Relevant bibliographies by topics / Dramatists, biography

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Academic literature on the topic 'Dramatists, biography'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Dramatists, biography"

1

Bergeron, David M. "Ben Jonson's Patron, Esmé Stuart." Ben Jonson Journal 31, no. 1 (May 2024): 1–29. http://dx.doi.org/10.3366/bjj.2024.0359.

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The entry for Esmé Stuart, brother of Ludovic, Duke of Lennox, in the Oxford Dictionary of National Biography occupies a mere two paragraphs. But who was this person who served James I from 1603 until his death in 1624? This article argues for Esmé's importance and produces evidence to support the claim, beginning with his becoming a Gentleman of the Bedchamber and member of the Privy Council in 1603. Later that year the king granted Esmé a license to export 6,000 tons of “double beer.” This marks just the beginning of the king's exceptional largesse. More grants and privileges flowed Esmé's way, including the title of Earl of March in 1619. Esmé's involvement with the arts, especially drama, has largely been ignored; but he served as patron, performer, and protector of dramatists. He formed his own acting company, he danced in court masques, and he helped dramatists get out of prison. Esmé had a special relationship with Ben Jonson. For five years Jonson even lived in Esmé's household in Blackfriars. He gratefully acknowledged such generosity, claiming in Epigram 127 that Esmé had given him “new life.” In poetry and in the dedication to Sejanus (1616), Jonson cited Esmé's influence and hospitality. This article creates the first full portrait of Esmé: his personal and court life and his interest and participation in the theater.
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O'Brien, Richard. "“Put not / Beyond the sphere of your activity”: The Fictional Afterlives of Ben Jonson." Ben Jonson Journal 23, no. 2 (November 2016): 169–91. http://dx.doi.org/10.3366/bjj.2016.0163.

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This article investigates the cultural assumptions which underpin five twentieth and twenty-first century fictional depictions of Ben Jonson. Despite the wealth of documentary evidence for Jonson's dramatic and fractious biography, its particular richness has rarely captured the imagination of contemporary authors. To account for the much-reduced presence Jonson occupies in the ongoing fictionalization of the English Renaissance, the author outlines the development of a pseudo-biographical narrative of Jonson's life which evolved over the eighteenth and nineteenth centuries in relation to the emerging narrative of Shakespeare's. Jonson came to be presented as pedantic, ponderous, and ultimately outclassed by the dramatist who was his main contemporary rival, whose early reputation he was instrumental in creating. Furthermore, this gradual diminution of Jonson's own complexities was directly linked to his success within his lifetime. Outliving Shakespeare and offering an alternative model for theatrical achievement, Jonson presented a threat which had to be neutralized in the service of a protective impulse towards Shakespeare's reputation as a unique genius. The article offers some early instances of semi-fictional anecdotes about Jonson and Shakespeare which present the two dramatists as interchangeable subjects. It then assesses at length more recent Jonson-characters in Brahms and Simon's No Bed for Bacon, Roland Emmerich's Anonymous, Edward Bond's Bingo, Rudyard Kipling's “Proofs of Holy Writ”, and Jude Morgan's The Secret Life of William Shakespeare in the light of the historical reframing of Jonson's life and temperament. Finally, it makes the case for Jonson's story as one particularly suited to our current cultural landscape.
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Ruiz Garcia, Raquel. "Sense of place in Zöe Akins's Daddy’s Gone A-Hunting." Recherches anglaises et nord-américaines 36, no. 3 (2003): 71–76. http://dx.doi.org/10.3406/ranam.2003.1706.

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The aim of our paper is to analyse the treatment given by Zöe Akins (1886-1958), an American playwright from Humansville, Missouri, of the urban setting of New York in the second decade of the twentieth century in the play mentioned above. Akins, who follows a common pattern among successful American dramatists in her time, presents in Daddy’s Gone A-Hunting (1923) a plot that is perfectly integrated in New York area. The Fields progression from a low middle class settlement in Harlem to other scenes of the city informs the development of family life towards désintégration. Akins, whose biography links her to New York as a successful distinction presents in Daddy’s Gone A-Hunting (1923) a serious drama in which characters are very much influenced by New York’s cosmopolitanism that turns out to be a divisive element within the play, as Julien Fields pursues at all costs an artistic career. In our presentation we will explore this linkage between characters and setting within the context of Zöe Akins’ production and American Drama in the 1920’s.
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4

Vysotska, Natalia. "Playing Upon Biographical Myths: William Shakespeare and Lesia Ukrainka as Characters in Contemporary Drama." Kyiv-Mohyla Humanities Journal, no. 8 (December 24, 2021): 103–19. http://dx.doi.org/10.18523/kmhj249192.2021-8.103-119.

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The article sets out to explore two plays by contemporary playwrights, one American (Don Nigro, Loves Labours Wonne), the other Ukrainian (Neda Nezhdana, And Still I will Betray You), focusing on William Shakespeare and Lesia Ukrainka, respectively, within the framework of “the author as character” subgenre of fictional (imaginative) biography. Accordingly, the article considers the correlation between the factual and the fi ctional as one of its foci of attention. Drawing upon a variety of theoretical approaches (Paul Franssen, Ton Hoenselaars, Ira Nadel, Aleid Fokkema, Michael MacKeon, Ina Shabert and others), the article summarizes the principal characteristics of “the author as character” subgenre and proceeds to discuss how they operate in the dramas under scrutiny. The analysis makes it abundantly clear that in Nigro’s and Nezhdana’s plays the balance between fact and fi ction is defi nitively tipped in favor of the latter. By centering their (quasi) biographical plays on highly mythologized artists of national standing, both dramatists aimed at demythologizing these cult fi gures, inevitably placing them, however, within new mythical plots combining a Neo-Romantic vision of the artist as demiurge, with a Neo-Baroque as well as fin de siècle apology of death and a postmodern denial of one objective reality.
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Vince, Ronald. "Jacobean and Caroline Dramatists, Vol. 58 of Dictionary of Literary Biography. Edited by Fredson Bowers. Detroit: Gale Research Company, 1987. Pp. xxii + 370. $92." Theatre Research International 13, no. 3 (1988): 276–79. http://dx.doi.org/10.1017/s0307883300005848.

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6

Bigsby, C. W. E. "Ruby Cohn, New American Dramatists: 1960–1980 (London: Macmillan Modern Dramatists series, 1985, $7.95 paper). Pp. 186. ISBN 0 333 28914 5. - Theodore Shank, American Alternative Theatre (London: Macmillan Modern Dramatists series, 1985, $7.95 paper). Pp. 202. ISBN 0 333 28883 1. - Thadious M. Davis and Trudier Harris, eds., Afro-American Writers After 1955: Dramatists and Prose Writers. Dictionary of Literary Biography, Vol. 38 (Detroit: Gale Research Company, 1985, $85.00). Pp. 390 ISBN 0 8103 1716 8." Journal of American Studies 20, no. 1 (April 1986): 127–29. http://dx.doi.org/10.1017/s0021875800016558.

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7

Fortier, Frances, Caroline Dupont, and Robin Servant. "Quand la biographie se « dramatise »." Dossier 30, no. 2 (August 30, 2005): 79–104. http://dx.doi.org/10.7202/011245ar.

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Résumé Les six pièces retenues pour cet article mettent en scène des figures d’écrivains montrées sous divers angles biographiques : Gustave Flaubert, Emily Dickinson, Laure Conan, Léon Tolstoï, Jean-Paul Sartre et Eugene O’Neill y deviennent des personnages qui rejouent un aspect ou l’autre de leur vie et de leur oeuvre. Sollicitant à la fois le factuel et l’imaginaire, ces productions déploient le matériau biographique à la faveur de transpositions stylistiques, génériques, temporelles, géographiques qui, loin de reconduire le mythe, convient plutôt à sa relecture. Si les tonalités peuvent varier — de la poétisation à la parodie, de la fantaisie à l’appropriation autobiographique, du festif au tragique —, la forme théâtrale est toujours garante d’une actualisation, et c’est là sa spécificité en regard d’autres biographies littéraires, qui donne à voir, au présent, la réalité et son interprétation.
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Denzin, Norman K. "Ishi and the Wood Ducks, Part 2, or Ishi, the “Urban” Indian1." Cultural Studies ↔ Critical Methodologies 19, no. 4 (August 2, 2018): 305–19. http://dx.doi.org/10.1177/1532708618787470.

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“Ishi and the Wood Ducks, Part 2, or Ishi, The ‘Urban’” Indian” is the first play in a five-play cycle, which dramatizes the events surrounding the life and death of a tribal man named Ishi who was immortalized in Theodora Kroeber’s (1961/1989) best-selling Ishi in Two Worlds: A Biography of the Last Wild Indian in North America.
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Iftimie, Ana-Maria. "No Cultural Icon, Just a Man: Representing Shakespeare in Kenneth Branagh’s Biopic "All Is True" (2018)." Linguaculture 12, no. 1 (June 15, 2021): 102–16. http://dx.doi.org/10.47743/lincu-2021-1-0190.

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While mainly addressing the masses and the simpler tastes of his time, Shakespeare’s plays have long been considered emblematic for high culture, which calls into question whether their author should still be regarded as representative for the elites or whether his life and personality should be demystified and brought back to the people. An attempt in this respect, showcased by this paper, seems to be Kenneth Branagh’s biopic All Is True (2018), which portrays Shakespeare as an ordinary man rather than as an illustrious playwright, allowing the public to see the human being behind his almost god-like façade. The film, however, reasserts the Renaissance dramatist’s position as the greatest poet and playwright by interrogating some of the most persistent theories on his biography and authorship.
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Lazirko, Nataliia. "GEORGE KAISER’S WRITING IN THE RECEPTION OF YURI KLEN." Polish Studies of Kyiv, no. 35 (2019): 201–6. http://dx.doi.org/10.17721/psk.2019.35.201-206.

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The given article deals with Klen’s research of the German dramatist George Kaiser. The main parameters of artistic universe of this author are presented in the article. There are also outlined the methodological strategies of research the German dramatist’s creativity by Yuri Klen – a well-known Ukrainian literary critic. Georg Kaiser is one of the brightest representatives of theatrical and literary expressionism. His plays are the unique phenomenon in the 20th century drama. His expressionism appeared to be the special one and the global and scope of plots allowed scientists to call G. Kaiser a «new myth creator». Among world scientists, who comprehended the features of author manner of this sign artist for history of world drama, a main place belongs to the Ukrainian literary critic – Yuri Klen. In his scientific work there is the article «George Kaiser», which an author compositionally divides into seven parts. Its pre-condition is an original metaphorical lineation (vivid registration of which is adopted from astronomy), structural-semiotics assertion that every writer creation has a basic idea or favourite main image, that can be found in many writings of the author. However, in the Ukrainian literary critic’s opinion, it is not impossible to say it on the first sight about George of Kaiser because every work of this author has a new incarnate idea, new and unexpected development of a plot, new and original interpretation of that problem which has been solved in his previous works. In the article “George Kaiser” by Yuri Klen the biographic approach can be highlighted while analyzing creative works of the German dramatist. The Ukrainian literary critic also outlines the secrets of psychology of the German artist creation in expressionism manner. Expressionism drama is always drama of ideas; therefore acting persons of this drama are not individuals, but types which helps writer to lead the general action of the characters. Yuri Klen asserts transformation of images in dramas by George of Kaiser, their original reduction up to separate characters and allegories: his characters lost the outlines of people and become symbols of idea, super individual creatures, typical samples, and logic of acting can be sacrificed for the sake of the higher logic – logic of composition and dramatic construction. Few times a researcher accents on closeness an artistic world view of the German dramatist to cubism: characters mainly don’t have the names, but appear on the stage under the names: a «father», «multimillionaire», «black», «yellow» – they are structural formulas. Summarizing these the structural-semiotics searches, Yuri Klen marks once again that in George Kayiser’s works can be found: 1) central idea of man renewing which is peculiar for all his creative work; 2) leading motive of escape-chasing and 3) element of contingency which manages events, that is a case-shove which suddenly gives dynamic of action and sets fire before a man as a distant lighthouse – dream about renewal. It is also possible to assert that researches of expressionism by some authors whose creation correlates with expressionism views demonstrates complete maturity of Yuri Klen to be a serious literary critic armed by the newest methodological approaches to study literature as theoretician and practician of literature studies.
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Dissertations / Theses on the topic "Dramatists, biography"

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LEMP, RICHARD WARREN. "MOLIERE AND MEDICINE: DISSECTING THE KALEIDOSCOPE (FRANCE)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183776.

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The subject of medicine in the works of Moliere has been traditionally treated as a matter of satire. While it is important to consider this view and while biographical approaches relating Moliere's personal illness to the content of his medical comedy are illuminating, this study proposes that a plurality of views offers a more complete picture. Such analysis discovers that Moliere's medical comedy is much more than satire, that it contains elements of black humor and even approaches the theater of cruelty in its treatment of sickness and death. The metaphor in this approach is in the perception of a composite image of this part of Moliere's theater, much like the pattern that a kaleidoscope discloses. As we may sort out the various elements that compose the kaleidoscopic impression--light and shadow, color, form, change of image through manipulation of the instrument--there is a similarity in the division of elements in Moliere's medical theater. Light and shadow correspond to the opposition of fact and fantasy in seventeenth-century French medicine and constitute the historical view of his work; color corresponds to the notion of Galenic humor theory and suggests that the comedy of character may be analyzed according to humoral temperaments; form corresponds to the language Moliere used in his medical plays; the change of image occurs in Moliere with the passage of time--his medical comedy being farcical at the beginning of his career and much darker towards the end of his life. The purpose of this approach is to identify these separate elements in order to better understand their function as an organic whole. For this reason, the notion of organic unity is also treated. In an effort to relate Moliere's theater to the present day, this study compares Moliere's work with Artaud's notion of the nature and function of theater, with the two meanings of semiology--sign theory and symptomatology, and using an archetypal approach, concludes with the suggestion that sexuality, death, and medicine form a hidden mythology in these plays.
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Books on the topic "Dramatists, biography"

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Fredson, Bowers, ed. Elizabethan dramatists. Detroit, Mich: Gale Research Co., 1987.

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2

Robert, Ferguson. Henrik Ibsen: A new biography. London: R. Cohen, 1996.

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Ule, Louis. Christopher Marlowe (1564-1607): A biography. New York: Carlton Press Corp., 1995.

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Kendall, Alan. David Garrick: A biography. London: Harrap, 1985.

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Kendall, Alan. David Garrick: A biography. New York: St. Martin's Press, 1985.

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1960-, Berney K. A., and Templeton N. G, eds. Contemporary American dramatists. London: St. James Press, 1994.

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Hoffman, James F. The ecstasy of resistance: A biography of George Ryga. Toronto: ECW Press, 1995.

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Kirkpatrick, D. L. Contemporary dramatists. Edited by Kirkpatrick D. L. 4th ed. London: St. James, 1988.

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Adam, Versényi, ed. Latin American dramatists. Detroit: Thomson Gale, 2005.

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Adam, Versényi, ed. Latin American dramatists. Detroit: Thomson Gale, 2004.

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Book chapters on the topic "Dramatists, biography"

1

"Dramatis Personae." In The "Yoga Sutra of Patanjali": A Biography, vii—xiv. Princeton: Princeton University Press, 2014. http://dx.doi.org/10.1515/9781400850051-001.

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Roberts, Neil. "Bert and Jessie, 1901–1909." In Sons and Lovers: The Biography of a Novel. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781942954187.003.0002.

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This chapter traces Lawrence’s family history and relationship with Jessie Chambers over the period 1901-1909, focussing on key episodes in the autobiographical background to the novel, especially the crisis in 1906 when he told Jessie that he did not love her as a man should love his wife, as well as Jessie’s importance as the first reader of Lawrence’s youthful writing. The chapter also traces Lawrence’s early writing career, focussing on his mentoring by Ford Madox Hueffer and early texts such as The White Peacock, ‘Odour of Chrysanthemums’ and the play A Collier’s Friday Night. The play, written before Lawrence began work on Sons and Lovers, dramatises a scene that was to be central to every surviving draft of the novel and can be considered the first draft of the ‘Strife in Love’ chapter. Lawrence’s struggle between notions of bourgeois literary taste and the expectation that he would be a writer of working-class fiction is also an important theme.
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Woodman, A. J. "Amateur Dramatics at the Court of Nero (Annals I 5. 48-74)." In Tacitus Reviewed, 190–217. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198152583.003.0011.

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Abstract The Pisonian conspiracy against Nero in AD 65 is described as ‘a dismal failure’ in the emperor’s most recent English biography, where the subject is assigned a mere two and a half pages.1 Similarly Suetonius and Dio provide only brief accounts. Yet Tacitus devotes to the conspiracy and its aftermath the last twenty-seven chapters of Annals 15: it is thus the longest single episode in the whole of the extant Annals3 and the longest by far in the later books.4 This is a striking discrepancy. Moreover, by making the start of his account coincide with the start of the narrative of the year 65, and by making the end of it coincide with the end of Book 15, Tacitus has given to the conspiracy a coherence and unity it did not possess in real life.
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Pfeiffer, Douglas S. "Epilogue: Biographism as Close Reading in Shakespeare’s Sonnet 76 (1609) and Machiavelli’s “Letter to Vettori” (1513)." In Authorial Personality and the Making of Renaissance Texts, 351–62. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198714163.003.0007.

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The practice of reading books for signs of their writers’ personalities found application well beyond its home territories of textual interpretation and paratextual author biography. The Epilogue examines two canonical literary works that, rather than equipping readers to engage with other texts and their authors, incorporate the notion of a life-works link into their own thematics. First, Machiavelli’s “Letter to Vettori” includes one of the era’s most intimate and yet fictionalizing accounts of the experience of reading; it presents books not to be like their authors but in effect to be the authors themselves. Second, the Epilogue shows how Shakespeare’s Sonnet 76, by depicting the speaker and his “fair friend” disagreeing about what, exactly, style has to do with the man, both dramatizes and, in doing so, invites the sort of speculation about the relationship of author to poet speaker that the 1609 Sonnets as a whole has long entertained.
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Garloff, Katja. "Toward the Present and the Future." In Mixed Feelings. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9781501704963.003.0008.

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This chapter shows that even Scholem's “Jews and Germans,” despite its explicit rejection of the past Jewish love for things German, relies on tropes of love to conjure the possibility of a future German-Jewish dialogue. Another famous German Jewish thinker, Hannah Arendt, is more outspoken in her valorization of love as a mode of sociopolitical intervention. In her biography of a Jewish salonnière of the Romantic era, Rahel Levin Varnhagen, Arendt affirms the love of the pariah as a form of solidarity that is rooted in shared experiences of marginalization. Finally, the chapter turns to the decade after the 1990 unification of Germany, when the theme of interreligious or intercultural love enjoyed much popularity both in mainstream feature films and in contemporary German Jewish writers. Barbara Honigmann, for instance, dramatizes failing Jewish-Gentile love affairs to show how memories of the Third Reich continue to disrupt German-Jewish relations in the present. But this is not a negation of love as a trope of interreligious or intercultural mediation. Love remains an important trope in Honigmann, one that allows her to imagine a new kind of German Jewish diaspora.
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Robertson, Fiona. "Walter Scott." In Literature of the Romantic Period, 221–45. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711209.003.0011.

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Abstract As the most prolific author of his day and the most influential novelist of the nineteenth century, Scott attracted extensive critical commentary for many decades. At the end of the Victorian period, however, his critical fortunes went into apparently irreversible decline. Their recent revival, stimulated by new developments in criticism and theory, has made Scott the focus of some of the most innovative and most illuminating scholarship in contemporary Romantic studies; and this revaluation has important implications for the study of the Romantic period as a whole. The range of Scott ‘s writing is in itself a challenge to narrower notions of Romanticism. He was prolific in all the major modern literary forms: famous first as a poet and ballad collector; a respected literary reviewer and editor; an influential supporter of Scottish theatre and a less influential dramatist; a letter-writer of very high quality and the keeper of one of literature ‘s greatest personal journals; a historian and biographer, most notably of Napoleon; the author of a highly successful series of historical works for children; and, most importantly of all, an innovative writer of historical fiction. The most central of marginalized figures, Scott requires critics to reconsider traditional configurations of the period and its characteristic literary modes.
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