Relevant bibliographies by topics / Dramatists Guild

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

Academic literature on the topic 'Dramatists Guild'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Dramatists Guild"

1

Bassin, Joel. "The Minimum Basic Agreement of the Dramatists' Guild: A History of Inadequate Protection." Journal of Arts Management, Law, and Society 25, no. 2 (1995): 157–71. http://dx.doi.org/10.1080/10632921.1995.9941795.

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Fisk, Catherine, and Michael Szalay. "Story Work: Non-Proprietary Autonomy and Contemporary Television Writing." Television & New Media 18, no. 7 (2016): 605–20. http://dx.doi.org/10.1177/1527476416652693.

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Based on interviews with three dozen working writers in American television, this paper argues that TV writers assert their status as labor to guarantee their shared craft identity with novelists, dramatists, and authors of other conventional literary material. The tension between writers’ desire for literary prestige on one hand, and their recognition that they create at the behest of company executives, on the other, emerges, alternately, in the imagined difference between writers and producers and, most basically, between autonomous creators and corporate hacks. Our novel observation is tha
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Kholiq, Abd. "Kajian Dramatism Theory Kenneth Burke." Madinah: Jurnal Studi Islam 2, no. 2 (2015): 113–18. https://doi.org/10.58518/madinah.v2i2.163.

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Burke's theory compares life to a performance and states that, as in a theatrical work, life requires the existence of an actor, a scene, some tools for the scene, and a goal. This theory allows a rhetorical critic to analyze the speaker's motives by identifying and learning these elements. Furthermore, Burke believes, guilt is the main motive for the speaker, and Dramatism states that a speaker will be most successful when they give their audience a way to erase their guilt.
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Syarifuddin, Achmad Sigit, and Irwansyah Irwansyah. "Analisis Identifikasi dan Guilt pada Teori Dramatisme Kenneth Burke dalam Film “They Live 1988”." JURNAL LENSA MUTIARA KOMUNIKASI 5, no. 2 (2021): 72–85. http://dx.doi.org/10.51544/jlmk.v5i2.1676.

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According to Burke, Dramatism means humans can learn and understand motives in all human interactions through symbols. Burke sees that the motives behind people's actions are essential for analyzing and finding out why people do and say what they do. Apart from the dramatic Pentad which is one of the important concepts in dramatism, there are identification, guilt and ratio. There are six ways of identification, formal patterns, framing, ambiguous symbols, mystification, and scapegoats. There are two forms of guilt, namely mortification and victimage. There are two forms of guilt, mortificatio
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Chu, Zane E. "Christ's representation of sinners in Hans Urs von Balthasar and Thomas Aquinas." Scottish Journal of Theology 74, no. 3 (2021): 252–61. http://dx.doi.org/10.1017/s0036930621000417.

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AbstractIn his dramatic approach to the redemption, Balthasar takes seriously Christ's exchange of places with sinners. Christ upon the cross takes on sin itself, and not only its consequences, while remaining innocent. Balthasar critiques Aquinas for maintaining that Christ accepts only the consequences or punishments of sin. Aquinas strictly distinguishes between guilt and punishment, with Christ accepting only the latter out of charity to make satisfaction for sin. I argue that Balthasar does not get beyond Aquinas’ distinction between guilt and punishment but dramatises it for a more dynam
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Falska, Maria. "El juego de ser vs. parecer – la relatividad de la culpabilidad e inocencia en las obras de tres dramaturgos hispanoamericanos: Pavlovsky, Diament, Santana." Romanica Cracoviensia 20, no. 4 (2020): 189–98. http://dx.doi.org/10.4467/20843917rc.20.018.13304.

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‘To be’ vs. ‘to appear to be’ – the relativity of innocence and guilt in plays of Pavlovsky, Diament, and Santana The aim of this paper is to compare three dramatic works by Latin-American playwrights: Argentinians Eduardo Pavlovsky and Mario Diament, and Rodolfo Santana from Venezuela. The three dramatists belong to a fairly the same artistic generation (they were born in, respectively: 1937, 1942, and 1944). The examined works originate in approximately the same period of time (Los criminales by Santana was published in 1968, La mueca by Pavlovsky and Crónica de un secuestro by Diament in 19
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Wood, Gerald C. "Orphans' Home: The Voice and Vision of Horton Foote. By Laurin Porter. Baton Rouge: Louisiana State University Press, 2003; pp. 233. $49.95 cloth, $22.95 paper." Theatre Survey 45, no. 2 (2004): 286–88. http://dx.doi.org/10.1017/s0040557404240261.

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Horton Foote has won many distinguished awards, including two Academy Awards for screenwriting, the Pulitzer Prize for drama, the Lucille Lortel Award, an Emmy, the William Inge Award, lifetime awards from the Academy of Arts and Letters and the Writer's Guild of America, an Outer Critics Circle Award, the Master American Dramatist Award of the PEN American Center, and the National Medal of the Arts. Yet there has been relatively little written about this important American—and southern—writer. Partly that is because he has written in various media, including theatre, film, and television, gai
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Tendean, Meriell Jade E. "A dramatistic analysis of Indonesian influencers' statements in responding to sexual harassment allegations." International Journal of Communication and Society 4, no. 2 (2022): 235–49. http://dx.doi.org/10.31763/ijcs.v4i2.752.

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This article aims to dig deeper and reveal the rhetorical strategies of three influencers who are alleged sexual harassment perpetrators in their statements on social media. Social media has given a way for sexual harassment victims to expose their perpetrators, including those who are public figures. However, the alleged perpetrators are also given the same platform to share their statements. Recently, there have been many sexual harassment allegations against social media influencers and celebrities. These public figures then used the same social media platforms they were already familiar wi
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9

Valdez, Renalyn J., Diondy A. Palagtiw, and Donnie T. Sacueza. "An Analysis of Russel Brand’s Vlog on “The Truth about Pfizer’s Vaccines”." Jurnal Komunikasi: Malaysian Journal of Communication 40, no. 1 (2024): 483–95. http://dx.doi.org/10.17576/jkmjc-2024-4001-27.

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The spread of misinformation is a growing concern in today's digital age. The Vlog by Russel Brand titled "The Truth about Pfizer's Vaccines" features various claims about the safety and efficacy of Pfizer's COVID-19 vaccine. The study sought to answer the question, “How does the Vlog “The Truth about Pfizer’s Vaccines” constructed for public understanding and engagement?” The study used Kenneth Burke’s Dramatism Theory to examine the arguments in Russel Brand’s Vlog. It analyzed both stated and implied messages and made an in-depth look at the underlying reasons and purpose of such messages a
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10

M, Deepa. "Barathi's Eternal love towards Kuil." Barathi's Eternal love towards Kuil 7, Sp 1 (2019): 40–43. https://doi.org/10.5281/zenodo.2588200.

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Bharathi is the godfather of modern Tamil poetry. He is a genius in the exact sense of  the term, is a polyglot and a polymath. While in Kasi he would sit on the steps of the Ganga and pore over with rapture the poems of Shelley. Not only that, he explicated Shelley to his willing friends. He established the ‘Shelleyan Guild’ in Ettayapuram. During his exile in Pondicherry he became friends with Shri Aurobindo from whom he learnt the secrets of Vedas and the Upanishads. He indicted verses Vedic in spirit. He had translated ‘The Bhagavad Geetha’ into Tamil. There is
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Dissertations / Theses on the topic "Dramatists Guild"

1

McLennan, Chelsea J. "Guilt and redemption in a national eulogy : President Obama's "Together We Thrive: Tucson and Arizona" address as a call for mortification." Thesis, 2012. http://hdl.handle.net/1957/29510.

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On January 8th, 2011 tragedy struck in Tucson, Arizona. A gunman opened fire on Representative Gabrielle Giffords' "Congress on Your Corner" event, wounding thirteen and killing six ("Arizona Shooting"). Four days later, President Obama spoke to a grieving crowd at the University of Arizona's McKale Memorial Center. This study seeks to demonstrate how the dramatistic process and the pentad provide insight into how Obama guides the nation through the process of relieving the guilt. Specifically, Obama's call for mortification instead of scapegoating as the means for victimage is examined in lig
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Books on the topic "Dramatists Guild"

1

Guild, Dramatists. The Dramatists Guild resource directory 2008: The writer's guide to the theatrical marketplace. Focus Pub. / R. Pullins & Co., 2008.

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2

Wendy, Lamb, Young Playwrights Festival, and Dramatists Guild Foundation, eds. Ten out of ten: Ten winning plays selected from the Young Playwrights Festival, 1982-1991, produced by the Foundation of the Dramatists Guild. Delacorte Press, 1992.

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America, Dramatist's Guild of. 2018 Dramatists Guild Resource Directory. Dramatist's Guild of America Inc., 2017.

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Playwrights and power: The making of the Dramatists Guild. 2016.

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5

Dramatists Guild Resource Directory 2013: The Writers Guide to the Theatrical Marketplace. Focus Publishing/R. Pullins Co., 2013.

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Dramatists Guild Resource Directory 2014: The Writers Guide to the Theatrical Marketplace. Focus Publishing/R. Pullins Co., 2013.

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7

The Dramatists Guild Resource Directory 2012 The Writers Guide To The Theatrical Marketplace. Focus Publishing/R. Pullins Company, 2011.

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The Dramatists Guild Resource Directory 2009 The Writers Guide To The Theatrical Marketplace. Focus Publishing/R. Pullins Company, 2008.

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9

The Dramatists Guild Resource Directory 2011 The Writers Guide To The Theatrical Marketplace. Focus Publishing/R. Pullins Company, 2010.

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10

Winkler, Kevin. Uncle Sam Rag. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0004.

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This chapter describes Bob Fosse’s work on the shows Redhead and The Conquering Hero. At Gwen Verdon’s insistence, Fosse was hired as both choreographer and director of Redhead, a musical comedy murder mystery. Working closely with the authors, Fosse shaped Redhead into a dazzling star vehicle with the pace and fluidity of a show fully staged by one person. This success was followed by The Conquering Hero, on which Fosse felt that his contributions as director-choreographer were sufficiently integral to the show’s creation that he sought, and received, Dramatists Guild recognition as an author
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Book chapters on the topic "Dramatists Guild"

1

Steven, Suskin. "About the Listings." In The Sound of Broadway Music. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195309478.003.018.

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Abstract For as far back as we can determine, the completed partiturs were the property of the songwriters. (Paid for by the producers, yes, although in some cases Chappell advanced all or some of the cost as an inducement for the publishing rights.) At some point in time, this was written into the standard minimum basic agreement of the Dramatists Guild. Correspondingly, a provision was made that allowed the producers to deduct a minimal amount from the weekly royalties as reimbursement for as much as half of the orchestration cost. (Given the size of the weekly reimbursement, the producer re
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2

Block, Geoffrey. "“The Broadway Audience Is Still There, Waiting for More Good Shows”." In The Richard Rodgers Reader. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195139549.003.0046.

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Abstract During the run of Two by Two Rodgers discussed “the state of the theater” in an interview in Dramatists Guild Quarterly. At the outset, Rodgers states categorically that the problems with Broadway can be attributed to the absence of first-rate new material. He then offers his opinions on the current scene, expresses his antipathy to rock (which he calls hard rock and devoid of melody and harmony), and his appreciation of the sole nonrock component of Burt Bacharach’s Promises, Promises, the song “I’ll Never Fall in Love Again:’ Acknowledging the difficulties he had over an extended pe
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Horowitz, Mark Eden. "1957." In The Letters of Oscar Hammerstein II. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197538180.003.0016.

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Abstract Hammerstein corresponds with P. G. Wodehouse and Guy Bolton on a script they’ve written, apparently to take advantage of the nostalgia engendered by The Boy Friend. Oscar represents the Dramatists Guild in a disagreement with Actor’s Equity on their rules regarding casting foreign actors in American productions. Several letters relate to the upcoming film of South Pacific, including reports from Oscar to director, Josh Logan, on casting, crew, and the script, and enthusiastic letters from Logan on his plans to use color filters during the songs to generate moods. Oscar argues passiona
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Litvin, Margaret. "Time Out of Joint, 1967–76." In Hamlet's Arab Journey. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691137803.003.0006.

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This chapter begins with the cultural impact of the June War and its coda, Gamal Abdel Nasser's death in 1970. As the chapter shows, the defeat fundamentally altered Arab conceptions of political theatre's role. A well-developed high culture was no longer considered enough to guarantee the world's respect. Psychological interiority was irrelevant: what mattered was not deserving agentive power but seizing it. Disillusioned with their regimes, dramatists stopped addressing subtly allegorical plays to the government; instead, they appealed directly to audiences, trying to rouse them to participa
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