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Journal articles on the topic 'Dramatists – Drama'
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1
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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Olaniyan, Modupe Elizabeth. "SYMBOLISM IN THE DRAMA OF JP CLARK AND FEMI OSOFISAN." Imbizo 5, no. 1 (June 23, 2017): 71–81. http://dx.doi.org/10.25159/2078-9785/2831.
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The interpretation of literary texts in African drama has become a hazardous task for many readers (especially non-African readers). It is often difficult to go beyond the superficial literal meanings of a text. Readers often take what characters say as what they mean and do and, unfortunately, most dramatists do not usually provide explanatory notes at the end of such texts to aid the readers’ understanding. Hence, the aim of this article is to embark on an analysis of the works of John Pepper Clark and Femi Osofisan (both Nigerian dramatists) to see how they have used symbolism in their plays The Raft and Another Raft respectively to convey meanings other than the surface textual meanings to the readers while trying to reflect the socio-political situation in Nigeria after independence. This will be discussed with a view to enlightening the readers on African dramatic texts about what symbols stand for in African drama, such that when reading African plays, readers will be in a position to appreciate and understand such texts better.
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Bednarz, James P. "The Actor as Playwright in Early Modern Drama. By Nora Johnson. Cambridge: Cambridge University Press, 2003; pp. 221. $60 cloth." Theatre Survey 45, no. 1 (May 2004): 151–53. http://dx.doi.org/10.1017/s0040557404380087.
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This book, which focuses on the manner in which four Renaissance actor-playwrights justify their practice as dramatists, is both stimulating and exasperating, since it is based on a splendid idea insufficiently realized. The central premise of Nora Johnson's study is her contention that recent scholarship has tended to overemphasize Ben Jonson's model of “sovereign” authorship to the exclusion of those early modern English dramatists who acknowledged the communal and collaborative sources of their labor.
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Vogel, Juliane. "Sonnenpartituren." Poetica 51, no. 1-2 (September 22, 2020): 148–69. http://dx.doi.org/10.30965/25890530-05101004.
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Abstract The article describes forms of solar orientation in dramas of German Naturalism. Starting from Ibsen’s Gengangere and Hauptmann’s Vor Sonnenaufgang, it claims that the crisis of drama is reflected in the ways in which the sun is related to the dramatic process and involved in dramatic finalization. By staging and addressing the sun, Naturalist dramatists discuss problems of temporal organization and energetical maintenance of a form in dissolution. In an array of dramas and in a densely woven network of intertextual references, they experiment with evocations of negative solarity. The modern sun is no longer a resource of meaning and source of life, it has turned into an indifferent, disenchanted and even hostile star that no longer addresses the human world.
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Mahfouz, Safi Mahmoud. "Tragedy in the Arab Theatre: the Neglected Genre." New Theatre Quarterly 27, no. 4 (November 2011): 368–85. http://dx.doi.org/10.1017/s0266464x11000686.
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In this article Safi Mahmoud Mahfouz investigates the current state of tragedy in the Arab theatre and suggests some of the reasons behind the lack of an authentic Arabic tragedy developed from the Aristotelian tradition. Through analyses of the few translations and adaptations into Arabic of Shakespearean and classical tragedy, he both confirms and questions the claims of non-Arabic scholars that ‘the Arab mind is incapable of producing tragedy’. While the wider theatre community has been introduced to a handful of the Arab world's most prominent dramatists in translation, many are still largely unknown and none has a claim to be a tragedian. Academic studies of Arabic tragedy are insubstantial, while tragedy, in the classical sense, plays a very minor role in Arab drama, the tendency of Arab dramatists being towards comedy or melodrama. Safi Mahmoud Mahfouz is Head of the Department of English Language and Literature at UNRWA University, Amman, Jordan. His research interests include American Literature, Arabic and Middle Eastern literatures, modern and contemporary drama, contemporary poetics, comparative literature, and synchronous and asynchronous instructional technology.
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Gordon, Joel. "Viewing Backwards: Egyptian Historical Television Dramas in the 1990s." Review of Middle East Studies 52, no. 1 (April 2018): 74–92. http://dx.doi.org/10.1017/rms.2018.5.
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AbstractThe 1990s marked an important moment in Egyptian television, when the country turned its attention increasingly (although never monolithically) toward historical drama as a means of recreating and reinterpreting modern Egyptian history. Mahfouz Abd al-Rahman and Osama Anwar Okasha, in particular, scripted long multi-year series aired during Ramadan, the peak season for television viewing, that covered decades of the late ninteenth century and pre-Nasserist history, in many ways re-writing public history, and making historical drama—and history—fashionable. I focus here on the former and his first mega-hitBawabat al-Halawani (Halawani Gate). Biographical dramas, initially of artists, but later politicians, kings, and religious leaders would follow. As the Egyptian industry atrophied in the following decade these dramatists passed the mantle on to the Syrians, later the Turks, who broke the Egyptian monopoly and brought their own stories to the fore. But a rebirth may be in view.
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Kirillova, I. Yu. "CHUVASH DRAMA ABOUT THE GREAT PATRIOTIC WAR." Bulletin of Udmurt University. Series History and Philology 31, no. 3 (July 13, 2021): 603–7. http://dx.doi.org/10.35634/2412-9534-2021-31-3-603-607.
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This article is devoted to the analysis of Chuvash plays dedicated to the Great Patriotic War; reveals the peculiarities of their poetics and problems, shows conflict situations that reveal heroic characters. The main attention is paid to the analysis of the plays by N. Aizman, N. Terentyev, M. Yuhma, A. Vasiliev, M. Belov, N. Sidorov, and others. They are united by the themes of courage, heroism, the feat of Soviet people on the battlefield and in the rear. Whereas in the early decades dramatists focused their attention directly on combat events, modern war plays are filled with deep moral content, their plots are distinguished by the sharpness of moral choices, revealing the moral and ethical aspects of the individual.
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Dyson, M. "Poetic Imitation in PlatoRepublic3." Antichthon 22 (1988): 42–53. http://dx.doi.org/10.1017/s0066477400003610.
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Towards the end of the first extended discussion of poetry in theRepublic, Socrates and Adeimantus formulate criteria for the admission of poets into their ideal state. Dramatists are clearly excluded, but the acceptable poet is enigmatically described, according to the usual translation, as ‘the unmixed imitator of the good man’ (, 397d), and as ‘one who will imitate for us the speech of the good man’ (, 398b). ‘Imitation’ has been earlier so defined that it applies to direct impersonation such as is found in drama and the speeches of epic, and accordingly it might seem that, as an imitator, he should be himself a dramatist. This however is ruled out by the run of the argument, which requires us to associate him with a style which contains but little impersonation (396e). On the other hand, if a non-dramatic poet is in view, it seems paradoxical to call him an imitator when imitation has been defined in the way that it has.
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Evans, Curtis J. "The Religious and Racial Meanings of The Green Pastures." Religion and American Culture: A Journal of Interpretation 18, no. 1 (2008): 59–93. http://dx.doi.org/10.1525/rac.2008.18.1.59.
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AbstractMarc Connelly's The Green Pastures play was one of the longest running dramas in Broadway history. Responses to the play by blacks and whites demonstrate its contested nature. Whites generally lauded the drama for its simplicity and its childlike depiction of black religion in the rural South. African Americans, though hopeful that its allblack cast would lead to more opportunities for blacks on stage, were divided between a general appreciation of the extraordinary display of talent by its actors and worries about the implications of a play that seemed to idealize the rural South as the natural environment of carefree overly religious blacks. Connelly's widely popular drama became a site of cultural debates about the significance of black migration to the urban North, the nature and importance of religion in black communities, and the place of blacks in the nation. Precisely when black social scientists were urging rural black Christians to abandon an otherworldly and emotional religion, white dramatists and literary artists were making more widely available what they saw as a picturesque and deeply rooted aspect of black folk culture.
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Nervegna, Sebastiana. "SOSITHEUS AND HIS ‘NEW’ SATYR PLAY." Classical Quarterly 69, no. 1 (May 2019): 202–13. http://dx.doi.org/10.1017/s0009838819000569.
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Active in Alexandria during the second half of the third century, Dioscorides is the author of some forty epigrams preserved in the Anthologia Palatina. Five of these epigrams are concerned with Greek playwrights: three dramatists of the archaic and classical periods, Thespis, Aeschylus and Sophocles, and two contemporary ones, Sositheus and Machon. Dioscorides conceived four epigrams as two pairs (Thespis and Aeschylus, Sophocles and Sositheus) clearly marked by verbal connections, and celebrates each playwright for his original contribution to the history of Greek drama. Thespis boasts to have discovered tragedy; Aeschylus to have elevated it. The twin epigrams devoted to Sophocles and Sositheus present Sophocles as refining the satyrs and Sositheus as making them, once again, primitive. Finally, Machon is singled out for his comedies as ‘worthy remnants of ancient art (τέχνης … ἀρχαίης)’. Dioscorides’ miniature history of Greek drama, which is interesting both for its debts to the ancient tradition surrounding classical playwrights and for the light it sheds on contemporary drama, clearly smacks of archaizing sympathies. They drive Dioscorides’ selection of authors and his treatment of contemporary dramatists: both Sositheus and Machon are praised for consciously looking back to the masters of the past. My focus is on Sositheus and his ‘new’ satyr-play. After discussing the relationship that Dioscorides establishes between Sophocles’ and Sositheus’ satyrs, and reviewing scholarly interpretations of Sositheus’ innovations, I will argue that Dioscorides speaks the language of New Music. His epigram celebrates Sositheus as rejecting New Music and its trends, and as composing satyr plays that were musically old fashioned and therefore reactionary.
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Syniavska, Lesia, Viktoriia Kolkutina, and Volodymyr Pohrebennyk. "Text-Transforms – the Communicative Paradigm Basis of a Literary Work." WISDOM 15, no. 2 (August 23, 2020): 56–67. http://dx.doi.org/10.24234/wisdom.v15i2.367.
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The article introduces and investigates the concept of a "text-transform" based on the novel and short-novel plots of the drama works of the Ukrainian dramatists of the late 19th – early 20th centuries. The text-transform is defined as a message by a different author, with a different structure, different code, composition, and fable, sometimes, with a different system of images. This research paper also looks at the different levels of transformations: dramatization, adaptation, and a based-upon play. The early 20th century sees actualization of the secondary communication strategy, when in the process of transformation of the narrative elements, dramatists exploit the strategy of preservation, shortening, expanding, and changing text blocks. It is determined by the theatre-specific process and pragmatic orientation on the stage manifestation. Meanwhile, expanding and changes are aimed to explicate and intensify the current and preserved relationships between the characters in the text-transforms.
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Day, Barbara. "Czech Theatre from the National Revival to the Present Day." New Theatre Quarterly 2, no. 7 (August 1986): 250–74. http://dx.doi.org/10.1017/s0266464x00002220.
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Our knowledge (or pervasive ignorance) of theatre in Czechoslovakia is. sadly, still shaped in part by its being perceived as a faraway country of which we know little – almost as little as when Chamberlain thus identified it at the time of Munich. But there is also the fact that its theatre has been distinguished less by the work of individual dramatists than through collective creation, through ‘small forms’ such as cabaret, and through scenography and other aspects of technical innovation. While fully analyzing such features of Czech theatre, Barbara Day relates them to the political and social conditions of a country in which various forms of repression and censorship have made it difficult for the all-too-identifiable dramatist to become spokesperson for a national theatre. Having herself lived in Czechoslovakia for several periods between 1965 and 1969, Barbara Day returned to the study of Czech theatre in 1980, when she read for a research degree at Bristol University, also collaborating with the University's drama department in staging a Czechoslovak Festival in Bristol during October 1985.
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Askarzadeh Torghabeh, Rajabali. "The Study of Revenge Tragedies and Their Roots." International Journal of Applied Linguistics and English Literature 7, no. 4 (July 1, 2018): 234. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.234.
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Tragedy has its roots in man’s life. Tragedies appeared all around the world in the stories of all nations. In western drama, it is written that tragedy first appeared in the literature of ancient Greek drama and later in Roman drama. This literary genre later moved into the sixteenth century and Elizabethan period that was called the golden age of drama. In this period, we can clearly see that this literary genre is divided into different kinds. This genre is later moved into seventeenth century. The writer of the article has benefited from a historical approach to study tragedy, tragedy writers and its different kinds in the Sixteenth and Seventeenth centuries. The author has also presented the chief features and characteristics of tragedies. The novelty of the article is the study of Spanish tragedy and its influences on revenge tragedies written by Shakespeare and other tragedy writers. Throughout the article, the author has also included some of the most important dramatists and tragedy writers of these periods including Thomas Kyd, William Shakespeare, John Marston, George Chapman, Tourneur and John Webster.
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O'Neil, Catherine. "Poets as Dramatists: Pushkin and Byron's Historical Drama Marino Faliero, Doge of Venice." Slavic and East European Journal 47, no. 4 (2003): 589. http://dx.doi.org/10.2307/3220247.
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Diamond, Catherine. "Dreaming our own Dreams: Singapore Monodrama and the Individual Talent." New Theatre Quarterly 24, no. 2 (May 2008): 170–88. http://dx.doi.org/10.1017/s0266464x08000146.
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For its size, Singapore hosts an exceptional amount of theatrical activity, emanating both from within the city state and from its role as sponsor of regional international workshops and productions. Its English-speaking dramatists are in the forefront of staging original plays about the foibles of Singaporean society and serving as mediators among South-east Asian theatre practitioners. While troupes depend on government funding and must obtain government permits to perform, most have opted to take an alternative position to the government's narrative of the Singapore success story. This has created an uneasy relationship that undermines the strength of the theatre's social-political critique and encourages self-censorship. In the following essay, Catherine Diamond examines the psychologically cramped conditions within which current Singaporean dramatists operate through a comparison of monodramas. Catherine Diamond is a professor of theatre at Soochow University in Taiwan, and a frequent contributor to NTQ. She is currently directing a flamenco dance-drama adaptation of The House of Bernarda Alba.
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Jones, Phil. "An analysis of the first articulation of drama therapy: Austin's ‘Principles of Drama-Therapy: A Handbook for Dramatists’ (1917)." Arts in Psychotherapy 40, no. 3 (July 2013): 352–57. http://dx.doi.org/10.1016/j.aip.2013.07.001.
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Semak, O. I. "IHOR KOSTETSKYI AND EUGENE IONESKO: TYPOLOGY OF ARTISTIC THINKING." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 150–56. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-150-156.
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The article deals with the works of such famous playwrights as Ihor Kostetskyi and Eugene Ionesco. The comparison of the work of the Ukrainian playwright with the dramatic works of the world level made it possible to distinguish the laws that show that Ihor Kostetskyi's drama is a multi-faceted and ambiguous phenomenon in the literary process of the second half of the twentieth century. The study of the peculiarities of the literary heritage of I. Kostetskyi involves a profound analysis of the influence of the emigration factor on creative process of the writer. His close interweaving of universal, national, and moral issues was caused by life in emigration and the loss of Ukraine. The combination of Ukrainian mentality with the understanding of the philosophical concepts of the West allowed the playwright-emigrant to consider social and moral problems more panoramic. Using techniques such as phantasmagority of individual scenes, deconstructivistic distrust to language, the destruction of syntactics and paradigmatics and logical structural connections in some places allows us to characterize the poetics of I. Koste-tskyi’s style as an absurdity experiment based on the drama of the Baroque era.In the result of comparison of the heritage of Eugen Ionesco and Ihor Kostetskyi the author found that both dramatists rejected the canons of classical drama with its traditional plot, experimented with the form of works, the language of characters. The artistic material of their dramatic works unfolds through absurd situations that contrast with the world of reality.One of the problems raised by the authors is the problem of human communicability, which leads to leveling of the personality. Their verbal experiments are one of the factors in the creation of new generations of heroes. The dramatists did not abandon one of the main problems of existentialism - time as characteristics of human being.
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Khan, Kehkashan. "RHYTHMIC BEAUTY IN THE PLAYS OF RENAISSANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3397.
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The Theatres were very much in vogue in the Elizabethan England. For the spectators, theatres were not merely places of amusement & entertainment but also of social gathering & instruction. Both Marlowe & Shakespeare are great dramatists & poets of Elizabethan age. Their poetry & music lend a unique power & beauty to their plays.Marlowe, the predecessor of Shakespeare, infused his own soul into his characters like a lyric poet. He is regarded as the Morning Star of Song & the first & foremost lyricist of English Stage. He poetized the English dramas. His play Doctor Faustus reads more like a poem than a drama. His passage on Helen is one of the loveliest of lyrics. In its idealization of beauty, in its riot of colour, in its swift transition from one myth to another, in music & melody, in its passionate exuberance & abundance the passage remains unsurpassed.
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Seidensticker, Bernd. "Ancient Drama and Reception of Antiquity in the Theatre and Drama of the German Democratic Republic (GDR)." Keria: Studia Latina et Graeca 20, no. 3 (November 22, 2018): 75–94. http://dx.doi.org/10.4312/keria.20.3.75-94.
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Theatre in the German Democratic Republic was an essential part of the state propaganda machine and was strictly controlled by the cultural bureaucracy and by the party. Until the early sixties, ancient plays were rarely staged. In the sixties, classical Greek drama became officially recognised as part of cultural heritage. Directors free to stage the great classical playwrights selected ancient plays, on one hand, to escape the grim socialist reality, on the other to criticise it using various forms of Aesopian language. Two important dramatists and three examples of plays are presented and discussed: an adaptation of an Aristophanic comedy (Peter Hack’s adaptation of Aristophanes’ Peace at the Deutsche Theater in Berlin in 1962), a play based on a Sophoclean tragedy (Heiner Müller’s Philoktet, published in 1965, staged only in 1977), and a short didactic play (Lehrstück) based on Roman history (Heiner Müller’s Der Horatier, written in 1968, staged in 1973 in Hamburg in West Germany, and in the GDR only in 1988). At the end there is a brief look at a production of Aeschylus Seven against Thebes at the BE in 1969.
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Page, Louise. "Emotion is a Theatrical Weapon." New Theatre Quarterly 6, no. 22 (May 1990): 174–82. http://dx.doi.org/10.1017/s0266464x00004243.
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Louise Page was born in London in 1955, but lived in Sheffield from the age of five until a short while ago. She read drama at Birmingham University, and took a postgraduate diploma in playwriting, then returned to Sheffield in 1979 as Fellow in Drama and Television. In 1982–83 she was resident writer at the Royal Court, and in 1985 was awarded the first J. T. Grein Prize by the Critics’ Circle. With a string of widely-produced plays from the early Tissue through Salonika and Golden Girls to the more recent Beauty and the Beast and Diplomatic Wives, Louise Page is now firmly established as one of the leading playwrights of her generation. The present interview was recorded while she was in Greece in September 1988 to prepare the film adaptation of Salonika. The interviewer, Elizabeth Sakellaridou, is Senior Lecturer in Modern English Drama in the University of Thessaloniki. Her publications include Pinter's Female Portraits (Macmillan, 1988), and several articles on modern English drama and feminist criticism. She is currently preparing a study of contemporary British women dramatists. Her ‘NTQ Checklist’ of Louise Page's work follows this interview.
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Kwei-Armah, Kwame. "‘Know Whence You Came’: Dramatic Art and Black British Identity." New Theatre Quarterly 23, no. 3 (August 2007): 253–63. http://dx.doi.org/10.1017/s0266464x07000152.
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Kwame Kwei-Armah's play Elmina's Kitchen was a landmark in British theatre history as the first drama by an indigenous black writer to be staged in London's commercial West End. The play's success since its premiere at the Royal National Theatre included a national tour and a season at Center Stage, Baltimore, directed by August Wilson's director Marion McClinton. In this interview with Deirdre Osborne, Kwei-Armah testifies to Wilson's considerable influence and the inspiration he derives from Wilson's project to account for the history of black people's experience in every decade of the twentieth century. 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, Lemn Sissay, SuAndi, and Roy Williams.
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Yearling, Rebecca. "The Poets' War Revisited." Ben Jonson Journal 23, no. 2 (November 2016): 231–45. http://dx.doi.org/10.3366/bjj.2016.0166.
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This essay seeks to explore the role played by John Marston in the so-called War of the Poets – the literary quarrel between a small group of playwrights, including Marston, Ben Jonson, Thomas Dekker, and perhaps William Shakespeare, in the late sixteenth and early seventeenth centuries. Marston's role in the War is problematic because although there are figures in his drama who might seem intended to be read as hostile portraits of Jonson, all of these figures are ambiguous, appearing to resemble Marston himself as much as they do his rival. I argue that this is because Jonson and Marston were participating in the War for very different reasons: Jonson in order to distinguish himself from his fellow satiric dramatists and Marston to emphasise the similarities between himself and his colleague. Marston may have done this in order to mock satiric dramatists as a class, but he may also have wanted to irritate Jonson by suggesting that Jonson was not as unique or individual as he liked to believe.
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Jurak, Mirko. "William Shakespeare and Slovene dramatists (III): (1930-2010)." Acta Neophilologica 44, no. 1-2 (December 31, 2011): 3–34. http://dx.doi.org/10.4312/an.44.1-2.3-34.
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In the final part of my study I shall present Shakespeare's influence on Slovene dramatists from the 1930s to the present time. In this period an almost unbelievable growth in Slovene cultural activities took place. This is also reflected in a very large number of new Slovene playwrights who have written in this time, in their international orientation in dramatic art as well as in the constantly growing number of permanent (and ad hoc) theatre companies. Communication regarding new theatrical tendencies not only in Europe but also in the United States of America and % during the past decades % also in its global dimension has become much easiers than in previous periods and this resulted also in the application of new dramatic visions in playwriting and in theatrical productions in Slovenia. These new movements include new techniques in writing, such as symbolism, futurism, expressionism, constructivism, surrealism, political drama, the theatre of the absurd and postmodernism, which have become apparent both in new literary techniques and in new forms of production. In this period Classical drama still preserved an important role in major Slovene theatres. Plays written by Greek playwrights, as well as plays written by Shakespeare, Molière, Schiller etc. still constitute a very relevant part of the repertoire in Slovene theatres. Besides, Slovene theatres have also performed many plays written by modern playwrights, as for example by Oscar Wilde, L. N. Tolstoy, I. S. Turgenev, Henrik Ibsen, August Strindberg, G. Hauptmann, G. Büchner, G. B. Shaw, A. P. Chekhov, John Galsworthy, Luigi Pirandello, Eugene O'Neill and many other contemporary playwrights. In the period after the Second World War the influence of American dramatists has been constantly growing. This variety also resulted in the fact that direct influence of Shakespeare and his plays upon Slovene dramatists became less frequent and less noticeable than it had been before. Plays written by Slovene dramatists are rarely inspired by whole scenes or passages from Shakespeare's plays, although there are also some exceptions from this rule. It is rather surprising how quickly Slovene theatres produced works written by important foreign dramatists already in the period following the First World War not to mention how quickly plays written by the best European and American playwrights have appeared on Slovene stages during the past fifty years. The connection between Shakespeare's plays and plays written by Slovene playwrights became more subtle, more sophisticated, they are often based on implied symbolic references, which have become a starting point for a new interpretation of the world, particularly if compared with the Renaissance humanistic values. The sheer number of plays written by Slovene dramatists in this period makes it difficult to ascertain that all influences from Shakespeare's plays have been noticed, although it is hoped that all major borrowings and allusion are included. Slovene dramatists and theatre directors have provided numerous adaptations of Shakespeare's plays, which sometimes present a new version of an old motif so that it may hardly be linked with Shakespeare. Slovene artists, playwrights and 4 also theatre directors, have %rewritten%, %reset% the original text and given it a new meaning and/or a new form, and in a combination of motifs and structure they have thus created a %new play%, even stand-up comedies in which the actor depends on a scenario based on Shakespeare's play(s) but every performance represents a new improvisation. Such productions are naturally closer to the commedia dell'arte type of play than to a play written by Shakespeare. I briefly mention such experimental productions in the introductory part of my study. The central part of my research deals with authors in whose works traces of Shakespeare's influence are clearly noticeable. These playwrights are: Matej Bor, Jože Javoršek, Ivan Mrak, Dominik Smole, Mirko Zupančič, Gregor Strniša, Veno Taufer, Dušan Jovanović, Vinko Möderndorfer and Evald Flisar.
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Moss, Jane. "The Drama of Survival: Staging Post-traumatic Memory in Plays by Lebanese-Québécois Dramatists." Theatre Research in Canada 22, no. 2 (September 2001): 173–89. http://dx.doi.org/10.3138/tric.22.2.173.
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Barton, Bruce. "Redefining Community: The Elusive Legacy of The Dramatists' Co-op of Nova Scotia." Theatre Research in Canada 21, no. 2 (January 2000): 99–115. http://dx.doi.org/10.3138/tric.21.2.99.
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By many indications, playwriting in the Canadian Maritime provinces (Nova Scotia, New Brunswick, and Prince Edward Island) has never been more accomplished, diverse, and energetic. At the same time, however, many dramatists in this region experience a distinct and, for some, defining sense of isolation and disconnection from the rest of the country, particularly in terms of production opportunities beyond the East Coast. Aware of the limitations of local production, however enthusiastic the support of regional theatre companies and groups, a significant number of Maritimes playwrights lament the absence of vehicles—such as publication with national distribution—that may lead to increased profile for Maritimes drama within this country and internationally. At this juncture, it is particularly intriguing to consider the precedent of the Dramatists' Co-op of Nova Scotia. A boisterous offspring of the Nova Scotia Writers Federation, the Co-op took upon itself the challenge to foster, promote, distribute, and generally champion Nova Scotian and, ultimately, Atlantic Canadian (including Newfoundland) drama for two decades following its inception in 1976. A fundamental difference between the dominant (although not exclusive) philosophy of Co-op members and their contemporary counterparts, however, is in the definition of the concept of ‘community.' For, unlike the distinctly national and international interests regularly expressed in the current context, the Co-op placed a significant (although, again, not exclusive) emphasis on the establishment of a local community of theatre artists and, even more fundamental, of local theatre audiences. The contrast, while neither simple nor absolute, provides a productive point of entry into the complex reality of contemporary Maritimes dramatic practice.
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Iroh, Emmanuel O. "Nigerian politicians and the leadership question in Emeka Nwabueze’s A Parliament of Vultures and Alex Asigbo’s The Reign of Paschal Amusu." UJAH: Unizik Journal of Arts and Humanities 20, no. 3 (October 30, 2020): 233–49. http://dx.doi.org/10.4314/ujah.v20i3.13.
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African countries have consistently been involved in civil unrest, political instability, threats of secession, selection instead of election as well as rigging of elections, sit tight leaders and many more malaise. Despite the fact that Africa is blessed with enough human, material and natural resources, yet most of these resources have been grossly mismanaged or fretted away by her leaders who have refused to rise above board. The aim of the research is to portray the efforts of our dramatists in exposing the machinations of our leaders in their quest to retain power and acquire wealth to the detriment of the masses. The objectives of the study is to expose some these devices and enlighten the public on the schemes of their leaders and politicians who pretend to be serving the public whilein the real sense are enriching themselves while impoverishing the masses as well as to expose the different ways in which these heinous crime against the people are perpetrated. The research adopted the qualitative methodology and a context analysis approach of two drama texts of Emeka Nwabueze and Alex Asigbo. The findings show that politicians adopt many tactics to fulfill their selfish and inordinate ambitions to the detriment of the nation which this paper sets to interrogate. The paper therefore concludes that drama has continued to be a potent tool in exposing societal ills. The study recommends conscientization and reawaking of national consciousness of both the leaders and the general public.
Keywords: Leaders, Politicians, Dramatists, Masses
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Etherton, Michael. "The Field Day Theatre Company and the New Irish Drama." New Theatre Quarterly 3, no. 9 (February 1987): 64–70. http://dx.doi.org/10.1017/s0266464x00008514.
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In the previous article, the author exempted one company's work from her strictures on the present state of Ulster playwriting. That company was Field Day, based in the town whose very choice of name distinguishes Catholic from Protestant, Derry or Londonderry. Here, Michael Etherton outlines the aims of the company, which extend far beyond the theatrical, and also describes and assesses three plays which, although not all originating from Field Day, seem to him to reflect the distinctive ‘poetic and political view’ which he believes the company has nurtured. Most notable, be believes, is its attempt to reveal and replace the arid rhetoric to which beliefs and argument on both ‘sides’ have been reduced. Michael Etherton, presently teaching at King Alfred's College, Winchester, has previously published widely in the field of African theatre, on which he wrote in TQ10 of our original series, and he is preparing a volume on contemporary Irish drama for the Macmillan Modern Dramatists series.
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Braund, Susanna. "TABLEAUX AND SPECTACLES: APPRECIATION OF SENECAN TRAGEDY BY EUROPEAN DRAMATISTS OF THE SIXTEENTH AND SEVENTEENTH CENTURIES." Ramus 46, no. 1-2 (December 2017): 135–52. http://dx.doi.org/10.1017/rmu.2017.7.
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Did Sophocles or Seneca exercise a greater influence on Renaissance drama? While the twenty-first century public might assume the Greek dramatist, in recent decades literary scholars have come to appreciate that the model of tragedy for the Renaissance was the plays of the Roman Seneca rather than those of the Athenian tragedians. In his important essay on Seneca and Shakespeare written in 1932, T.S. Eliot wrote that Senecan sensibility was ‘the most completely absorbed and transmogrified, because it was already the most diffused’ in Shakespeare's world. Tony Boyle, one of the leading rehabilitators of Seneca in recent years, has rightly said, building on the work of Robert Miola and Gordon Braden in particular, that ‘Seneca encodes Renaissance theatre’ from the time that Albertino Mussato wrote his neo-Latin tragedy Ecerinis in 1315 on into the seventeenth century. The present essay offers a complement and supplement to previous scholarship arguing that Seneca enjoyed a status at least equal to that of the Athenian tragedians for European dramatists of the sixteenth and seventeenth centuries. My method will be to examine two plays, one in French and one in English, where the authors have combined dramatic elements taken from Seneca with elements taken from Sophocles. My examples are Robert Garnier's play, staged and published in 1580, entitled Antigone ou La Piété (Antigone or Piety), and the highly popular play by John Dryden and Nathaniel Lee entitled Oedipus, A Tragedy, staged in 1678 and published the following year.
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Vladiv-Glover, Slobodanka. "Fin-de-siècle Lyrical Drama and the European Modernist Sensibility on the Eve of World War One." Transcultural Studies 11, no. 2 (April 10, 2015): 242–59. http://dx.doi.org/10.1163/23751606-01102006.
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The paper analyses the relationship of lyrical drama, which emerged as the dominant genre of European Modernism, and opera, representing a paradigm shift in European thought on the eve of World War One. The musical metaphor of love-death, originating in Wagner’s Tristan and Isolde, was adopted widely and transposed into verbal art by the dramatists and prose-writers of Modernism in Eastern and Western Europe. This metaphor or leit-motif is read in the context of the theory of the Freudian death-drive and the emergence of a modern analytic of finitude, which announces a new European cultural paradigm, grounded in identity and difference. A new ‘modern’ sensibility is formed out of these metaphysical elements, which come to expression in the Modernist genre of lyrical drama, in which a synaesthetic relationship is forged between music and the verbal text. A musical motif (love-death) is generalised into desire in the verbal text which it structures through intonation, gesture and the representation of unconscious drives on stage.
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Gray, Frances, and Janet Bray. "The Mind as a Theatre: Radio Drama since 1971." New Theatre Quarterly 1, no. 3 (August 1985): 292–300. http://dx.doi.org/10.1017/s0266464x00001676.
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The critical attention paid to radio drama has dwindled in almost inverse proportion to a steady increase not only in quantity but, less expectedly, in quality – though Britain has become one of the very few countries where this entirely distinctive dramatic medium is still seriously practised. As Head of BBC Radio Drama from 1963 to 1976. Martin Esslin was instrumental in developing the form, and his article in TQ 3 in 1971. ‘The Mind as a Stage’, in which he summed up his own ‘aesthetic of radio’, provides the starting point for the present article: but its authors believe that the very strength of Esslin's own artistic beliefs and authority limited his understanding of the less ‘artistic’ output of radio drama, and that it is in this area that some of the most notable of recent advances have been made. Their article thus examines not only the development of radio drama since 1971, but the way in which its changing ‘codes’ have altered the relationship between play and listener: and it analyzes two distinctive uses of the medium – to create what they call ‘alternative histories’, and a sense of ‘fragmented space’. Frances Gray, herself a radio playwright, has recently published a study of John Arden in the Macmillan Modern Dramatists series, and presently teaches at the University of Sheffield, from which Janet Bray has just received her M.Phil. degree for a study of radio drama in the 'seventies.
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Daneshzadeh, Amir. "Analysis of Edward Bond’s War Plays." International Letters of Social and Humanistic Sciences 61 (October 2015): 1–6. http://dx.doi.org/10.18052/www.scipress.com/ilshs.61.1.
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The War Plays‘trilogy (Red, Black and Ignorant, The Tin Can People and Great Peace) presents the scenario of a waste land ‘with apocalyptical shades. The post nuclear environment of the plays reflects the Atmosphere of the historical period when it was written. The beginning of the eighties saw the debate about nuclear weapons and strong discussions about the Thatcher administration in this respect. Edward Bond emerged from a group of left-wing writers who joined the experimental fringe theatre in the 1970s. To make sense of this literature, we turn to content analysis to examine the trends and categorize the burgeoning management research of the past 25 years that uses content analysis. In Red Black and Ignorant characters confront the paradox. Society uses dramatists to create the drama it needs but a dramatist is not a conduit. He is responsible for what he writes, not out of duty but because discerning anything means evaluating it and this requires desire and commitment. What an author writes expresses the political position that informs his subjectivity. The way he writes shows his relation to himself, which is also his part in the social process. The relation 'creates' what he writes, the limitations come from the limitations of his skill.
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Lamb, Charles. "Poetic Drama. By Glenda Learning. Basingstoke: Macmillan Modern Dramatists, 1989. Pp. 180 + illus. £25; £7.95." Theatre Research International 15, no. 2 (1990): 190–91. http://dx.doi.org/10.1017/s0307883300009366.
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Day, Moira. "Nancy Bell, ed. Five From the FringeDenis Salter, ed. New Canadian Drama 3: Albertan Dramatists." Theatre Research in Canada 9, no. 1 (January 1988): 96–98. http://dx.doi.org/10.3138/tric.9.1.96.
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Ali Zaiter, Walid. "Drama to Instruct and Entertain: Literature and Performance for EFL students, EFL Dramatists and EFLDirectors (Drama Instructors): Curriculum and Extra -curricular Activities." Arab World English Journal For Translation and Literary Studies 3, no. 3 (August 15, 2019): 221–32. http://dx.doi.org/10.24093/awejtls/vol3no3.18.
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VERMA, NEIL. "Honeymoon Shocker: Lucille Fletcher's “Psychological” Sound Effects and Wartime Radio Drama." Journal of American Studies 44, no. 1 (December 24, 2009): 137–53. http://dx.doi.org/10.1017/s0021875809990740.
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This paper describes a change in how American radio dramatists used sound effects around the time of Pearl Harbor, particularly on Suspense, one of the signature “shocker” anthologies of the 1940s. In Suspense dramas by writers such as Lucille Fletcher, sound effects no longer merely described settings and action, as had been the custom previously. Instead, effects swept away interpersonal forms of colloquy and coded character psychology, often to the detriment of the populist spatial aesthetics that had prevailed during the Depression. Using accounts of studio technique, as well as a close reading of Fletcher's “The Hitch-hiker,” I argue that when radio told tales of characters under the sway of sound effects, it helped to promulgate the idea that minds are available to penetrating and persuasive “signal-based” communicative acts, just the sort of language required to make works of propaganda meaningful. In a larger way, this paper tries to rediscover the American radio play of the 1940s by treating it as not only “theater of the mind,” but also a theater about the mind.
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Barrett, Daniel. "It Is Never Too Late to Mend (1865) and Prison Conditions in Nineteenth-Century England." Theatre Research International 18, no. 1 (1993): 4–15. http://dx.doi.org/10.1017/s0307883300017533.
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The première of It Is Never Too Late to Mend at the Princess's Theatre on 4 October 1865 marked the appropriately tumultuous return of Charles Reade to the London stage after an absence of nine years. That night, one of the most memorable disturbances in the nineteenth-century theatre occurred when the drama critics in attendance, led by Frederick Guest Tomlins of the Morning Advertiser, demanded that the play be halted because of its offensive subject matter and one particularly shocking scene. The dispute became a cause celebre among critics, dramatists, and the general public and was recalled (with varying degrees of accuracy) years later by its participants, witnesses, and other interested parties.
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Alshetawi, Mahmoud F. "Combating 9/11 Negative Images of Arabs in American Culture: A Study of Yussef El Guindi’s Drama." Journal of Ethnic and Cultural Studies 7, no. 3 (October 15, 2020): 177. http://dx.doi.org/10.29333/ejecs/458.
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This study intends to examine the dramatic endeavours of Arab American playwrights to make their voices heard through drama, performance, and theatre in light of transnationalism and diaspora theory. The study argues that Arab American dramatists and theatre groups attempt to counter the hegemonic polemics against Arabs and Muslims, which have madly become characteristic of contemporary American literature and media following 9/11. In this context, this study examines Yussef El Guindi, an Egyptian-American, and his work. El Guindi has devoted most of his plays to fight the stereotypes that are persistently attributed to Arabs and Muslims, and his drama presents issues relating to identity formation and what this formation means to be Arab American. A scrutiny of these plays shows that El Guindi has dealt with an assortment of topics and issues all relating to the stereotypes of Arab Americans and the Middle East. These issues include racial profiling and surveillance, stereotypes of Arabs and Muslims in the cinema and theatre, and acculturation and clash of cultures.
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Shepherd, Simon. "Blood, Thunder and Theory: The Arrival of English Melodrama." Theatre Research International 24, no. 2 (1999): 145–51. http://dx.doi.org/10.1017/s0307883300020769.
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One of the surest ways of registering disapproval of a play or a performance is to dismiss it as ‘melodramatic’, thus invoking a whole network of mistaken dramatic values and improper practice. In arts reviews, classrooms and text books, ‘melodrama’ recurs as the ‘other’ of ‘proper’ realist drama. In English Drama: A Cultural History, we describe the critical history of melodrama as ‘The Unacceptable Face of Theatre's importance and seriousness. One of the most influential interventions came from Peter Brooks, whose Melodramatic Imagination propounds two arguments in favour of melodrama'scultural centrality: first, Brooks shows how Diderot and Rousseau anticipated the French form of melodrama, then he makes connections between melodramatic gesture or sign and the work of Saussure or Barthes. My aim here is to develop the case further by suggesting that, in the case of English melodrama, the practice of the form as it emerged was very far from being non-intellectual, out of control or stupid. Indeed the dramatists themselves were well conscious of what they were doing formally: not only intelligence but also self-reflection were there from the start.
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Day, Moira. "Nancy Bell, ed. Five From the Fringe; Denis Salter, ed. New Canadian Drama 3: Albertan Dramatists." Theatre Research in Canada 9, no. 1 (January 1988): 96–98. http://dx.doi.org/10.3138/tric.9.1.96.
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Minchao, Wu. "Drama, revolution and the urban vortex – The League of Leftist Writers' drama movement and dramatists in Shanghai in the 1930s, by Ge Fei." Journal of Modern Chinese History 3, no. 1 (June 22, 2009): 111–12. http://dx.doi.org/10.1080/17535650902900497.
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Plater, Alan. "Learning the Facts of Life: Forty Years as a TV Dramatist." New Theatre Quarterly 19, no. 3 (August 2003): 203–13. http://dx.doi.org/10.1017/s0266464x03000113.
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Back in 1977, Alan Plater contributed an article to TQ25 celebrating twenty-five years as a writer for stage and television. But his first play for television was not screened until 1962 – hence the different anniversary which here provides the occasion for his reflections on changes in the medium and its treatment of drama (and dramatists) over the succeeding four decades. As a stage writer, he established special relationships with Stoke-on-Trent, Humberside, and the North-East – where his Close the Coalhouse Door played to tremendous local acclaim, but to metropolitan disinterest when it reached the West End. But while his stage work has remained resolutely committed to the parts the critics seldom reach, as a writer for television he has both kept his own entirely distinctive voice, as in the Beiderbecke sequence, and remained an ever-reliable contributor to series from Z Cars in the 'sixties to Midsomer Murders in the new millennium, with excursions into glossy period dramatizations such as the seven-part Fortunes of War. Here, he reflects on the losses of spontaneity and creative freedom which have accompanied technical innovation and increasing bureaucracy, and offers some hopes for changes in direction to restore what was once the glory of British TV drama. This article is based on an inaugural lecture Alan Plater gave at the University of Bath in March 2002.