Relevant bibliographies by topics / Dramatic writing

Contents

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

Academic literature on the topic 'Dramatic writing'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Dramatic writing"

1

Nielsen, Kirsten. "Is 6:1–8:18∗ as dramatic writing." Studia Theologica - Nordic Journal of Theology 40, no. 1 (1986): 1–16. http://dx.doi.org/10.1080/00393388608600039.

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Crochunis, Thomas C. "Women and Dramatic Writing in the British Romantic Era." Literature Compass 1, no. 1 (2004): **. http://dx.doi.org/10.1111/j.1741-4113.2004.00094.x.

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Sánchez, Rebecca M. "Performing School Failure: Using Verbatim Theatre to Explore School Grading Policies." LEARNing Landscapes 13, no. 1 (2020): 203–17. http://dx.doi.org/10.36510/learnland.v13i1.1015.

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This article describes how dramatic writing and performance practices can be used to reshape qualitative interview data into a verbatim theatre performance with the intent of drawing attention to social movements in education. The performance described in the article reveals the consequences of a punitive educational policy agenda and addresses the emotional toll school grading and other neoliberal policies have had on teachers at a school in the southwestern United States. A primary objective is to examine and explore how verbatim dramatic writing and performance tactics can amplify current issues and social dilemmas and evoke an emotional response in the absence of dramatic action. The methods of writing a script from qualitative data are presented for other scholars and educators who intend to create performances from data.
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Honeyford, Michelle A., and Wayne Serebrin. "Staging Teachers’ Stories: Performing Understandings of Writing and Teaching Writing." Language and Literacy 17, no. 3 (2015): 60. http://dx.doi.org/10.20360/g28w2p.

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In response to concerns about declining writing instruction in K-12 classrooms, this qualitative interview study draws on ethnodrama to better understand teachers’ experiences teaching writing in one Canadian province. Through dramaturgical coding of 21 transcripts, we examine teachers’ objectives, conflicts, and tactics in teaching writing, as well as the significant role of educators’ subjectivities as writers and writing teachers, the settings in which they work, the people who influence their thinking and practice, and their engagement in reflexive inquiry. Two dramatic vignettes explore these themes. We then discuss implications for creating a province-wide professional learning network in critical writing pedagogies.
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Wes Davis. "Writing in Sand: The Dramatic Art of Jack B. Yeats." Princeton University Library Chronicle 68, no. 1-2 (2007): 399. http://dx.doi.org/10.25290/prinunivlibrchro.68.1-2.0399.

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Parisse, Lydie. "Le théâtre intérieur de Maurice Maeterlinck dans La Mort de Tintagiles." Cahiers ERTA, no. 21 (2020): 83–97. http://dx.doi.org/10.4467/23538953ce.20.005.12026.

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Maeterlinck`s Innertheater in Tintagile`s death Tintagile’s death (1894) is an etape in the Maeterlinck’s work. This drama bears the strong imprint of a decisive évent in the life of the author : the discovery of the writings of the médieval Flemish mystic Ruysbroeck, of wich he became the translator from 1885 to 1888. The langage of mysti‐ cism allows a renowal of writing and dramatic aesthetics.
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Troha, Gašper. "can you hear me? by Simona Semenič and the question of no-longer-dramatic writing." Theatre and Community 9, no. 2021-1 (2021): 104–20. http://dx.doi.org/10.51937/amfiteater-2021-1/104-120.

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In the article, the author analyses three plays by Simona Semenič that were published in the book can you hear me? (2017). At first sight, the three pieces appear to be written in Semenič’s now-familiar writing style with no punctuation marks or upper-case initials and no apparent division between dialogues and stage directions. Content-wise, however, the three plays differ significantly from the bulk of the playwright’s opus as they represent autobiographical texts which once again establish the character and more or less distinct dramatic action. The article focuses on two questions: Are these still no-longer-dramatic texts? And, what is the status of representation and performativity in them? By analysing the formal and content properties of the three texts, more precisely, through an analysis of the drama character, the relationship between dialogue and monologue and dramatic action, the author shows that indeed these texts establish recognisable dramatic characters and relatively strong dramatic action. In this, they move away from no-longer- dramatic texts as defined by Gerda Poschmann, even though their legacy is still very much present, e.g., in the fragmented writing style.
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Varotsis, George. "The plot-algorithm for problem-solving in narrative and dramatic writing." New Writing 15, no. 3 (2017): 333–47. http://dx.doi.org/10.1080/14790726.2017.1374414.

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Irish, Bradley J. "Writing Woodstock: The Prehistory of Richard II and Shakespeare’s Dramatic Method." Renaissance Drama 41, no. 1/2 (2013): 131–49. http://dx.doi.org/10.1086/673905.

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Ingram, Claudia. "Writing the crises: The deployment of abjection in Ai's dramatic monologues." Lit: Literature Interpretation Theory 8, no. 2 (1997): 173–91. http://dx.doi.org/10.1080/10436929708580198.

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Dissertations / Theses on the topic "Dramatic writing"

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Bilodeau, Chantal. "DRAMATIC WRITING FOR TELEVISION: TWO TELEPLAYS." Ohio : Ohio University, 2002. http://www.ohiolink.edu/etd/view.cgi?ohiou1016640337.

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Marquez, Loren Loving. "Dramatic consequences integrating performance into the writing classroom /." Fort Worth, Tex. : Texas Christian University, 2007. http://etd.tcu.edu/etdfiles/available/etd-04232007-094655/unrestricted/marquez.pdf.

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Sözalan, Hürriyet Özden. "The representation of the female subject in contemporary women's dramatic writing." Thesis, University of Essex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310122.

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Milling, Jane Rebecca. "The performance and politics of seventeenth century women dramatists." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388603.

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Worvill, Romira. "'Seeing' speech : illusion and the transformation of dramatic writing in Diderot and Lessing." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270164.

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Gunter, Melody Celeste. "What the sun and moon saw : writing the body into the dramatic text." Thesis, University of Essex, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517179.

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Dunnagan, Karen Lee. "Seventh grade students' audience awareness in writing produced within and without the dramatic mode /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487684245466745.

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Mooney, Anne Marie. "'Non-normative' forms of female embodiment in Northern Irish women's dramatic writing and theatre practice." Thesis, Ulster University, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.694223.

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This study explores the nature of female embodiment within Northern Irish women's dramatic writing and theatre practice. I suggest that the prevalence of 'non-normative' forms of female embodiment within this repertory; by virtue of illness, aging, disability and sexual violation, both speaks too and challenges the traditional disembodiment that characterises female presence on the Northern Irish stage, and, woman's attendant reconfiguration as image or symbol. By foregrounding the female body, I argue that women playwrights and performers re-negotiate Northern Irish drama's preoccupation with nationalist, masculinist, and colonial explorations of identity, and, the cultural privilege afforded the 'literary' over an awareness of physicality, performativity and female subjectivity. My central thesis, therefore, is that by emphasizing the materiality of the female body, through the axis of embodied differentiation, women playwrights and theatre practitioners challenge the web of social discourses and cultural codas that repeatedly define 'woman' in relation to her body.
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Askew, Benjamin. "Motion in poetry : a psychophysical, action-based approach to the composition and analysis of metrical dramatic verse." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/10822/.

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Why do so few contemporary dramatists write in metrical verse? One of the chief criticisms levelled at modern verse drama has been that playwrights’ use of verse fails to cohere with contemporary notions of dramatic action. As action-playing is largely a matter of text in performance, this thesis assumes that the best way to meet this challenge is to approach it as much from the perspective of the actor as from that of the playwright, and presents a psychophysical, action-based approach to the composition and analysis of metrical dramatic verse. Verse rhythm is explored through the application of Rudolf Laban’s concepts of Motion Factors and Working Actions, and with reference to contemporary theories of cognitive poetics. The rhythms of metrical verse are thereby understood and experienced as purposeful movements of the human body which are, in turn, understood and experienced as the psychophysical sensations of dramatic action. This approach, given the title of the Verse Psychology Game, draws together three original concepts: 1. Creating and interpreting dramatic texts according to Stanislavskian notions of action is a game, with the playwright as ‘gamewright’ and the actors as players. 2. The Motion in Poetry Metaphor: a conceptual metaphor that builds on the principles of the Laban-Malmgren System of ‘movement psychology’, allowing verse rhythms to be understood and experienced as embodied sensations of psychophysical dramatic action. 3. Hyperactivity: an ‘intensified’ form of action-playing that operates beyond the limits of ‘naturalistic’ performance. This enables a ‘specialist game’ in which verse serves a hyperactive dramatic function. Within this framework, metrical dramatic verse can be created and interpreted on the basis of its performative potential. This is demonstrated through the development of a new methodology for metrical analysis, ‘actorly’ interpretations of Shakespearean dramatic verse, a series of training exercises that ‘sensitise’ the playwright to the performative potential of verse rhythm, and the creation of original material for a new verse play. This approach also aids actors, directors and teachers when making interpretative choices. The theories and techniques of the Verse Psychology Game are pedagogical tools that can contribute to broader programmes on dramatic writing and inform the methodologies of conservatoire actor-training.
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Player, Glen J. "An investigation into a dramatic writing toolset for the creation of a new work of drama." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16394/.

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In this exegesis I have attempted to formulate a primary toolset for dramatic writing that I can apply to create dramatic structure in plays, the chief example being my play Albatross (included herein). This toolset is contingent upon Aristotle's basic tenet of drama, that "tragedy is an imitation of an action" (2002: 10). This exegesis theorises that the work of modern writers on drama such as Spencer, Packard, Catron, Lamott, See, Hicks and many others, fundamentally accords with Aristotle on this point, such that the tools they espouse can collectively be considered a standard set for dramatic writing. Beyond this, my research has led me to believe that there is a primary subset of tools specific to creating dramatic structure. These tools, formulated from dramatic theory, best capture my own way of thinking about my writing practice. I divide them into two types: the first, tools of creation, comprise Theme and Values; Character and their Values; Characters and Action; Character Orchestration and Obstacles; and Event and Significant Change. The second, tools of evaluation, are Passivity; Stakes; and Premise. Together these eight tools have been responsible for creating dramatic structure in the play, Albatross.
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Books on the topic "Dramatic writing"

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Writing dramatic nonfiction. P.S. Eriksson, 2000.

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Bahr, Robert. Dramatic technique in fiction. Factor Press, 1998.

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Rick, Davis, ed. Writing about theatre. Allyn and Bacon, 1999.

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TV scriptwriter's handbook: Dramatic writing for television and film. Silman-James Press, 1992.

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Suzanne, Hudson, ed. Writing about theatre and drama. 2nd ed. Thomson, Wadsworth, 2006.

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Enter the dialogue: A dramatic approach to critical thinking & writing. Wadsworth Pub. Co., 1985.

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Auden, W. H. The English Auden: Poems, essays and dramatic writing, 1927-1939. Faber, 1986.

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The soul of screenwriting: On writing, dramatic truth, and knowing yourself. Continuum, 2008.

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Ark, Laurine. Writing from the exterior dramatic perspective: A new vision for literature. Fort Tryon Press, 1996.

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The founding: A dramatic account of the writing of the Constitution. Linden Press/Simon and Schuster, 1987.

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Book chapters on the topic "Dramatic writing"

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Schultz, Marianne. "Dramatic Writing." In Teaching Drama in the Classroom. SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-537-6_41.

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Tucker, Herbert F. "Dramatic Monologue." In The Palgrave Encyclopedia of Victorian Women's Writing. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02721-6_84-1.

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Cannan, Paul D. "Introduction: On Writing the History of Early English Criticism." In The Emergence of Dramatic Criticism in England. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-03717-6_1.

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Goldy, Charlotte Newman. "Muriel, a Jew of Oxford: Using the Dramatic to Understand the Mundane in Anglo-Norman Towns." In Writing Medieval Women's Lives. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137074706_13.

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Crespy, David A. "Dreamwork for Dramatic Writing: An Organic Approach to Magic and Theatricality." In Creativity Theory and Action in Education. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78928-6_4.

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Hoek, Liorah. "Tools for Shaping Stories? Visual Plot Models in a Sample of Anglo-American Advice Handbooks." In New Directions in Book History. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_7.

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AbstractThis chapter examines the “storyology” in writing manuals, focusing on the verbal and the visual plot models in a corpus of sixteen mainstream creative writing handbooks on plot, novels, and screenplays, still in use today. We will focus on the prevalence of dramatic writing and the predominance of the “Mountain Model,” a model which combines earlier linear models, such as the “three-act structure,” “Field’s paradigm,” “Fichtean Curve,” “Freytag’s Pyramid,” and the polar model, built on the alternation of good and bad fortune, along with Joseph Campbell’s “Hero’s Journey.” The Mountain Model visualizes a concept of writing particularly suited for stories capable of being resolved within a limited time frame, combining the perspectives of protagonist and reader. While this model is usually presented as ideal and universal, changing the representation from a linear to a topographical model alters the kinds of plots which can be imagined.
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Ward, Ian. "The Great Dramatist." In Writing the Victorian Constitution. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96676-2_3.

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Vlitos, Paul. "“Your Successful Man of Letters Is Your Successful Tradesman”: Fiction and the Marketplace in British Author’s Guides of the Late Nineteenth and Early Twentieth Centuries." In New Directions in Book History. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_4.

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AbstractAs Christopher Hilliard has noted, the 1890s and 1900s saw in Britain the development of a flourishing “literary advice industry” of which the “first goods were guidebooks” (Hilliard in To Exercise Our Talents: The Democratization of Writing in Britain. Harvard University Press, London and Cambridge, MA, 2006, p. 20). Examples include Arnold Bennett’s How to Become an Author (1903), Walter Besant’s The Pen and the Book (1899), E. H. Lacon Watson’s Hints to Young Authors (1902), and Leopold Wagner’s How to Publish a Book (1898). As this chapter will explore, these authors’ guides mix technical advice on the rules of fiction with practical advice on the workings of the publishing industry and the financial side of authorship—and in so doing, I shall argue, both reflect and help contribute to dramatic changes in public understandings of the nature of authorship and the relationship between the writer and marketplace.
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Kirchhelle, Claas. "Becoming an Activist: Ruth Harrison’s Turn to Animal Welfare." In Palgrave Studies in the History of Social Movements. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-62792-8_3.

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AbstractThis chapter focuses on Harrison’s life prior to writing Animal Machines. Together with her siblings, Harrison was brought up in close contact to Britain’s cultural elite. After attending schools in London, Harrison commenced her university studies in 1939. The outbreak of war had a transformative impact on her life. Harrison was evacuated to Cambridge where she likely came into contact with ethologist William Homan Thorpe. She converted to Quakerism and subsequently enrolled in the Friends’ Ambulance Unit. The Quaker principles of non-violence, humanitarianism, and bearing witness to injustice would serve as important reference points throughout Harrison’s campaigning. After the war, she completed her studies in the dramatic arts but abandoned a potential career as a theatre producer. In 1954, she married architect Dexter Harrison. Similar to many Quakers, Harrison’s humanitarian concerns motivated her to become involved in the Campaign for Nuclear Disarmament and protest perceived technological, moral, and environmental threats to society.
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Cooke, Virginia, Simon Trussler, and Malcolm Page. "Non-Dramatic Writing." In Beckett On File. Routledge, 2021. http://dx.doi.org/10.4324/9781003158981-3.

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Conference papers on the topic "Dramatic writing"

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Сидуллина, Светлана Анатольевна. "ANALYSIS OF LEARNING RESULTS IN THE FACE OF A DRAMATIC SHIFT TO «DISTANT»." In Образование. Культура. Общество: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Апрель 2021). Crossref, 2021. http://dx.doi.org/10.37539/ecs296.2021.50.86.007.

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COVID-19 перевернул жизнь с ног на голову. Студенты были так же дезориентированы, как и преподаватели. Они никогда не сталкивались ни с чем подобным. Студенты воспринимали дистанционное обучение как возможность не посещать университет, как веселое времяпрепровождение, как каникулы, а вовсе не как многочасовое написание письменных работ, рефератов и отсутствие возможности встречаться с друзьями. COVID-19 turned life upside down. The students were as disoriented as the teachers. They've never come across anything like this. Students perceived distance learning as an opportunity not to attend university, as a fun pastime, as a vacation, and not as an hour-long writing of written works, abstracts and the inability to meet friends.
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Silverman, S., R. Aucoin, J. Mallatt, and D. Ehrlich. "Laser Microchemical Technology: New Tools for Flip-Chip Debug and Failure Analysis." In ISTFA 1997. ASM International, 1997. http://dx.doi.org/10.31399/asm.cp.istfa1997p0211.

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Abstract Laser microchemical (LMC) technology has become an important element of the FIA and debug tool set by supplying key steps not well addressed by previous tools. In this paper we report the optimization of the LMC technology to solve key issues for flip chip FIA. Specific processes have been developed for localized thinning of flip chips, in order to enable access of conventional FIA tools. Additional applications include dramatic enhancement of focused ion beam (FIB) rework and 3-D micromachining for prototyping, in-situ trimming, and mastering of microelectromechanical systems (MEMS). Laser etching of silicon is with a high pressure chlorine assist and is l000X the rate of the fastest focused ion beam methods. In contrast to grinding methods, the process introduces no process stress or contamination and retains an average surface roughness of several hundred angstroms. Micronthickness metal lines are laid down in a one-step vapor phase deposition at 200 μm/s writing speed. Rapid deposition combined with the superior quality of the laser interconnect, translates into writing with a conductance per unit writing time of 1000 to 10,000 times the rate of a focused ion beam.
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Li, Xin, Linda Schmidt, Weidong He, Lixing Li, and Yuanmei Qian. "Transformation of an EGT Grammar: New Grammar, New Designs." In ASME 2001 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2001. http://dx.doi.org/10.1115/detc2001/dtm-21716.

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Abstract Grammars generate design options through the application of predefined rules that transform collections of symbols into more meaningful expressions. Research on the nature of grammars tells us that writing the rules is where the fundamental design activity occurs. Using the grammar rules allows us to explicitly articulate one design at a time. We can exploit the design power of grammars further by modifying a grammar to describe new languages of designs. Here we examine an existing grammar to demonstrate how modifying its rule base to relax an assumption can expand the space of solutions it generates significantly. We show that investing our design attention on the grammar itself can yield dramatic results.
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Zeng, Qinghua, and Fu-Ying Huang. "Friction Effect on Loading Process and Multiple Stable Flying States of Air Bearing Sliders." In World Tribology Congress III. ASMEDC, 2005. http://dx.doi.org/10.1115/wtc2005-64313.

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One reason to use load/unload (L/UL) technology in hard disk drives is to avoid friction and stiction between sliders and disks during a start and stop process. However, friction between sliders and disks can still exist and has a strong effect on loading because sliders may contact disks during loading. In this paper, a new simplified friction model was proposed and implemented into the L/UL simulation code. Then, we studies two cases: A 10000 rpm server drive and A 1.0 inch Microdrive. It was found that the friction effect is smaller in the server drive case, while it is dramatic in the Microdrive case. Simulation with the proposed friction model shows that sliders will load to the third stable state if PSA is negative and the friction is big enough. In the third stable state, the slider has a negative pitch angle, and its leading edge continuously drags on the disk. In this state, we cannot do any reading/writing, and disks and sliders can be damaged.
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