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Journal articles on the topic 'Dramatic criticism Dramatic criticism'
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1
EVANS, PETER W. "GOLDEN-AGE DRAMATIC CRITICISM NOW." Seventeenth Century 2, no. 1 (1987): 49–53. http://dx.doi.org/10.1080/0268117x.1987.10555260.
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Halporn, James W. "Genre, Expectation, and Dramatic Criticism." American Journal of Philology 110, no. 4 (1989): 628. http://dx.doi.org/10.2307/295284.
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Steadman, Susan M. Flierl. "Feminist dramatic criticism: Where we are now." Women & Performance: a journal of feminist theory 4, no. 2 (1989): 118–48. http://dx.doi.org/10.1080/07407708908571133.
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Bloom, Davida. "Feminist Dramatic Criticism for Theatre for Young Audiences." Youth Theatre Journal 12, no. 1 (1998): 25–35. http://dx.doi.org/10.1080/08929092.1998.10012492.
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Patrick McDonagh. "The Mute's Voice: The Dramatic Transformations of the Mute and Deaf-Mute in Early-Nineteenth-Century France." Criticism 55, no. 4 (2013): 655. http://dx.doi.org/10.13110/criticism.55.4.0655.
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Poole, John Russell. "Book Revew: The Dawning of American Drama: American Dramatic Criticism, 1746- 1915." Theatre Journal 49, no. 2 (1997): 252–53. http://dx.doi.org/10.1353/tj.1997.0036.
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Goldhill, Simon. "Reading Performance Criticism." Greece and Rome 36, no. 2 (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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Shapoval, Mariana. "The intellectual's artistic biography in S. Rosovetskyi's dramatic." Synopsis: Text Context Media 26, no. 1 (2020): 1–10. http://dx.doi.org/10.28925/2311-259x.2020.1.1.
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The global trend of digitalization and publishing of historical sources, in particular fiction and its existence in different eras, makes the reader constantly reconsider the lives and work of persons who are regarded as prototypes of characters in literary works. As a result, an artistic image, linked to real life and rooted in the past, generates a consistent literary story in the form of artistic biography. The number and variety of such literary works, including dramatic ones, is constantly growing, which determines the topicality of this study. Over the recent decades, biographical fiction drastically changed its forms, and was enriched with numerous genre varieties and modifications. And this process remains far from complete. The term ‘meta-genre of artistic biography’ is introduced to designate it. This term emphasizes the scale of a certain phenomenon and allows defining the subject of the study — the artistic biographical description of the intellectual in contemporary Ukrainian drama — as well as clarify the understanding of the concept of the ‘intellectual,’ and problematize ways of describing characters of this type. The purpose of the article is to identify the genre-style unity of Ukraine’s modern drama about intellectuals and prove the expediency of the application to it of interpretive approaches to popular knowledge from related areas (history, philosophy, art). Specifically, such varieties of genres as personal artistic biography and intellectual artistic biography were singled out and proposed for the first time on the literary material (S. Rosovetskyi), and that is the research novelty. The research methodology is defined by an interdisciplinary approach that appeals to the achievements of literary criticism, art criticism, history, and philosophy. Results of the Study are connected with considerations that the interest in the artistic biography of the intellectual is associated with a general trend to anthropologize scientific knowledge, coupled with the growing interest of the audience in the individual and personal in the history and in the present, with the dominance of the emotional component in contemporary media discourses, resulting in the actualization of an emotional narrative of the intellectual’s biography, which often sounds tragic nowadays in the context of the catastrophic past of the Ukrainian science and culture.
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Özmen, Özlem. "Identity and Gender Politics in Contemporary Shakespearean Rewriting." European Judaism 51, no. 2 (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 (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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Chambers, Iain. "Maritime Criticism and Theoretical Shipwrecks." PMLA/Publications of the Modern Language Association of America 125, no. 3 (2010): 678–84. http://dx.doi.org/10.1632/pmla.2010.125.3.678.
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All visible objects, man, are but as pasteboard masks. But in each event—in the living act, the undoubted deed—there, some unknown but still reasoning thing puts forth the mouldings of its features from behind the unreasoning mask. If man will strike, strike through the mask! How can the prisoner reach outside except by thrusting through the wall? To me, the white whale is that wall, shoved near to me. Sometimes I think there's naught beyond. But 'tis enough.—Herman Melville, Moby-Dick; or, The WhaleFamiliar Landscapes are Today Challenged by Illicit Sea Journeys. The Southern Shores of Occidental Modernity are beached by the uninvited guest, by the arrival of histories and cultures that exceed its desires and augment its fears. Like a nemesis from the sea, the interrogative presence of the migrant, who announces planetary processes that are not ours to manage and define, draws Europe and the rest of the West to the threshold of a modernity that exceeds itself. In Isaac Julien's video installation Western Union: Small Boats (2007), the cruel passage of northward migration—across the inhospitable desert and perilous sea—proposes a dramatic poetics that seeks to force apart the conclusive framings of existing political, cultural, and historical narratives. Contorted black bodies gasping in the foam, abandoned on the beach in silver body bags among the sunbathers or writhing on the palace floors of European hierarchies replay the black Atlantic, memories of slavery, and racial oppression in the modern-day Mediterranean.
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Beckett, Joshua. "A Poet’s Prophetic Vocation: The Historical, Dramatic, and Literary Trajectories of Dante Alighieri’s Ecclesial Criticism." Christianity & Literature 66, no. 4 (2017): 573–90. http://dx.doi.org/10.1177/0148333117697454.
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In his political writings, correspondence, and epic poetry, Dante Alighieri often assumed a prophetic posture. His self-understood vocation found primary expression in his direct, forceful criticism of the medieval Catholic Church, although the post hoc predictions and scriptural mimesis in which Dante engaged throughout his Commedia also funded his incisive ecclesial critique. This article discerns three trajectories of a Dantean prophetic vocation, which converge at key moments during the Commedia (particularly at Inferno XIX) to forge Dante, in all his rich complexity, into a prophet for his era.
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Frendo, Mario. "Ancient Greek Tragedy as Performance: the Literature–Performance Problematic." New Theatre Quarterly 35, no. 1 (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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Raverty, Dennis. "The Painting of Jack Levine and the Politics of Criticism." Prospects 29 (October 2005): 361–72. http://dx.doi.org/10.1017/s0361233300001794.
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Jack Levine's Feast of Pure Reason (Figure 1) established him at the forefront of the New York art world when he was just twenty-two years old. Levine's meteoric rise in the years before the Second World War is evidenced by his inclusion in key exhibitions during that time as well as by critical acclaim in both the art magazines and the popular press. Art News went so far as to dub him the “dazzling newcomer.” In the years following the war, however, the art establishment's consensus on Levine's work went through a dramatic reversal. Just how complete was this turnaround is plainly visible in a review, also in Art News from 1955, where Levine's painting was described as “unlikable … tired, thin and lacking in wit.”
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Dharwadker, Aparna. "Authorship, Metatheatre, and Antitheatre in the Restoration." Theatre Research International 27, no. 2 (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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Kocherga, Svitlana, and Oleksandra Visych. "The antitheatrical discourse in Ukrainian metadrama in the early twentieth century." Przegląd Wschodnioeuropejski 11, no. 1 (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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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 (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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Zamir, Sara. "A PORTRAITURE OF HELEN, QUEEN OF TROY IN BOITO'S Mefistofele: Coincidentia Oppositorum." Revista Europeia de Estudos Artisticos 1, no. 2 (2010): 1–15. http://dx.doi.org/10.37334/eras.v1i2.16.
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In this study we attempt to understand some of the aesthetical features implemented by Arrigo Boito (1842-1918) for the dramaturgic formation of the final act of the opera Mefistofele. Doing that, we will focus on the bifocal character of Helen, both as flash-and-blood woman and as the divine Queen of Troy. Disregarding the controversial criticism of the value of the music, the analysis below reveals deep concern for the dramatic coherence practiced by musical associations and cultural signals. It shows that the composer has sincerely made an effort to characterize both facets of Helen-i.e. femininity and Royalty in the manner of collision of contrasts- Coincidentia Oppositorum. That special polar aesthetic approach constitutes a convincing musico-dramatic whole made out of extremes.
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Piniewska, Anna. "Splot głosów. Mowa pozornie zależna w Requiem dla gospodyni Wiesława Myśliwskiego." Białostockie Studia Literaturoznawcze, no. 18 (2021): 149–64. http://dx.doi.org/10.15290/bsl.2021.18.09.
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The article analyzes the drama Requiem dla gospodyni by Wiesław Myśliwski in the context of free indirect discourse as understood in literary criticism. The author of the article discusses the instances of this form of expression used in the utterances of Boleś, a shepherd and country madman of an unknown ontological status. She notices the problems with distinguishing between free indirect speech and the direct quoting of the late titular landlady [gospodyni] with whom Boleś established a strong bond. The author demonstrates that the shepherd plays a significant role both as a part of the storyline and a formal element because his creative capacity (building images) as well as linguistic (creating a binarrative in free direct speech) reveal his meta-dramatic character and privilege the dramatic subject.
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Seal, David. "A performance critical analysis of the Lukan Parable of the Banquet (Luke 14:15–24)." Review & Expositor 115, no. 2 (2018): 243–53. http://dx.doi.org/10.1177/0034637317753662.
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Most public communication in the ancient world was oral. Given that the first-century world of the Bible can be labeled as a period where people preferred the spoken word over the written word, and Jesus’ parables were shared by word of mouth, it seems crucial to analyze the oral traits found in the written text of the parables. Biblical performance criticism is a methodology which analyzes texts that were intended primarily for oral delivery. Utilizing performance criticism, this article will investigate the so-called banquet parable recounted in Luke 14:15–24, with the intent to discover its oral conventions. Finally, where important oral conventions are identified, we will offer a conceivable script or suggest dramatic elements that can be utilized to re-enact the parable to a modern audience.
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Severn, John R. "Salieri’s Falstaff, ossia Le tre burle and The Merry Wives of Windsor: Operatic Adaptation and/as Shakespeare Criticism." Cambridge Opera Journal 26, no. 1 (2014): 83–112. http://dx.doi.org/10.1017/s0954586713000323.
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AbstractShakespeare’s The Merry Wives of Windsor contains several features that make it unusual within his dramatic output and that thus render problematic the idea of a unified ‘Shakespearean’ canon. Until very recently, literary criticism has either largely ignored or denigrated the play, with a sustained interest in its portrayal of female agency, family life and the natural world only consolidating in the early twenty-first century. However, earlier operatic adaptations, such as Salieri and Defranceschi’s Falstaff, ossia Le tre burle, demonstrate an engagement with those issues which literary criticism has only lately addressed. While approaches to adaptations of The Merry Wives often focus primarily on the character of Falstaff, Salieri and Defranceschi’s opera’s engagement with the play’s issues beyond Falstaff suggests it might give added weight to a growing awareness of a positive alternative reception history of the play beyond literary criticism. At the same time, a consideration of the opera’s engagement with the play’s themes of female agency, family life and the natural world might shed light on Falstaff, ossia Le tre burle beyond the shadow cast by Verdi’s central character.
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Rentschler, Eric. "A Certain Tendency in German Film Criticism of the Postwall Era." New German Critique 47, no. 3 (2020): 33–44. http://dx.doi.org/10.1215/0094033x-8607563.
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Abstract The often bemoaned crisis of West German cinema in the 1980s coincided with a dramatic changing of the nation’s film critical guard. The symptomatic impetus that had figured so strongly during the postwar era gave way to the so-called new subjectivism of young critics like Michael Althen, Claudius Seidl, and Andreas Kilb. They looked askance at the formal complexity and political activism of most art house fare and above all found themselves smitten by mainstream American features. Taking their cue from Susan Sontag and her essay “Against Interpretation,” these postmodern existentialists cultivated a highly personalized, indeed rarefied form of poetic empiricism. This study analyzes their sensibility and rhetoric, their emphases and oversights. It focuses on Dominik Graf’s essay film, Was heißt hier Ende? (Then Is It the End?, 2015), a tribute to Althen and the cohort of young critics with whom he worked and interacted.
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Catană, Elisabeta Simona. "History as Story and Parody in Julian Barnes’s the Noise of Time." Romanian Journal of English Studies 16, no. 1 (2019): 25–31. http://dx.doi.org/10.1515/rjes-2019-0004.
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AbstractThis article analyses Julian Barnes’s The Noise of Time, a postmodernist parody of the Russian communist world, and shows that historical truth is turned into a story which is remembered with bitter irony and which offers various interpretations. Being nothing but a story, history, associated with the symbol of noise, becomes subject to parody. Emphasizing the role of irony in revealing the dramatic effects of the Russian communist past, this essay remarks that parody functions as severe criticism.
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Torello-Hill, Giulia. "Angelo Poliziano’s De poesi et poetis (BNCF Naz. II.I.99) and the Development of Ancient Dramatic Criticism." I Tatti Studies in the Italian Renaissance 20, no. 1 (2017): 105–26. http://dx.doi.org/10.1086/691166.
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Bial, Henry, and John Gronbeck-Tedesco. "John Gronbeck-Tedesco: A Look Back at Twenty Years of the Journal of Dramatic Theory and Criticism." Journal of Dramatic Theory and Criticism 22, no. 1 (2007): 87–93. http://dx.doi.org/10.1353/dtc.2007.0007.
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Cinpoeş, Nicoleta. "From New to Neo-Europe: Titus redivivus." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (2018): 214–30. http://dx.doi.org/10.1177/0184767818775904.
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The ‘dramatic rise’ of Titus Andronicus ‘among critics and directors’ in the 1990s was primarily linked to ‘the growth of feminist Shakespeare criticism’.1 Its recent stage popularity, however, lies in its responses to the new geopolitical realities and the shifting physical and mental borders of the European Union. This article examines four European productions of Titus Andronicus in their engagement with political change, migration, rising nationalism and xenophobia, which, I argue, refocus attention onto this play’s position in the Shakespeare canon.
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Fensham, Rachel. "Farce or Failure? Feminist Tendencies in Mainstream Australian Theatre." Theatre Research International 26, no. 1 (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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Maynard, John. "Speaker, Listener, and Overhearer: The Reader in the Dramatic Poem." Browning Institute Studies 15 (1987): 105–12. http://dx.doi.org/10.1017/s0092472500001863.
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Robert Browning's poetry showed a special resistance to the text-oriented, aestheticizing tendencies of the New Criticism. It was easy, almost too easy, to find ways to talk about the speaker and his tone of voice; but difficulties arose the moment one tried to move from these statements, as one would in a poem by Keats or Frost, to statements about the poem. Something about the nature of the dramatic monologue itself seems to have been especially unreceptive to organic, unifying conceptions of art. It is not surprising that Roma King's broadly New Critical, The Bow and the Lyre, should have received acclaim at the time for (among other qualities) reading the unifying images in Browning's poems. But the work from that period that has had staying power, Robert Langbaum's The Poetry of Experience, is one that hardly fit the critical temper of the time. In retrospect, we may say that its power derived especially from its refusal to let New Critical dogmas circumscribe the kinds of critical approaches applied to the odd form of the dramatic monologue. Langbaum's concept of experience was (is) attractive; his historical stories of the relation between Romanticism, nineteenth-century preference in drama for character over action, and the dramatic monologue were extremely interesting ones. But what was and remains most influential was a strategy for approaching the dramatic monologue, the famous one in which the poem commands a balance of judgment and sympathy. Langbaum's readings of the Duke and the rest have been much debated and often battered. The terms he laid down for the debate have proved hearty and persistent.
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Bennison, Neil. "Discourse analysis, pragmatics and the dramatic ‘character: Tom Stoppard's Professional Foul." Language and Literature: International Journal of Stylistics 2, no. 2 (1993): 79–99. http://dx.doi.org/10.1177/096394709300200201.
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Is there any way in which characters in dramatic texts may be considered a worthwhile object of criticism? The dearth of recent critical material in this area would suggest not, but the aim of this article is to demonstrate that the study of dramatic character may be effectively achieved by the application of theoretical principles derived from the linguistic analysis of conversation. The difficulties of accounting precisely for how readers of the play text get from the words on the page to judgements concerning the ‘personalities' of characters are overcome, to some extent, by the analysis of their conversational behaviour and using the powerful interpretative apparatus of discourse analysis and pragmatics to this end. As a focus for discussion, the character of Anderson, in Stoppard's play, Professional Foul, has been chosen, and a wide range of approaches taken from discourse analysis and pragmatics is used to identify in particular scenes the ways in which four prominent character traits are deducible from his conversational behaviour. The analysis begins with an examination of turn-length, turn-taking and topic-shift before applying pragmatic theories such as Grice's Cooperative Principle, Brown and Levinson's Politeness Phenomenon and Leech's Politeness Principle. In addition, this article addresses the problematic notion of character ‘development’ and argues that this may be accounted for in terms of a change in the conversational strategies used by a character, from which changes in attitude are inferable.
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Canova-Green, Marie-Claude. "From Tragicomedy to Epic: The Court Ballets of Desmarets de Saint-Sorlin." Dance Research 25, no. 2 (2007): 156–66. http://dx.doi.org/10.3366/drs.2007.25.2.156.
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It was customary in the seventeenth century to assimilate court ballet with drama, as both art forms were seen to strive for a common aim: the imitation or representation of nature. However, critics were also keen to point out their essential differences, for, unlike tragedy, ballet disregarded the rules of neo-classical aesthetics and its only concern seemed to be to please and to entertain. This was particularly evident in the court ballets written by Desmarets de Saint-Sorlin between 1639 and 1641. Unsurprisingly, they were singled out for special criticism by theorists of the ballet, who highlighted their dramatic shortcomings, and failed to see that they constituted another form of dramatic aesthetics, which was conspicuous precisely because of its emancipation from the strictures of Aristotelian theory. It could be said that the ballets of Desmarets had all the hallmarks of contemporary tragicomedy: irregularity of construction, diversity of action, disregard for the unity of tone, etc., but in adapting the principles of this new aesthetics to the ballet, Desmarets ran the risk of transgressing the boundaries of tragicomedy and even of drama, approaching a genre which was no longer dramatic but narrative, i.e. epic poetry.
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Reynolds, Bianca. "Emergence Through Playwriting." Journal of Jungian Scholarly Studies 14 (June 11, 2019): 73–91. http://dx.doi.org/10.29173/jjs7s.
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Jungian artistic criticism is a thriving field of scholarship, with strong representation in the literature across numerous disciplines. However, there is relatively little Jungian representation in critical studies of dramatic writing. This essay adopts the dual perspectives of playwright and dramatic critic to argue for the utility of a Jungian theoretical framework for the creation and analysis of play texts. Such utility is demonstrated through analysis of a case study genre, termed the “contemporary family homecoming drama.” C. G. Jung’s theories of individuation and the psychological complex provide the theoretical framework for this discussion, along with a post-Jungian understanding of emergence theory. The central argument is substantiated via critical case studies of Tracy Letts’s August: Osage County and Eventide, an original play. This essay proposes a model for a Jungian playwriting methodology, transferable to other playwrights wishing to create drama within a Jungian framework.
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Mooney, Edward F. "REVIEW ESSAY (Under consideration: Joseph Westfall’s The Kierkegaardian Author: Authorship and Performance in Kierkegaard’s Literary and Dramatic Criticism)." Philosophy & Social Criticism 35, no. 7 (2009): 869–82. http://dx.doi.org/10.1177/0191453709106245.
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Trotsky, Leon. "On Frank Wedekind." New Theatre Quarterly 7, no. 28 (1991): 324–30. http://dx.doi.org/10.1017/s0266464x00006023.
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To follow Lenin on the London Hippodrome in TQ40 (1981) and Wedekind on the Middlesex music hall in NTQ16 (1988) – here now is Trotsky on Wedekind. As Edward Braun, Professor of Drama in the University of Bristol, points out in a brief introduction, this assessment by Trotsky follows in a thin line of dramatic criticism by Marx, Engels, Mehring, Plekhanov, and Lunacharsky, and dates from Trotsky's involvement with a number of radical journals during his exile in Vienna. The article first appeared in the Neue Zeit in April 1908.
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Addyman, David. "Rest of Stage in Darkness: Beckett, his Directors and Place." Samuel Beckett Today / Aujourd'hui 22, no. 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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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 (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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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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Gontijo Rosa, Carlos. "Vicente, autoficção de Jorge Andrade." Catedral Tomada. Revista de crítica literaria latinoamericana 8, no. 14 (2020): 283–306. http://dx.doi.org/10.5195/ct/2020.438.
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This paper concentrates on the autofiction in drama, which is a very peculiar procedure much distinct of the autofiction in the novel. This is due to the scenic representation, the actor’s presence, and other intrinsic characteristics of the dramatic genre, making that the reader or the spectator views the border between fiction and reality in a very particular way. Regarding the character Vicente, present on three plays of the Brazilian playwright Jorge Andrade and who we focus on our discussion, we propose to consider it as an autofictional character, despite its status of autobiographical by the criticism and by the author himself.
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Classen, Albrecht. "Matthew Wranovix, Priests and Their Books in Late Medieval Eichstätt. Lanham, Boulder, New York, and London: Lexington Books, 2017, xx, 221 pp." Mediaevistik 31, no. 1 (2018): 487–88. http://dx.doi.org/10.3726/med012018_487.
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One of the most effective propaganda tools used by the Humanists and early Protestants directed against the Catholic clergy was the severe criticism of their lack of education, their ignorance about the biblical texts, and their material abuse of their position within their communities. Scholarship has mostly accepted this viewpoint, subscribing to the notion of a dramatic decline of the late medieval clergy in terms of its morality, intellectual abilities, and religious devotion and piety. The alleged ‘autumn of the Middle Ages’ hence gave way to the rise of a new world, the Renaissance and the age of the Protestant Reformation.
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Seymour, Leonard W. "The challenge of delivery: Cancer gene therapy." Biochemist 30, no. 3 (2008): 4–6. http://dx.doi.org/10.1042/bio03003004.
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Everybody understands gene therapy. It's where healthy genes are used to supplement the lossoffunction of mutated genes, providing simple cures for complex genetic diseases. Because it clearly works (otherwise why is it called ‘gene therapy’?) there is a roller coaster of public perception, varying between enthusiastic optimism in times of dramatic progress and scathing criticism when things go badly. A priority for those of us working in the field is to regulate expectation by providing access to more balanced and intelligible information, and that is one goal of the recently formed Brit ish Society for Gene Therapy (www.bsgt.org).
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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, № 51 (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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Khalil, Rania M. R. "Redefining Irishness: Fragmentation or intercultural exchange." Journal of Language and Cultural Education 3, no. 3 (2015): 104–11. http://dx.doi.org/10.1515/jolace-2015-0024.
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Abstract The traditional definition of Irishness has been overwritten by internationalization, cultural and political discourses. Globalisation today sets the ground for the redefinition of a “new Ireland” altering the ethnocultural base to the definitions of Irish national identity. Recent cultural criticism on modern Irish studies have described the Irish nation as undergoing moments of crisis and instability within a global context. This paper explores and analyzes the process by which literary dramatic works dealing with Irish national distinctiveness have been put subject to being written and re-written as the Irish nation passes through periods of instabilities and problematisations. Ireland has been affected by conflicting narratives and needed to move “towards a new configuration of identities” (Kearney, 1997, p. 15). Edward W. Said comments on this fracturing of identity as “human reality is constantly being made and unmade” (1979, p. 33). The attempt Irish playwrights have made to address factors affecting Irishness and the violent assertion of national identity addressed in this paper, are considered within a post-nationalist and post-colonial context of dramatic works.
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Caro, Robert V. "William Alabaster:Rhetor, Meditator, Devotional Poet—I." Recusant History 19, no. 1 (1988): 62–79. http://dx.doi.org/10.1017/s0034193200020148.
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IT has been commonplace in the literary criticism of the past thirty years to acknowledge the influence of the Counter-Reformation devotional tradition on English metaphysical poetry of the seventeenth century. The sonnets of William Alabaster, a little known recusant poet writing just before the dawn of the century, provide an early example of this influence. Even when Alabaster does not rise above his craftmanship, his poems offer insights into the cultural equipment and habits of mind of the age in which he lived, revealing how meditation could vivify rhetorical invention, injecting it with feeling and passion and transforming the persona of a lyric poem into a dramatic speaker.
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Mask, Ahmad Kamyabi. "Beckett En Iran." Samuel Beckett Today / Aujourd'hui 17, no. 1 (2007): 419–33. http://dx.doi.org/10.1163/18757405-017001029.
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this famous play by Beckett, has been translated nine times since 1966 in Iran. It was first produced in the Iranian production in 1968 at the Irano-American Institute, and then in the universities. From that time on, all of Beckett's works have been taught in the faculties of dramatic arts. Due to the influence of Westem criticism, Godot has been interpreted as God. After the Islamic Revolution, the Iranian press published numerous articles on Beckett. Nowadays, Beckett's works, adaptations as well as parodies of are performed throughout Iran. He who in postwar Europe questioned the coming of a Savior, now fascinates university students.
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Kozłowski, Paweł. "Strategie dramatyzacji Ulissesa Jamesa Joyce’a." Białostockie Studia Literaturoznawcze, no. 16 (2020): 161–84. http://dx.doi.org/10.15290/bsl.2020.16.08.
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The article indicates that James Joyce stylizes his novel Ulysses for a drama, and gives a comprehensive analysis of some narrative techniques used in the work. Referring to the most important, narratologically-oriented studies of Ulysses, the author states that limiting the narrator’s competences turns out to be the basic strategy for dramatizing the novel. This assertion leads to the conclusion which has been so far overlooked in the Polish and Anglophone criticism. Using the comparative method, the author draws attention to the specifically dramatic conventions of dialogue transposed into Ulysses. These are devices known from the works of eminent playwrights of modernity, especially Ibsen, Strindberg, Maeterlinck and Chekhov
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Rayner, Alice. "Soul in the System: on Meaning and Mystique in Stanislavski and A. C. Bradley." New Theatre Quarterly 1, no. 4 (1985): 338–45. http://dx.doi.org/10.1017/s0266464x00001755.
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Although literary criticism has moved on since the work of A. C. Bradley, his Shakespearian Tragedy (1904) is still regarded as the greatest achievement of the ‘biographical’ approach to dramatic characterization – and a reprint of that classic work, with a new introduction by John Russell Brown, has just appeared from Macmillan. But the teachings of his close contemporary Stanislavski remain more widely disseminated than disputed, though they spring from very similar assumptions and concerns. Alice Rayner, an assistant professor at University of California, Irvine, investigates what the writings of the two men had in common, how their insights and approaches can be mutually revealing – and how some of their underlying beliefs can be the cause of mystification.
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Fillerup, Jessie. "Lucia’s Ghosts: Sonic, Gothic and Postmodern." Cambridge Opera Journal 28, no. 3 (2016): 313–45. http://dx.doi.org/10.1017/s0954586716000446.
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AbstractIn this article, I use an intertextual interference – the spectral presence of Norma Desmond in a performance of Donizetti’sLucia di Lammermoor– as a locus through which to explore the consequences of the ‘open’ text in theatrical spectatorship, criticism and historical study. Norma’s ghosting of Lucia reveals how spectral effects function in musical and dramatic contexts, particularly in Gothic works. These effects replace illusions of linear teleology with temporal synchronicity and destabilise the boundaries that separate the critic or spectator from the work. Though examiningLuciathrough the lens ofSunset Boulevardinverts chronological sequence, it acknowledges the temporal contradictions inherent in historical work and assigns productive meaning to nostalgic impulses that engage a reflective mode of thought.
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Harp, Gillis. "Hofstadter's The Age of Reform and the Crucible of the Fifties." Journal of the Gilded Age and Progressive Era 6, no. 2 (2007): 139–48. http://dx.doi.org/10.1017/s1537781400001973.
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In December 1954, the United States Senate voted 67-22 to censure the junior senator from Wisconsin. Joe McCarthy had been drawing increasing criticism for his bullying tactics in ferreting out alleged communists and communist sympathizers within the federal civil service and elsewhere. In the wake of the Army-McCarthy hearings of the preceding spring (and especially after the dramatic televised confrontation with Army counsel Joseph Welch), the tide of public opinion finally turned against McCarthy. Still, his demagogic campaign had ruined the careers of scores of American citizens, from civil servants to artists, and had raised disturbing questions about room for political dissent within a democracy during the height of the Cold War.
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Wright, Matthew. "POETS AND POETRY IN LATER GREEK COMEDY." Classical Quarterly 63, no. 2 (2013): 603–22. http://dx.doi.org/10.1017/s000983881300013x.
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The comic dramatists of the fifth centuryb.c.were notable for their preoccupation with poetics – that is, their frequent references to their own poetry and that of others, their overt interest in the Athenian dramatic festivals and their adjudication, their penchant for parody and pastiche, and their habit of self-conscious reflection on the nature of good and bad poetry. I have already explored these matters at some length, in my study of the relationship between comedy and literary criticism in the period before Plato and Aristotle. This article continues the story into the fourth century and beyond, examining the presence and function of poetical and literary-critical discourse in what is normally called ‘middle’ and ‘new’ comedy.
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DUBATTI, Ricardo Adrián. "DEL SOL NACIENTE (1983/1984), DE GRISELDA GAMBARO: GUERRA DE MALVINAS, DICTADURA Y PATRIARCADO." Signa: Revista de la Asociación Española de Semiótica 29 (April 8, 2020): 273. http://dx.doi.org/10.5944/signa.vol29.2020.24156.
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Resumen: En nuestra investigación relevamos aquellos textos dramáticosargentinos que se refieren a la Guerra de Malvinas (1982), acontecimientoque constituye una presencia sensible en la sociedad argentinacontemporánea (Lorenz, 2012). Estudiamos las representaciones (Chartier,1992) por las que el teatro opera como constructo memorialista (Vezzetti,2002) que activa los trabajos de la memoria (Jelin, 2002) y habla de lo “nodecible” (Mancuso, 2010). Analizamos en Del sol naciente (1983/1984),de Griselda Gambaro, cómo la poética configura una lectura de la guerradesde una crítica antipatriarcal y antidictatorial desde una concepción dela memoria como gran compartir. Abstract: In the frame of our research we examine those Argentine dramatic texts about the Malvinas War (1982), an event which constitutes asensitive presence in contemporary Argentine society (Lorenz, 2012). Westudy the representations (Chartier, 1992) through which drama operatesas a memorialist construct (Vezzetti, 2002) that triggers the workings ofmemory (Jelin, 2002) and speaks of the “unspeakable” (Mancuso, 2010).In Del sol naciente (1983/1984), a dramatic text by Griselda Gambaro, we analyze how its poetics yields a reading of the above-mentioned war from an anti-patriarchal and anti-dictatorial criticism and a conception of memory as great sharing.
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Gualberto, Rebeca. "Adaptation against Myth: Gary Owen’s Iphigenia in Splott and the Violence of Austerity." Revista Alicantina de Estudios Ingleses, no. 35 (July 28, 2021): 119. http://dx.doi.org/10.14198/raei.2021.35.06.
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This article explores, from the standpoint of socio-political myth-criticism, the processes of revision and adaptation carried out in Gary Owen’s 2015 play Iphigenia in Splott. The play, a dramatic monologue composed in the rhythms of slam poetry, rewrites the classical Greek myth of Iphigenia in order to denounce the profound injustice of the sacrifices demanded by austerity policies in Europe—and more specifically, in Britain—in the recession following the financial crash of 2008. Reassessing contemporary social, economic and political issues that have resulted in the marginalisation and dehumanisation of the British working class, this study probes the dramatic and mythical artefacts in Owen’s harrowing monologue by looking back to Euripides’s Iphigenia in Aulis, the classical play which inspires the title of Owen’s piece and which serves as the mythical and literary background for the story of Effie. The aim is to demonstrate how Owen’s innovative adaptation of the sacrifice of Iphigenia, slurred out in verse, resentful and agonising, speaks out a desperate plea against myth, that is, against a dominant social ethos that legitimises its own violence against the most vulnerable—those who, as in the classical myth, suffer the losses that keep our boats afloat.