakob Kelemina's contribution regarding translations of Shakespeare's plays for the Slovene theatre and for Slovene culture generally.