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Relevant bibliographies by topics / Dramatists – Drama

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Academic literature on the topic 'Dramatists – Drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "Dramatists – Drama"

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Kardiansyah, M. Yuseano. "English Drama in the Late of Victorian Period (1880-1901): Realism in Drama Genre Revival." TEKNOSASTIK 15, no. 2 (October 18, 2019): 64. http://dx.doi.org/10.33365/ts.v15i2.100.

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A progressive growth in literature was seen significantly during Victorian period. These decades also saw an overdue revival of drama, in which the existence of drama was started to improve when entering late of Victorian period. Along with that situation, Thomas William Robertson (1829-1871) emerged as a popular drama writer at that time besides the coming of Henrik Ibsen’s works in 1880’s. However, Robertson’s popularity was defeated by other dramatists during late of Victorian period (1880-1901), drama writer like Oscar Wilde (1854-1900). Beside Wilde, there were several well known dramatists during late of Victorian period. Dramatists as Shaw, Jones, and Pinero were also influential toward the development of drama at that time. In the discussion of English drama development, role of late Victorian period’s dramatists was really important toward the development of modern drama. Their works and efforts really influenced the triumph of realism and development of drama after Victorian period ended. Therefore, the development of drama during late of Victorian period is discussed in this particular writing, due to the important roles of dramatist such as Wilde, Shaw, Pinero, and Jones. Here, their roles to the revival of English drama and the trend of realism in the history of English literature are very important.

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McDonald, Jan. "New Women in the New Drama." New Theatre Quarterly 6, no. 21 (February 1990): 31–42. http://dx.doi.org/10.1017/s0266464x0000395x.

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While considerable attention has been paid in recent years to the work of women dramatists during the wave of proto-feminist activity in the early years of the present century, the way in which women characters – whether created by male or female writers – were presented has been less adequately investigated. Here, Jan McDonald, Head of the Department of Theatre, Film, and Television Studies in the University of Glasgow, explores the work of well-known and largely-forgotten playwrights alike, discussing the ways in which the ‘new drama’ – the subject of Jan McDonald's recent book for the ‘Macmillan Modern Dramatists’ series – reflected the concerns of the ‘new woman’.

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Al-Joulan, Nayef Ali. "Political Christianity in Renaissance Drama." Advances in Language and Literary Studies 8, no. 4 (August 31, 2017): 65. http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.65.

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Examining the following selected Renaissance dramas: Marlowe’s The Jew of Malta (1585), Shakespeare’s The Merchant of Venice (1596), Massinger’s The Renegado (1624), Daborne’s A Christian Turn'd Turk (1612), and Goffe’s The Raging Turk (1656), this research investigates Renaissance dramatists' portrayal of biased Christian standpoints that govern the relation with the non-Christian to uncover whether that dramatization represents the playwrights' participation in validating those attitudes or their critique of politicizing the Christian faith, in both ways underscoring the existence of an ideological 'political faith' issue. It turns out that the period's plays may reveal that such stereotypes are only recruited to further and validate financial gain, political dominance and racial discrimination; that is, political Christianity. However, the playwrights' attitudes remain subject to their unrevealed intentions, and it is, therefore, left to the reader/audience to take sides. Tactically, the dramatists emerge ahead of the Christian and secular politicians of their time as they assume the safe side of impartiality.

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Adebayo, Mojisola, Valerie Mason-John, and Deirdre Osborne. "‘No Straight Answers’: Writing in the Margins, Finding Lost Heroes." New Theatre Quarterly 25, no. 1 (February 2009): 6–21. http://dx.doi.org/10.1017/s0266464x09000025.

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Mojisola Adebayo and Valerie Mason-John are two distinctive voices in contemporary writing and performance, representing an Afro-Queer diasporic heritage through the specific experience of being black, British, and lesbian. Creating continuities from contorted or erased histories (personal, social, and cultural), their drama demonstrates both Afro-centric and European theatrical influences, which in Mason-John's case is further consolidated in her polemic, poetry, and prose. Like Britain's most innovative and prominent contemporary black woman dramatist, debbie tucker green, they reach beyond local or national identity politics to represent universal themes and to centralize black women's experiences. With subject matter that includes royal families, the care system, racial cross-dressing, and global ecology, Adebayo and Mason-John have individually forged a unique aesthetic and perspective in work which links environmental degradation with social disenfranchisement and travels to the heart of whiteness along black-affirming imaginative routes. Deirdre Osborne is a lecturer in drama at Goldsmiths College, University of London, and has published essays on the work of black British dramatists and poets, including Kwame Kwei-Armah, Dona Daley, debbie tucker green, Lennie James, Lemn Sissay, SuAndi, and Roy Williams. She is the editor of Hidden Gems (London: Oberon Books, 2008), a collection of plays by black British dramatists.

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Garner, Stanton B. "History in the Year Two: Trevor Griffiths's Danton." New Theatre Quarterly 11, no. 44 (November 1995): 333–41. http://dx.doi.org/10.1017/s0266464x00009313.

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For British dramatists nurtured in and by the hopes for socialism which characterized the 'sixties and the 'seventies, the Thatcherite period – with the eclipse of a fatally flawed communist system as its international dimension – demanded not only new thinking, but at least the consideration of a new dramaturgy. Stanton B. Garner, Jr., here explores the ways in which one of the most consistently committed of contemporary writers, Trevor Griffiths, confronts in Hope in the Year Two, his play about the death of the French Revolutionary Danton, the dilemma not only of the revolutionary hero, but of the dramatist confronted with attacks upon the concept of history itself, whether from the gurus of post-modernism or of the New Right. Stanton B. Garner, Jr., teaches modern drama in the English Department at the University of Tennessee. He is the author of The Absent Voice: Narrative Comprehension in the Theater (1989) and Bodied Spaces: Phenomenology and Performance in Contemporary Drama (1994). His current research interests include post-Cold War British drama.

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Alabi, Oluwafemi Sunday. "An Exploration into the Satiric Significance of Abuse in Selected Nigerian Drama." Revista Alicantina de Estudios Ingleses, no. 35 (July 28, 2021): 143. http://dx.doi.org/10.14198/raei.2021.35.07.

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A general survey of the contemporary Nigerian theatre and drama reveals that several contemporary Nigerian dramatists have harnessed the art of abuse—invectives— as a device for conveying meanings in their works and achieving their satiric goals. These dramatists create characters that engage abuse to articulate the thematic concerns of their drama, accentuate the conflicts in them, and establish the socio-cultural and political setting of their drama. Although extant works on satiric plays have focused on the use of language, and other satiric devices such as grotesque, irony, burlesque, innuendo, sarcasm, among others (Adeoti 1994; Adenigbo & Alugbin 2020; Mireku-Gyimah 2013; Nyamekye & Debrah 2016), sufficient scholarly attention has not been given to the art of abuse as a trope in Nigerian drama. The article explores the artistic significance of abuse and its forms in selected works of two contemporary Nigerian dramatists: Femi Osofisan’s Altine’s Wrath (2002) and Ola Rotimi’s Who is a Patriot? (2006). These two plays are selected because they manifest ample deployment of the art of abuse and engage various sociopolitical issues. Hence, the article discusses how the art of abuse in these plays projects and addresses such sociopolitical realities as oppression, exploitation, resistance, self-interest versus national interest, and capitalism, among others. The article engages the principles of superiority theory of humour as espoused by Henri Bergson (2003) for textual analysis. It contends and concludes that abuse, as an inherent part of social and human interactions, has been an effective tool in satirising ills in individuals and society at large.

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Abdulmunem Azeez, Rasha. "Paula Vogel And The Modern American Female Playwrights." Journal of the College of languages, no. 44 (June 1, 2021): 46–71. http://dx.doi.org/10.36586/jcl.2.2021.0.44.0046.

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Reading and analyzing Paula Vogel’s plays, the readers can attest that she achieves success in drama or theater because she is passionate about theater. Vogel is a modern American playwright who won the 1998 Pulitzer Prize for drama. Her success and insight in playwriting or in adapting do not come all of a sudden; she is influenced by many writers. Vogel is influenced by many American dramatists, including Eugene O’ Neill, Arthur Miller, Tennessee Williams, and Edward Albee, and by other non-American writers, including August Strindberg, Anton Chekhove, and Bertolt Brecht. Certainly, there were female playwrights who wrote preeminent plays and they influence Vogel as well. Nevertheless, dramas by female writers, as a matter of fact, remain marginalized. This paper focuses on the influence of some female playwrights on Vogel.

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Fink, Howard. "CKUA: Radio Drama and Regional Theatre." Theatre Research in Canada 8, no. 2 (September 1987): 221–33. http://dx.doi.org/10.3138/tric.8.2.221.

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This article details the contributions made especially during the late twenties and thirties to the history of theatre in Alberta throughout the West, and to the nation as a whole by station CKUA of the University of Alberta. It pioneered the broadcasting of drama and theatre education programmes, offèred an opportunity for dramatists such as Gwen Pharis Ringwood and Elsie Park Gowan, aided the founding of the Banff Theatre School (now Banff School of Fine Arts), and allowed for the development of Alberta's indigenous theatre.

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Janjatovic, Violeta. "WHIGS AGAINST TORIES: THE DEVELOPMENT OF AMERICAN DRAMA." Folia linguistica et litteraria X, no. 32 (2020): 65–83. http://dx.doi.org/10.31902/fll.32.2020.4.

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The overwhelming sarcasm and the taunting satire are certainly the feelings that accompanied the American revolutionary period. Approaching both the struggle for independence and the American Revolution, it is discovered that the colonists' sense of laughing and ridiculousness became more pronounced and readier in recognizing the weakness of its enemy and presenting it to the world through the biting laughter of satires. Many satires of this character did not suddenly appear. Their appearance leads to a period many years before the outbreak of the War of Independence and the famous Bacon Rebellion in 1676. Nevertheless, what cannot be denied is that by the approach of 1776, dramatic creativity started its rapid development. Immediately after the first war blow, satires began to be published in nearly every newspaper in the American colonies. American dramatists took an active part in the struggle for independence. At first, the potential, and later, an inevitable revolution made dramatists from the ranks of patriots and loyalists define themselves, their opponents, and the nature of the conflict itself in a way that remains intriguing and powerful over two hundred years later

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Procházka, Martin. "Shakespeare and National Mythologizing in Czech Nineteenth Century Drama." Multicultural Shakespeare: Translation, Appropriation and Performance 13, no. 28 (April 22, 2016): 25–33. http://dx.doi.org/10.1515/mstap-2016-0003.

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The paper will discuss the ways in which Shakespeare’s tragedies (King Lear) and histories (1 and 2 Henry IV), translated in the period of the Czech cultural renaissance (known also as the Czech National Revival) at the end of the 18th and in the first half of the 19th century, challenge and transform the nationalist concept of history based on “primordialism” (Anthony Smith), deriving from an invented account of remote past (the forged Manuscripts of Dvur Kralove and Zelena Hora) and emphasizing its absolute value for the present and future of the Czech nation. While for nationalist leaders Shakespeare’s dramas served as models for “boldly painted heroic characters” of the Czech past, translators, dramatists and poets had to deal with the aspects of Shakespeare’s tragedies and histories which were disrupting the nationalist visions of the past and future. Contrasting the appropriations of King Lear and both parts of Henry IV in the translations and historical plays by the leading Czech dramatist Josef Kajetán Tyl (1808-1852) and the notebooks and dramatic fragments of the major romantic poet Karel Hynek Mácha (1810-1836), the paper will attempt to specify the role of Shakespeare in shaping the historical consciousness of emerging modern Czech culture.

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Dissertations / Theses on the topic "Dramatists – Drama"

1

James, Jeannine M. "A study of the life and work of Christopher Durang : laughing wild amidst severest woe /." Full text available online, 2008. http://www.lib.rowan.edu/find/theses.

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Godiwala, Dimple. "Breaking the bounds : British feminist dramatists writing in the mainstream since c. 1980." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367775.

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Croskell, Stuart. "Metastage : the study of the offstage as context in modern drama." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324070.

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Elaskary, Mohamed. "The image of Moors in the writings of four Elizabethan dramatists : Peele, Dekker, Heywood and Shakespeare." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/48033.

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The word ‘Moor’ is a loose term that was used in Medieval and Renaissance England to refer to the ‘Moors’, ‘blackmoors’, ‘Negroes’, ‘Indians’, ‘Mahometans’ or ‘Muslims’. All these terms were more often than not used interchangeably. This study is concerned with the Moor from North Africa. This study is divided chronologically into two phases. The first part deals with the plays that were written during the reign of Queen Elizabeth I while the second part examines the plays that were written during (and after) the rule of King James I. Queen Elizabeth I and King James I had opposite points of view when it came to the relationship between England and the Muslim world. Thus, while Queen Elizabeth was in closer alliance with the Moors and the Turks than the Spaniards and the French, King James I chose, only after a few months of being enthroned as the King of the English monarchy, to befriend the Spaniards rather than the Moors and the Turks. The plays discussed in this thesis will be viewed against the opposite policies adopted by Elizabeth I and James I concerning the relationship between England and the Muslim world. The idea of poetic verisimilitude will be given due importance throughout this study. In other words, I propose to answer the question: did the authors discussed in this thesis manage to represent their Moorish characters in an efficient and objective way or not? Warner G. Rice, Mohammed Fuad Sha’ban, Thoraya Obaid, Anthony Gerald Barthelemy and Gerry Brotton had written PhD dissertations on the image of Moors, Turks, or Persians, in English drama. This study, however, will focus on the image of North African Moors in Elizabethan drama. What I intend to do in this thesis is to relate each of the plays discussed to a context (political, historical, or religious) of its time. My argument here is that the tone and the motive behind writing all these plays was always political. For example, George Peele’s The Battle of Alcazar will be related to the historical and political givens of the 1580s, i.e., the familial strife for the throne of Marrakesh in Morocco, the Portuguese intervention in this Moorish-Moorish conflict and the friendly Moroccan-English relations. Thomas Dekker’s Lust’s Dominion will be viewed in the light of the Reconquista wars and the expulsion of the Moors from the Iberian Peninsula. Thomas Heywood’s The Fair Maid of the West will be seen in relation to the theme of conversion and Moorish piracy that were so vigorous in the 16th and 17th century. William Shakespeare’s Othello is unique and it represents what may be ranked as the earliest insights regarding the idea of tolerating the Moors and foreigners into Europe. The contribution this study aims to offer to the western reader is that it involves scrutinizing Arabic texts and contexts whenever available. Thus, Arabic sources concerning the historical accounts of the battle al-Kasr el-Kebir (the battle of Alcazar); the expulsion of Moors from Spain or Moorish and Turkish piracy are to be invoked. In the same vein, the reception of these plays in the Arab world is to be reviewed at the end of each chapter.

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Frost, C. M. "The problem of evil in Jacobean drama : Studies in the theological assumptions of select Jacobean dramatists." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372651.

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Dubé, Valérie. "Analyses microtextuelles de trois pièces d'Eugène Ionesco /." Chicoutimi : Trois-Rivières : Université du Québec à Chicoutimi ; Université du Québec à Trois-Rivières, 2005. http://dx.doi.org/doi:10.1522/24133279.

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Thèse (M.E.L.) - Université du Québec à Chicoutimi, 2005.
"Mémoire présenté à l'Université du Québec à Chicoutimi comme exigence partielle de la maîtrise en études littéraires offerte à l'Université du Québec à Chicoutimi en vertu d'un protocole d'entente avec l'Université du Québec à Trois-Rivières." Comprend des réf. bibliogr. : f. 109-115. Document électronique également accessible en format PDF.

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Thresher, Tanya. "Seductive strategies for female subjects : how contemporary Scandinavian women dramatists represent women on stage /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6587.

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McBain, James. "Early Tudor drama and legal culture, c. 1485-1558." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670056.

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Weitzenkamp, Mark Philip. "The influence of Barret H. Clark on American theatre /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/10224.

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Vieira, de Andrade Ana Lúcia. "Margen y centro : dramaturgia femenina Brasileña contemporánea." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38429.

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The aim of this thesis is to give an account of the position taken by certain women dramatists in the context of both box-office success and theatre criticism in Brazil in the latter half of the twentieth century in order to provide a panoramic view of the way the Brazilian theater canon reacts to the work of women authors, by either incorporating it or not, according to political and social circumstances. It is hoped then that a more comprehensive vision of these dramatists will result than that of the traditional academic criticism which either elevates by acceptance or dismisses by ignoring or playing down their work. The production of three dramatists will be analysed here, namely, those plays by Leilah Assuncao, Maria Adelaide Amaral and Isis Baiao which fall into the period 1969--1999, and which exemplify two key tendencies in the Brazilian theatre of the last thirty years. These tendencies are: first, the attempt to widen the traditional horizon of politicized theatre by adding to its socio-political concerns a focus on the individual and his/her particular agenda, and, secondly, the break with any specifically aesthetic or conceptual format on stage in a blurring of the legacies of tradition and the vanguard, in which a "hybridism" of form and language is particularly noticeable in the privileging of a kind of writing that is not bound by formal limits. Such an analysis has made it possible to highlight how determined types of reaction may be altered along the time when different interpretive parameters are used by the critical community and by the public. While a certain sympathy is shown here for the feminist reading of the ideological bases of the literary canon, this is done not only to corroborate the masculine bent of such a canon to the exclusion of the Other, but also to prove that the criteria regulating excellence are products of a specific ideology which changes according to its sociohistorical context. The ultimate goal here is, thus, to make

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Books on the topic "Dramatists – Drama"

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Greek drama and dramatists. London: Routledge, 2002.

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Sommerstein, Alan H. Greek drama and dramatists. New York: Routledge, 2002.

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Harold, Bloom. Dramatists and dramas. Philadelphia: Chelsea House, 2005.

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Harold, Bloom. Dramatists and dramas. New York: Checkmark Books, 2007.

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Etherton, Michael. Contemporary Irish dramatists. London: Macmillan, 1989.

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Etherton, Michael. Contemporary Irish dramatists. Basingstoke: Macmillan Education, 1989.

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Toft, Marie. Drama criticism. Edited by Gale Group. Detroit, Mich: Gale, 2011.

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Drama criticism. Detroit, Mich: Gale, 2013.

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Drama criticism. Detroit, Mich: Gale, 2012.

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Twentieth-century French dramatists. Detroit: Thomson Gale, 2005.

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Book chapters on the topic "Dramatists – Drama"

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Alimi, Nurayn Fola. "The Onye-Nka of African drama." In Nigerian Female Dramatists, 13–23. Names: Ademilua-Afolayan, Bosede, editor. Title: Nigerian female dramatists: expression, resistance, agency / edited by Bosede Funke Afolayan.Other titles: Global Africa. Description: Abingdon, Oxon; New York, NY: Routledge, 2021. | Series: Global Africa: Routledge, 2021. http://dx.doi.org/10.4324/9781003143833-1.

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Christian, Mary. "Wilde’s Personal Drama." In Marriage and Late-Victorian Dramatists, 45–79. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40639-4_3.

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Funke, Afolayan Bosede. "Postcolonial women's drama in Nigeria as cultural intervention." In Nigerian Female Dramatists, 64–75. Names: Ademilua-Afolayan, Bosede, editor. Title: Nigerian female dramatists: expression, resistance, agency / edited by Bosede Funke Afolayan.Other titles: Global Africa. Description: Abingdon, Oxon; New York, NY: Routledge, 2021. | Series: Global Africa: Routledge, 2021. http://dx.doi.org/10.4324/9781003143833-5.

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Bello, Saheed. "Se “Iya” ni'wo yi?: Questioning motherhood in Bosede Ademilua-Afolayan's drama." In Nigerian Female Dramatists, 155–66. Names: Ademilua-Afolayan, Bosede, editor. Title: Nigerian female dramatists: expression, resistance, agency / edited by Bosede Funke Afolayan.Other titles: Global Africa. Description: Abingdon, Oxon; New York, NY: Routledge, 2021. | Series: Global Africa: Routledge, 2021. http://dx.doi.org/10.4324/9781003143833-11.

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Bessai, Diane. "Women Dramatists: Sharon Pollock and Judith Thompson." In Post-Colonial English Drama, 97–117. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22436-4_7.

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Christian, Mary. "Doll and Director: Ibsen’s Old and New Drama." In Marriage and Late-Victorian Dramatists, 21–44. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40639-4_2.

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Christian, Mary. "A Woman’s Play: Elizabeth Robins and Suffrage Drama." In Marriage and Late-Victorian Dramatists, 161–98. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40639-4_7.

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Harris, Frank. "From Drama Critic to Dramatist: I." In Shaw, 90–93. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-05402-2_44.

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Gibbs, A. M. "From Drama Critic to Dramatist: II." In Shaw, 93–95. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-05402-2_45.

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Baker-White, Robert. "Other Others: Dramatis Animalia in Some Alternative American Drama." In Readings in Performance and Ecology, 33–41. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137011695_4.

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