Relevant bibliographies by topics / Dramatic techniques

Contents

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

Academic literature on the topic 'Dramatic techniques'

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

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Journal articles on the topic "Dramatic techniques"

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PRODROMOU, LUKE. "THEATRICAL AND DRAMATIC TECHNIQUES IN EFL." World Englishes 4, no. 1 (March 1985): 76–80. http://dx.doi.org/10.1111/j.1467-971x.1985.tb00380.x.

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Fowler, Joanna. "Dramatic and Narrative Techniques in the Novellas of Aphra Behn." Women's Writing 22, no. 1 (December 6, 2014): 97–113. http://dx.doi.org/10.1080/09699082.2014.941192.

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FITRIANI, HERNI. "Analisis Penokohan Tokoh Ainun dalam Novel Habibi dan Ainun Karya Baharudin Jusuf Habibi." Seulas Pinang: Jurnal Pendidikan Bahasa dan Sastra 1, no. 1 (October 17, 2019): 17–22. http://dx.doi.org/10.30599/spbs.v1i1.518.

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Literature generally involves all aspects of human life and life, events in works of fiction as well as events in everyday life, always carried by a certain character or perpetrators. The formulation of the problem in this analysis is how the characterization of Ainun figure is expository and dramatic in novel Habibie and Ainun Karya Bacharuddin Jusuf Habibie ?. The results of data analysis and discussion, In revealing the figure Ainun figure, the author uses the technique of depiction of figures proposed by Nurgiyantoro, the technique of depiction of characters in a literary work can be distinguished in two techniques, namely expository techniques and dramatic techniques, through the technique of Ainun figure expression in novel Habibie and Ainun by Bacharuddin Jusuf Habibie can be concluded that he is a figure of a very patient, while through dramatic techniques that include skillful techniques, behavioral techniques, techniques of mind and feeling, stream of consciousness techniques, reaction techniques, techniques of reactions of other figures, background and techniques of physical representation, figure Ainun is obedient and obedient to her husband, kind, responsible, has a very patient personality, he is a figure of a figure who likes peace, peace. But he had tested his loyalty to the husband that when he had to live mediocre when he was in Germany, he learned to use the maximum time so that everything can be resolved properly set the menu cheap but healthy, take care of children, husband and work. All he lived with full sincerity. Ainun always provide peace in his family with his personality. After a long time he thought to go back to work as a doctor so he could help his family's economy, but it takes recognition of UI diplomas in Germany and requires an indeterminate time process. After Ainun got back to work, Ainun was confronted with her personal problems when the children were sick and needed her to choose between work and children, based on faith, Ainun sacrificed her job as a doctor to Always be with her son and husband.
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McClary, Susan. "Constructions of gender in Monteverdi's dramatic music." Cambridge Opera Journal 1, no. 3 (November 1989): 203–23. http://dx.doi.org/10.1017/s0954586700003001.

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One of the great accomplishments of seventeenth-century culture was the development of a vocabulary by means of which dramatic characters and actions could be delineated in music. The techniques for emotional and rhetorical inflection we now take for granted are not, in fact, natural or universal: they were deliberately formulated during this period for the purposes of music theatre. Monteverdi's descriptions of how he invented the semiotics of madness for La finta pazza Licori or of war for the Combattimento di Tancredi e Clorinda reveal how very self-consciously he designed methods for ‘representing’ affective states.
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Luu, Thuy Trung. "The features of content and playwriting art in Ho Chi Minh City’s contemporary play." Science and Technology Development Journal 19, no. 1 (March 31, 2016): 96–109. http://dx.doi.org/10.32508/stdj.v19i1.560.

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Since the last decade of the twentieth century, Ho Chi Minh City has become one of the Vietnamese lively dramatic literature and theater centers. During the past twenty years, together with dramatic theater, Ho Chi Minh City’s dramatic literature has built up a professional playwriter force, providing audiences plays which reflect the conflicts between human’s life in the time of Vietnam’s reformation and integration. Besides, these plays have contributed experiences in acquiring and applying the world modern playwriting techniques to suit Vietnamese’s drama reception habits. This paper generally provides content feature (focus on conflicts) and playwriting art feature (focus on plots, characteristics, dialogue language construction and the acquirement of new art techniques in Ho Chi Minh City’s contemporary literary scripts), contributing to the evaluation and summary of Ho Chi Minh City’s dramatic literature during the past.
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Cilliers, Louise. "Techniques used in creating dramatic suspense in roman comedy and a modern thriller." Journal of Literary Studies 12, no. 4 (December 1996): 367–83. http://dx.doi.org/10.1080/02564719608530148.

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Kralovec, O. John. "D23 Applying Re-Engineering Tools and Techniques for Dramatic Results in Improvement Efforts." Quality Management in Health Care 1, Supplement (1993): 70–72. http://dx.doi.org/10.1097/00019514-199312001-00104.

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Kralovec, O. John. "D23 Applying Re-Engineering Tools and Techniques for Dramatic Results in Improvement Efforts." Quality Management in Health Care 1, Supplement (December 1993): 70–72. http://dx.doi.org/10.1097/00019514-199301041-00104.

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Basuki, Ribut, and Meilinda Meilinda. "The Use of Dramatic Theater in BIPA (Bahasa Indonesia untuk Penutur Asing) Classes: A Case in Petra Christian University, Surabaya, Indonesia." SHS Web of Conferences 76 (2020): 01044. http://dx.doi.org/10.1051/shsconf/20207601044.

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The teaching-learning techniques of BIPA (Bahasa Indonesia untuk Penutur Asing - Indonesian for Speakers of Other Languages) for language skills are oftentimes separated from that of ‘cultural’ skills. Even worse, BIPA teachers tend to devote only a little attention to students’ cultural sensitivity. Dramatic Theatre, when used appropriately, offers engaging techniques for the teaching-learning of both language and cultural skills. Dramatic theatre’s ‘production process’ is very useful in developing linguistic and cultural sensitivities to the students. The teaching-learning of BIPA using the Dramatic Theatre production process at Petra Christian University, Surabaya, Indonesia has shown that it is a promising teachnique to be developed and implemented. The students’ involvement in the process from the preparations, rehearsals, and finally performance gives them a chance to enjoy and, especially, learn the Indonesian linguistic as well as cultural nuances more or less authentically. This paper is an evaluation of BIPA through dramatic theatre at PCU. It will show how students are involved in the production process, learn Bahasa Indonesia, and grasp Indonesian culture both from the play they perform and the process of production itself. It finally gives evaluation and recomendation for further use of dramatic theatre for BIPA at PCU.
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El-Nasr, Magy Seif. "Interaction, narrative, and drama." Interaction Studies 8, no. 2 (June 19, 2007): 209–40. http://dx.doi.org/10.1075/is.8.2.03eln.

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Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due to the unpredictability of users’ actions. Few researchers attempted to develop adaptive interactive narrative experiences. However, developing a quality interactive experience is largely an art process, and many of these adaptive techniques do not encode artistic principles. This paper presents a new interactive narrative architecture designed using a set of dramatic techniques that have been formulated based on several years of training in film and theatre.
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Dissertations / Theses on the topic "Dramatic techniques"

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Kuksa, Iryna. "Scenography and new media technologies : history, educational applications and visualization techniques." Thesis, University of Warwick, 2007. http://wrap.warwick.ac.uk/1156/.

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The endemic presence of digital technology is responsible for numerous changes in contemporary Western societies. This study examines the role of multimedia within the field of theatre studies, with particular focus on the theory and practice of theatre design and education. In the cross-disciplinary literature review, I investigate such primary elements of contemporary media as interactivity, immersion, integration and hyper-textuality, and explore their characteristics in the performing arts before and during the digital epoch. I also discuss various IT applications that transformed the way we experience, learn and co-create our cultural heritage. In order to illustrate how computer-generated environments could change the way we perceive and deliver cultural values, I explore a suite of rapidly-developing communication and computer-visualization techniques, which enable reciprocal exchange between viewers, theatre performances and artefacts. I analyze novel technology-mediated teaching techniques that attempt to provide a new media platform for visually-enhanced information transfer. My findings indicate that the recent changes towards the personalization of knowledge delivery and also towards student-centered study and e-learning necessitated the transformation of the learners from passive consumers of digital products to active and creative participants in the learning experience. The analysis of questionnaires and two case studies (the THEATRON and the VA projects) demonstrate the need for further development of digital-visualization techniques, especially for studying and researching scenographic artefacts. As a practical component of this thesis, I have designed and developed the Set-SPECTRUM educational project, which aims to strengthen the visual skills of the students, ultimately enabling them to use imagery as a creative tool, and as a means to analyze theatrical performances and artefacts. The 3D reconstruction of Norman Bel Geddes' set for The Divine Comedy, first of all, enables academic research of the artefact, exposing some hitherto unknown design-limitations in the original set-model, and revealing some construction inconsistencies; secondly, it contributes to educational and creative practices, offering an innovative way to learn about scenography. And, thirdly, it fills a gap in the history of the Western theatre design. This study attempts to show that when translated into digital language, scenographic artefacts become easily retrievable and highly accessible for learning and research purposes. Therefore, the development of such digital products should be encouraged, but care should also be taken to provide the necessary training for users, in order to realize the applications' full potential.
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Burke, A. C. "Dramatic techniques in performing Aeschylus' Agamemnon : the Oresteia at the Royal National Theatre." Thesis, Queen Margaret University, 2005. https://eresearch.qmu.ac.uk/handle/20.500.12289/7332.

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This thesis explores the theoretical and dramaturgical challenges faced by modern productions of the Oresteia with particular reference to two modern Royal National Theatre productions: Sir Peter Hall's (1981) and Katie Mitchell's (1999). It argues that to appreciate these challenges requires a detailed knowledge of the theatricality of the original text. In support of this position, this thesis contains a detailed analysis of Aeschylus' Agamemnon exploring how the playwright creates the play's world in text and performance. The discussion's focus concentrates on how theatrical space (seen, implied, and diegetic) constructs the world of the play. Concomitant in this discussion is an analysis of how Aeschylus invites the audience to decode the play's theatricality through its knowledge of epic literature and its own non-theatrical spatial environments and practices. To facilitate this understanding, the text and performance are explored with reference to political, domestic and ritual space. In considering these productions, the assumption of theatre reviews that productions can be described as adhering to either modernising or archeologically inspired staging practices is challenged. It is argued that modern productions should be analysed with reference to directorial, translator, and actor intentions. Through a methodology based on interviewing theatre practitioners, the productions of Hall and Mitchell are seen to be irreducibly modern, yet still maintain a relationship with Aeschylus. Hall's use of ancient staging conventions is seen to be a modern interpretation of the theatrical past, which aimed at communicating the foreignness of Aeschylus. In contract, Mitchell's use of modern staging techniques made the Oresteia familiar to a modern audience, but, by suggesting political, domestic, and ritual equivalents, still articulated with the ancient performance.
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Blackwood, Jeremy B. "Under the Influence of Marc Blitzstein: Examining Leonard J Lehrman’s Uses of Serial Techniques for Dramatic Purposes in Karla." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700028/.

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American composer, author and conductor Leonard J. Lehrman (b. 1949) has spent a majority of his lifetime devoted to the scholarship on the music of Marc Blitzstein (1905-1964). Lehrman completed Blitzstein’s Idiots First in 1973, and finished his own one-act opera Karla in 1974. In an effort to honor Blitzstein, Lehrman included Karla along with Idiots First to begin the set of one-act operas to be titled Tales of Malamud. Lehrman coined the term “selective serialism” in reference to Blitzstein’s use of serial techniques representing something associated with death or something diabolical. Lehrman applies a similar technique in that he uses serialism to reference the presence of a handwritten notes that are tied to the dramatic context of the opera. This study examines Lehrman's use of serialism in Karla as it was directly influenced by Blitzstein’s use of serialism in Idiots First.
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Erapu, Laban Omella. "A study of Ngugi wa Thiong'o's later novels to assess his adaptation of dramatic techniques and Gikuyu oral traditions to the requirements of fiction." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002278.

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This thesis examines Ngugi wa Thiong'o's later writings in order to establish the nature of his quest for a people's literature. It illustrates how the author attempts to break the barriers between traditional oral forms and the relatively new written forms in addressing a basically "illiterate" audience. The research begins with an exploration of Gikuyu oral literature as an essential background to Ngugi's later dramatic and fictional writings as distinct from his earlier literary works in which he initiates the dominant quest for a more just society. Ngugi's return to these roots constitutes the central "homecoming" that characterizes his search for new forms. The analysis is conducted through three significant chronological stages representing Ngugi's writings over a period of about a decade from the mid-1970s to the early 1980s. Each stage starts with a play and performance followed by a parallel novel, the first pair written in English and the subsequent ones in Gikuyu. The three stages - designated Transition, Homecoming and Realization - mark Ngugi's involvement in the promotion of Gikuyu culture and orature, both as a source of inspiration and as a cause to which he fully dedicates himself. The transitional stage depicts the convergence between conventional and traditional oral literary forms with which Ngugi begins to experiment. The second stage introduces significant departures as Ngugi begins to use the Gikuyu language as his primary medium of creative expression. The final stage demonstrates his ultimate assertion of the primacy of orality over the written word as a dynamic agent of transmission. The thesis concludes that Ngugi wa Thiong'o in these later works - while leaving the possibilities of his vision of a "New Earth" unfulfilled pioneers the African writers' climb down from an "ivory tower" to deal with the realities of the experience of the predominantly non-reading African masses, acknowledged as both recipients of and active participants in the relatively new written literature which purports to speak for their experiences and their times.
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Ziskin, Gregory. "The main principles of Chekhov's dramatic technique /." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61256.

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The purpose of the present study is to analyze the structural techniques and genre of Chekhov's plays.
The many books and articles published on Chekhov's plays far exceeds his own works. Although there have been numerous studies analyzing the structural techniques of his play, considerable controversy still exists among literary and theatre scholars regarding the genre of his plays. Most of the studies simply avoid this complex and intricate problem.
In this study particular emphasis is also placed on the dramatic techniques used by Chekhov: the sequence of events, the nature of the roles and the so-called "unfinished" endings.
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Williams, Mark Robin Winfield. "Dramatic technique in Thomas Middleton's later plays." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305933.

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Davies, Huw. "Towards a more versatile dynamic-music for video games : approaches to compositional considerations and techniques for continuous music." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:3f1e4cfa-4a36-44d8-9f4b-4c623ce6b045.

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This study contributes to practical discussions on the composition of dynamic music for video games from the composer’s perspective. Creating greater levels of immersion in players is used as a justification for the proposals of the thesis. It lays down foundational aesthetic elements in order to proceed with a logical methodology. The aim of this paper is to build upon, and further hybridise, two techniques used by composers and by video game designers to increase further the reactive agility and memorability of the music for the player. Each chapter of this paper explores a different technique for joining two (possibly disparate) types of gameplay, or gamestates, with appropriate continuous music. In each, I discuss a particular musical engine capable of implementing continuous music. Chapter One will discuss a branching-music engine, which uses a precomposed musical mosaic (or musical pixels) to create a linear score with the potential to diverge at appropriate moments accompanying onscreen action. I use the case study of the Final Fantasy battle system to show how the implementation of a branching-music engine could assist in maintaining the continuity of gameplay experience that current disjointed scores, which appear in many games, create. To aid this argument I have implemented a branching-music engine, using the graphical object oriented programming environment MaxMSP, in the style of the battle music composed by Nobuo Uematsu, the composer of the early Final Fantasy series. The reader can find this in the accompanying demonstrations patch. In Chapter Two I consider how a generative-music engine can also implement a continuous music and also address some of the limitations of the branching-music engine. Further I describe a technique for an effective generative music for video games that creates musical ‘personalities’ that can mimic a particular style of music for a limited period of time. Crucially, this engine is able to transition between any two personalities to create musical coincidence with the game. GMGEn (Game Music Generation Engine) is a program I have created in MaxMSP to act as an example of this concept. GMGEn is available in the Demonstrations_Application. Chapter Three will discuss potential limitations of the branching music engine described in Chapter One and the generative music engine described in Chapter Two, and highlights how these issues can be solved by way of a third engine, which hybridises both. As this engine has an indeterminate musical state it is termed the intermittent-music engine. I go on to discuss the implementation of this engine in two different game scenarios and how emergent structures of this music will appear. The final outcome is to formulate a new compositional approach delivering dynamic music, which accompanies the onscreen action with greater agility than currently present in the field, increasing the memorability and therefore the immersive effect of the video-game music.
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Gabbett-Mulhallen, Jacqueline. "The theatre of Shelley : an evaluation of his dramatic technique." Thesis, Anglia Ruskin University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490299.

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The purpose of this thesis is to examine Shelley's drama as texts for theatrical performance in the context ofthe early nineteenth century and to question their relegation to the category 'closet drama'. I argue that not only his acknowledged stage-plays but, more controversially, even the 'lyric dramas', Hellas and Prometheus Unbound, and the satiric Swellfoot the Tyrant, are theatrical and performance-orientated in conception. To build this argument the following have been consulted: plays by late Georgian dramatists; Georgian and Regency theatre histories; biographies, memoirs and critical works oftheatrical practitioners; English and Italian newspapers and scripts held in the Larpent Collection and at La Scala, Milan. I have drawn on my experience as a performer, writer and manager of a small theatre company. Interest in Romantic theatre has been growing over the past 20 years, and I have engaged in current debate concerning the definition of that genre. I have found that A.W. Schlegel's dramatic theories support my argument for the influence of classical Greek tragedy, Athenian Old Comedy and Jacobean drama upon Shelley's drama and attitude to theatre practice. I have ascertained what performances Shelley attended, as a result of which I propose some new sources for his settings and plots. I have established the additional influence upon him of English melodrama, pantomime and burlesque, pre-romantic ballet, commedia dell 'arte and the improvvisatore's art; I document his awareness of practical constraints: developments in theatre buildings, scenery, lighting, costume and performance styles of actors such as Cooke, Grimaldi, Kean, Kemble and O'Neill. I have uncovered evidence about 'patent' and 'minor' theatres in relation to censorship and performance. My conclusion is that Shelley had developed a sophisticated understanding of the theatre, and with increasing skill was seeking to integrate the best of past dramatic writing with successful contemporary forms of performance.
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Saket, Mourad. "Fiction et diction de l'ɶuvre dramatique de Samuel Beckett." Thesis, Université Côte d'Azur (ComUE), 2016. http://www.theses.fr/2016AZUR2021/document.

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Avec le même vocabulaire, Samuel Beckett construit un même univers tant dans ses romans quedans ses pièces de théâtre : Molloy, Murphy, Malone meurt, En attendant Godot, Fin de partie, Oh les beaux jours,La Dernière bande, etc. Pour créer un même monde obscur, il s’appuie sur un langage qui s’anéantit sitôtqu’il s’établit. Si pour Joyce, la création verbale est d’ordre poétique, celle de Beckett est tout autre. Ilopte pour un style abstrait, une phrase grise, sans relief lyrique, dénuée de grâce et de poésie. Une phrasepauvre, à la limite de rien.Ainsi nous allons d’abord révéler quelques techniques littéraires auxquelles Beckett a eu recours :Organisation et structure de l’oeuvre, Procédés narratifs, Constantes dramaturgiques.Après l’étude de la caractéristique formelle des écrits de Beckett, nous tenterons de dévoiler leprocessus de négativité générale qui constitue le sens profond de l’oeuvre de Beckett et qui s’affirme deplus en plus dans l’oeuvre dramatique.Ensuite nous mettrons en relief quelques techniques littéraires utilisées par Beckett dans Fin departie : La diversité d’idées, La participation du lecteur et/ou spectateur, Les procédés narratifs.Enfin, nous analyserons les personnages de cette pièce qui agissent sans buts et motifs précis. Nousessaierons de comprendre ce qu’ils sont (identité) ce qu’ils veulent (désirs) et ce qu’ils font (actions).Ainsi, nous mettrons en exergue leurs caractéristiques, la nature de leurs relations avec eux-mêmes et lesautres. Nous comprendrons alors dans quel monde d’absence ils se trouvent projetés. Pour conclure,nous analyserons la notion de temps et d’espace qui forme un axe fondamental de Fin de partie
With the same vocabulary, Samuel Beckett builds the same universe in its novels or in her plays:Molloy, Murphy, Malone dies, While waiting for Godot at the End of part, Oh the beautiful days, The Last band, etc.He creates the same dark world and he leans on a language which perishes as soon as it becomesestablished. If for Joyce, the verbal creation is essentially of poetic order, that of Beckett is completelyother. He opts for an abstract style, for a grey sentence, without the slightest operatic relief, divested ofany grace as any poetry. A poor sentence.So is we will first reveal some literary techniques important to which Beckett resorted:Organization and structure of the work; The narrative processes; Dramaturgic constants.After the study of the formal characteristic of Beckett, we are going to try to reveal the processof general negativity which establishes, in our opinion, the deep sense of the work of Beckett and whichasserts itself more and more in the dramatic work.Then we accentuate some literary techniques to which Beckett resorted in the End of part: Thediversity of ideas; The participation of the reader and/or the spectator; Them proceed narrative.Finally, we shall analyse the characters of this play who seem to act without purposes and precisemotives. We shall try to understand that they are (identity) that they want (desires) and what they aredoing (actions). So, we shall highlight their characteristics, the nature or their relations with themselvesand the others. We shall understand then in which world of absence they are thrown. To conclude, weshall analyse the notion of time and space which trains a fundamental axis of the End of part
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Mossman, Judith. "Euripides' Hecuba : a re-evaluation, with special reference to dramatic technique." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670312.

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Books on the topic "Dramatic techniques"

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Saraiva, Luiz. Theatre workshop: Dramatic techniques. Ottawa, ON: Punch's Theatre L.S., 1988.

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Zuckerman, Jim. Pro secrets to dramatic digital photos. New York: Lark Books, 2010.

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Zuckerman, Jim. Pro secrets to dramatic digital photos. New York: Lark photography Books, 2010.

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Scheppach, Margaret A. Dramatic parallels in Michael Tippett's operas: Analytical essays on the musico-dramatic techniques. Lewiston, N.Y., USA: E. Mellen Press, 1990.

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Digital photographer's guide to dramatic Photoshop effects. New York: Pixiq, 2012.

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Michael, Maynard, ed. Dramatic success!: Theatre techniques to transform and inspire your working life. Yarmouth, Me: Nicholas Brealey Pub., 2004.

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Brystan, Lori. High impact portrait photography: Creative techniques for dramatic, fashion-inspired portraits. Buffalo, N.Y: Amherst Media, 2002.

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Rosenthal, Maxine. One-block wonders cubed!: Dramatic designs, new techniques, 10 quilt projects. Lafayette, CA: C&T Pub., 2010.

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Frey, James N. How to write a damn good novel, 2: Advanced techniques for dramatic storytelling. New York: St. Martin's Press, 1994.

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Meehan, Joseph. Capturing mood, ambience & dramatic effects: The dynamic language of digital photography. New York: Lark Books, 2009.

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Book chapters on the topic "Dramatic techniques"

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Barber, Charles. "Dramatic Techniques." In Richard II by William Shakespeare, 64–80. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08700-6_4.

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Kimber, Gerri. "Dramatic Techniques." In Katherine Mansfield and the Art of the Short Story, 14–21. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137483881_4.

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Wine, Martin. "Dramatic Techniques." In Antony and Cleopatra by William Shakespeare, 64–76. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-09080-8_4.

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Williams, Gordon. "Dramatic Techniques." In Coriolanus by William Shakespeare, 61–74. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-09212-3_5.

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Draper, R. P. "Dramatic Techniques." In Twelfth Night by William Shakespeare, 45–63. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-07385-6_4.

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Elloway, David. "Dramatic Techniques." In Macbeth by William Shakespeare, 61–68. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-07387-0_4.

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Elloway, David. "Dramatic Techniques." In Julius Caesar by William Shakespeare, 67–74. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08215-5_4.

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Levy, Shimon. "Dramatic Practices and Theatrical Technique." In Samuel Beckett’s Self-Referential Drama, 15–57. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-10969-2_2.

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Souiller, Didier. "Calderòn’s Dramatic Technique: The Orchestration of the Arts, from Drama to Opera." In The Orchestration of the Arts — A Creative Symbiosis of Existential Powers, 75–87. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-3411-0_6.

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Berger, Arthur Asa. "Comic Techniques in Dramatic Comedies." In The Art of Comedy Writing, 1–49. Routledge, 2017. http://dx.doi.org/10.4324/9781351305723-1.

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Conference papers on the topic "Dramatic techniques"

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Keyes, Edward, and Jason Abt. "An Advanced Integrated Circuit Analysis System." In ISTFA 2006. ASM International, 2006. http://dx.doi.org/10.31399/asm.cp.istfa2006p0398.

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Abstract Historically, the extraction of circuitry from an integrated circuit was normally within the abilities of the average FA laboratory and could be accomplished with little more than an optical microscope and film camera. Dramatic increases in the level of integration and number of metal interconnect levels coupled with shrinking feature sizes have rendered these techniques obsolete. This paper describes techniques and methods for the fast, semi-automated extraction of detailed circuit schematics from modern, nanometer scale integrated circuits.
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Ota, Kunio, Kenji Amano, Tadafumi Niizato, W. Russell Alexander, and Yoshiaki Yamanaka. "Development of Comprehensive Techniques for Coastal Site Characterisation: Part 1—Strategic Overview." In ASME 2010 13th International Conference on Environmental Remediation and Radioactive Waste Management. ASMEDC, 2010. http://dx.doi.org/10.1115/icem2010-40056.

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Any assessment of long-term repository safety will require development of a set of analyses and arguments to demonstrate the persistence of the key safety functions of the geological environment up to several hundred thousand years into the future. However, likely future global climatic and sea-level fluctuations and uplift/subsidence would result in a dramatic change in the location of the current coastline with a subsequent significant change to hydraulic and hydrochemical conditions at coastal sites. It is thus of great importance in the Japanese disposal programme to establish comprehensive techniques for coastal site characterisation. To this end, a systematic framework, which is known as a ‘Geosynthesis Data Flow Diagram’, has been formulated, which outlines a basic roadmap of the geosynthesis methodology for characterising temporal and spatial changes of various properties and processes at coastal sites, with particular focus on the palaeohydrogeology. A basic strategy for stepwise surface-based investigations has also been proposed, which incorporates the geosynthesis methodology in an effective manner. This technique has been introduced in an ongoing collaborative programme for characterising the coastal geological environment around Horonobe in northern Hokkaido, Japan, and now tested and optimised based on accumulated technical knowledge and experience during the progress of the investigations.
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Malek, Maciej. "К вопросу о видах драматургического перевода." In Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.12.

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The article brings arguments in favour of the ways of drama translation. Author analysed all available stage realisations of dramatic texts. On their example distinguished few ways of translation taking into account the translation techniques. Each of these ways was described and illustrated by relevant examples from world’s stages: Polish, Russian, Czech, Canadian etc. Author draw also attention to challenges faced by the translators.
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Gordnier, Raymond E., and Miguel R. Visbal. "High-Order Computational Techniques for Unsteady Vortical Flows Over Delta Wings." In ASME 2006 2nd Joint U.S.-European Fluids Engineering Summer Meeting Collocated With the 14th International Conference on Nuclear Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/fedsm2006-98559.

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A high-order computational method for the highly unsteady, complex vortical flows over delta wings is presented. A sixth-order compact difference scheme with an eighth-order low pass filter is used to solve the Navier-Stokes equations. Two approaches to turbulence modeling are investigated. The first scheme is an implicit LES (ILES) method which exploits the high-order accuracy of the compact difference scheme and uses the discriminating higher-order filter to regularize the flow. The second approach is a new hybrid RANS/ILES method which employs a standard k–ε model in regions where the grid resolution is unable to capture the turbulent behavior, and transitions to the ILES method in the vortical flow region where large scale turbulent structures are resolved. Computational simulations have been performed for a 50° sweep delta wing at 15° angle of attack and a moderate Reynolds number, Re = 2 × 106. Solutions employing the two turbulence models are evaluated on a baseline grid. A fine mesh computation has been performed for the ILES approach to investigate the impact of mesh resolution on this scheme. Computed results are also compared with the limited experimental measurements available. Computations exploring the control of the vortical flows above a swept delta wing by use of a dialectric-barrier-discharge actuator are also presented. With the actuator located near the apex, significant movement of the vortex breakdown location and a dramatic transformation of the shear-layer sub-structures are demonstrated.
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Linton Van Der Vyver, Glen, and Michael Lane. "Using the New Generation of IS Development Techniques in Effective Group Learning: A Pilot Study of a Team-Based Approach in an IT Course." In 2003 Informing Science + IT Education Conference. Informing Science Institute, 2003. http://dx.doi.org/10.28945/2715.

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Adaptive and fluid applications development methodologies such as Prototyping, RAD, FAD and Extreme Programming have emerged in recent years in response to organisational realities that include rapid change, uncertainty and ambiguity. These methodologies are well suited to the team-based approach that has become so important in the modern organisation. Yet, many educational programmes in the West still focus on individual learning and assessment. This paper reports on a pilot study where team-based methods are incorporated into a demanding undergraduate I.T. course. An attempt is also made to create a learning environment that incorporates elements of the ‘real world.’ It is established that a team-based approach, where there is a focus on interdependency and group learning, can lead to some dramatic improvements in the performance of IT students but a number of unexpected problems emerge.
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Eisenberg, David P., and Yoed Rabin. "The Effect of Synthetic Ice Blockers on Thermal Expansion of the Cryoprotective Cocktail DP6." In ASME 2011 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2011. http://dx.doi.org/10.1115/sbc2011-53208.

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Cryopreservation is the only alternative for long-term preservation of high-quality biomaterials, where the availability of reliable techniques for preservation of multicellular structures and organs represents an unmet medical need. Developing cryopreservation techniques revolves around controlling the formation of ice crystals, which is known to be lethal to living cells. Cryopreservation is typically achieved in the presence of cryoprotective agents (CPAs), which exhibit a dramatic increase in viscosity with decreasing temperature. Subject to high cooling rates, the rapidly elevating viscosity of the CPA suppresses ice crystallization and promotes vitrification (vitreous means glassy in Latin). Unfortunately, available CPAs are known to be toxic at the relevant concentrations which permit vitrification. One potential method of reducing CPA concentration, and thereby achieving conditions more favorable to the tissue, is with the introduction of the so-called synthetic ice blockers (SIBs)—the subject matter of the current study.
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Choi, Chang-Hwan, Joonwon Kim, and Chang-Jin Kim. "Nanoturf Surfaces for Reduction of Liquid Flow Drag in Microchannels." In ASME 2004 3rd Integrated Nanosystems Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/nano2004-46078.

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We report nano-engineered surfaces (NanoTurf), designed to make various micro- and nano-fluidic devices and systems less frictional for liquid flows, and describe microchannels made with such a surface. While our group has reported a dramatic (> 95%) drag reduction of discrete droplets flowing in a space between two parallel-plates covered with “random” nano-posts created by the “black silicon method” [1], this paper describes various nanofabrication techniques, including those capable of “designing” nanostructures with not only a good control of pattern sizes and periods but also practical manufacturability to be embedded in various micro- and nano-fluidic devices and systems. Microchannels are developed using the designed nanostructure surfaces and used for continuous flow tests.
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Akl, Sayed Y., and Ahmed A. Abdel-Rehim. "Condition Monitoring of a Single Cylinder Engine Running on Gasoline and Gasoline-Ethanol Blend Using Wear Particle Analysis Technique." In ASME 2013 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/imece2013-65910.

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Analytical techniques performed on oil samples for lubricated machines can be classified in two categories; used oil analysis and wear particle analysis. Used oil analysis determines the condition of the lubricant itself, determines the quality of the lubricant, and checks its suitability for continued use. Wear particle analysis determines the mechanical condition of machine components that are lubricated. Through wear particle analysis, you can identify the composition of the solid material present and evaluate particle type, size, concentration, distribution, and morphology, thus indicating the machine condition and its predictive maintenance. The above mentioned techniques are suitable methods for the detection of abnormal wear occurring in internal combustion engines, especially for engines running on different fuels. These techniques provide cheap, fast and easy to use predictive maintenance methods which can replace other conventional methods. The objective of the present study is to apply wear particle analysis technique as an engine monitoring technique to compare two new and identical engines running on gasoline (Engine 1) and gasoline-ethanol blend (Engine 2). The two engines were tested for a total running period of 850 hours. Spectrometric and ferrographic analysis were used for the comparison where quantitative and qualitative changes in the concentration and size distribution of different particles were analyzed and compared to baseline values. Results showed an increase of wear rate for the engine running on gasoline-ethanol blend compared to the engine running on gasoline only. Two contents of ethanol were used where 10% content showed a moderate increase of wear rate; however 20% content showed a dramatic increase of wear rate. The predominant wear particles were the ferrous particles and aluminum particles indicating the wear of piston elements and piston rings. Corrosive wear was also highly remarked which indicates a chemical reaction in the presence of ethanol.
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Rhee, Choong-Ho, Zhen Qiu, Jongsoo Choi, Thomas D. Wang, and Kenn R. Oldham. "Dynamics of Thin-Film Piezoelectric Vertical-Rotational Scanning Actuator." In ASME 2015 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/detc2015-47169.

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Certain advanced optical endomicroscopy techniques, including dual axes confocal and multi-photon microscopy, require the ability to perform a combination of large displacement axial and fast lateral scanning in a small form factor, to generate real-time vertical cross sectional images in vivo. Vertical translational microactuators with 200 μm or more of axial scanning range have been coupled with passive internal scanning mirrors achieving up to ±6° mechanical scanning angle, suitable for imaging applications. This paper examines the influence of nonlinearities associated with large axial stroke on actuator dynamics. Coupling of internal mirror platform resonance with lateral compliance of the axial scanning stage is found to produce dramatic variation in resonant frequency of the mirror at varying stage heights. Smaller non-idealities are identified in asymmetrical stage rotation and piezoelectric forcing.
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Kornegay, John, Daniel Depperschmidt, and Ajay K. Agrawal. "Passive Control of Thermo-Acoustic Instability in Different Length Combustors Using a High-Strength Metallic Porous Insert." In ASME Turbo Expo 2015: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/gt2015-43890.

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Although lean premixed combustion (LPM) is very clean and basically soot-free, it has one serious drawback, i.e., tendency to develop thermo-acoustic instabilities. These instabilities can be very violent, at the least causing unwanted noise and vibration, and in more serious cases, complete engine failure. Current research has shown methods to address such instabilities using passive and active mitigation techniques. In this study, thermo-acoustic instabilities in a swirl-stabilized LPM combustion system are mitigated using a high-strength metallic porous insert fabricated by a 3D additive manufacturing technique. Although the technique has been demonstrated in our previous studies, the present focus is to utilize a given porous insert geometry to mitigate thermo-acoustic instabilities in different length combustion chambers producing different resonant frequencies, to overcome the typical limitation of passive techniques. For each combustor length, experiments are conducted over a range of equivalence ratios and reactant flow rates. In all cases, porous insert was effective in significantly reducing the sound pressure level (SPL) at the frequency of the instability, with reductions of 20 dB and higher. Time-resolved particle image velocimetry (PIV) measurements are acquired to describe flow and turbulence fields in the combustor without and with porous insert. Proper orthogonal decomposition (POD) analysis is used to quantify the energy content of turbulent modes, and harmonic reconstruction is performed to illustrate the dramatic changes in the oscillatory flow field when the porous insert is used. The ability of the porous insert to adjust to different geometric and operating conditions of the combustor is a unique capability, inherent to its fundamental operating principle.
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Reports on the topic "Dramatic techniques"

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Karlstrom, Karl, Laura Crossey, Allyson Matthis, and Carl Bowman. Telling time at Grand Canyon National Park: 2020 update. National Park Service, April 2021. http://dx.doi.org/10.36967/nrr-2285173.

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Grand Canyon National Park is all about time and timescales. Time is the currency of our daily life, of history, and of biological evolution. Grand Canyon’s beauty has inspired explorers, artists, and poets. Behind it all, Grand Canyon’s geology and sense of timelessness are among its most prominent and important resources. Grand Canyon has an exceptionally complete and well-exposed rock record of Earth’s history. It is an ideal place to gain a sense of geologic (or deep) time. A visit to the South or North rims, a hike into the canyon of any length, or a trip through the 277-mile (446-km) length of Grand Canyon are awe-inspiring experiences for many reasons, and they often motivate us to look deeper to understand how our human timescales of hundreds and thousands of years overlap with Earth’s many timescales reaching back millions and billions of years. This report summarizes how geologists tell time at Grand Canyon, and the resultant “best” numeric ages for the canyon’s strata based on recent scientific research. By best, we mean the most accurate and precise ages available, given the dating techniques used, geologic constraints, the availability of datable material, and the fossil record of Grand Canyon rock units. This paper updates a previously-published compilation of best numeric ages (Mathis and Bowman 2005a; 2005b; 2007) to incorporate recent revisions in the canyon’s stratigraphic nomenclature and additional numeric age determinations published in the scientific literature. From bottom to top, Grand Canyon’s rocks can be ordered into three “sets” (or primary packages), each with an overarching story. The Vishnu Basement Rocks were once tens of miles deep as North America’s crust formed via collisions of volcanic island chains with the pre-existing continent between 1,840 and 1,375 million years ago. The Grand Canyon Supergroup contains evidence for early single-celled life and represents basins that record the assembly and breakup of an early supercontinent between 729 and 1,255 million years ago. The Layered Paleozoic Rocks encode stories, layer by layer, of dramatic geologic changes and the evolution of animal life during the Paleozoic Era (period of ancient life) between 270 and 530 million years ago. In addition to characterizing the ages and geology of the three sets of rocks, we provide numeric ages for all the groups and formations within each set. Nine tables list the best ages along with information on each unit’s tectonic or depositional environment, and specific information explaining why revisions were made to previously published numeric ages. Photographs, line drawings, and diagrams of the different rock formations are included, as well as an extensive glossary of geologic terms to help define important scientific concepts. The three sets of rocks are separated by rock contacts called unconformities formed during long periods of erosion. This report unravels the Great Unconformity, named by John Wesley Powell 150 years ago, and shows that it is made up of several distinct erosion surfaces. The Great Nonconformity is between the Vishnu Basement Rocks and the Grand Canyon Supergroup. The Great Angular Unconformity is between the Grand Canyon Supergroup and the Layered Paleozoic Rocks. Powell’s term, the Great Unconformity, is used for contacts where the Vishnu Basement Rocks are directly overlain by the Layered Paleozoic Rocks. The time missing at these and other unconformities within the sets is also summarized in this paper—a topic that can be as interesting as the time recorded. Our goal is to provide a single up-to-date reference that summarizes the main facets of when the rocks exposed in the canyon’s walls were formed and their geologic history. This authoritative and readable summary of the age of Grand Canyon rocks will hopefully be helpful to National Park Service staff including resource managers and park interpreters at many levels of geologic understandings...
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