Journal articles: 'Dramaturgic perspective'

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Babcock, Mary K. "The dramaturgic perspective: Implications for the study of person perception." European Journal of Social Psychology 19, no. 4 (July 1989): 297–309. http://dx.doi.org/10.1002/ejsp.2420190404.

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Ibarretxe-Antuñano, Iraide. "Basque ideophones from a typological perspective." Canadian Journal of Linguistics/Revue canadienne de linguistique 62, no. 2 (March 15, 2017): 196–220. http://dx.doi.org/10.1017/cnj.2017.8.

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AbstractIdeophones are described as expressive marked linguistic units with a dramaturgic depictive function. Although commonly regarded in traditional general linguistics as rare and marginal, recent research on this topic has shown that these elements are pervasive in all languages and that they might share some linguistic characteristics across languages. This article analyses Basque ideophones from a typological perspective. The main goal is to describe the structure, meaning and function of Basque ideophones and to discuss how the Basque ideophonic system fits into the cross-linguistic characterisation of these linguistic units.

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Hovik, Lise, and Elena Pérez. "Baby Becomings." Nordic Theatre Studies 32, no. 1 (May 31, 2020): 99–120. http://dx.doi.org/10.7146/nts.v32i1.120410.

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The article proposes new concepts of dramaturgical thinking for baby theatre productions. With an arts-based research approach, allowing insiderperspectives of the artmaking process to come forth, the authors, who are the director and dramaturge of the performance Baby Becomings by Teater Fot, discuss different concepts of postdramatic dramaturgical aspects in relation to the work. By adapting Donna Haraway’s theories of sympoiesis and science art worldings as a theoretical framework, the article explores how Haraway’s philosophy serves both as artistic inspiration and provides new concepts for dramaturgical reflection. The authors ask how posthumanist and sympoietic perspectives connect to postdramatic dramaturgy and wish to propose a posthumanist dramaturgy of sympoietic worlding in theatre for babies.

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Rosengren, Calle. "Performing work: The drama of everyday working life." Time & Society 28, no. 2 (December 11, 2015): 613–33. http://dx.doi.org/10.1177/0961463x15620983.

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In this article, a perspective on work time patterns is outlined; a perspective that emphasizes the importance of observing how work time is subject not only to task and contract agreements but also to social norms and individual needs to express identity. The article takes its starting point in Goffman's dramaturgic approach. From this perspective, the workplace is viewed as a stage where a satisfactory work performance is judged not by the actual work performance but by the performance of work; or rather, perhaps, by how a morally good working day is enacted through text, words, and gestures. Depending on social context work, time patterns can be seen as an expression of commitment, dedication, professionalism, and masculinity. The article concludes with a discussion on the potential implications of these issues regarding stress and health, as well as the possibilities of participation in the labor market under equal conditions.

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Molinari, Renata M., Eduardo De Paula, and Maurício Paroni De Castro. "PENTESILÉIA E O PROJETO AMAZONAS." Revista Rascunhos - Caminhos da Pesquisa em Artes Cênicas 6, no. 1 (March 28, 2019): 119–29. http://dx.doi.org/10.14393/rr-v6n1-2019-07.

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Título: Pentesiléia e o Projeto Amazonas: duplo olhar para uma dramaturgia – [com] Um fragmento de diálogo à distância com Thierry Salmon Resumo: Escrito a partir dos registros observados em seu caderno de anotações, este texto funciona como um memorial lacunar das ações criativas empreendidas durante os processos de criações dramatúrgico e espetacular de “O assalto ao céu”. O texto é acompanhado por um fragmento de diálogo com Thierry Salmon, que deixa alguns rastros sobre as questões norteadoras de seus interesses artísticos. Palavras-chave: Thierry Salmon, Renata Molinari, Dramaturgia, Encenação, Teatro. Titolo: Pentesilea e il Progetto Amazzone: doppio sguardo per una drammaturgia – con un frammento di dialogo a distanza con Thierry Salmon Riassunto: Scritto a partire dalle annotazioni sul proprio taccuino di lavoro, questo testo si presenta come una traccia frammentata delle azioni creative messe in moto durante il percorso di creazione drammaturgica e spettacolare de L’assalto al cielo. Il testo è seguito di un frammento di conversazione con Thierry Salmon, che coglie alcuni spunti sulle questioni di fondo legate alle sue scelte artistiche. Parole chiave: Thierry Salmon, Renata Molinari, Dramaturgia, Regia, Teatro. Title: Penthesilea and the Amazon Project: dual perspective on a dramaturgy[with] a fragment of a distance dialogue with Thierry Salmon Abstract: Written from the records observed in his notebook, this text works as ‘lacunar memorial’ of the creative actions undertaken during the dramaturgical and staging processes of “The assault on the sky”. The text is accompanied by a fragment of dialogue with Thierry Salmon, which leaves some clues on questions concerning his artistic interests. Keywords: Thierry Salmon, Renata Molinari, Dramaturgy, Staging, Theatre.

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Junior, Paulo César Sousa Dos Santos, and Paulo Roberto Santana Furtado. "Afeto: o ciclo do amor em devaneios transversais entre a poética pessoal e a dramaturgia do ator." Arteriais - Revista do Programa de Pós-Gradução em Artes 4, no. 7 (April 23, 2019): 76. http://dx.doi.org/10.18542/arteriais.v4i7.6932.

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ResumoEste artigo é um memorial descritivo do processo de criação da cena “AFETO: amor fervente en(tre) trânsito ordinário” construído como parte da avaliação da disciplina “Dramaturgia do Ator” do curso Licenciatura em Teatro da Universidade Federal do Pará, no ano de 2017. Partimos de atravessamentos sobre os estudos de Gaston Bachelard no livro “A poética do devaneio” e apontamentos do trabalho sobre si presentes na “Dramaturgia Pessoal do Ator” de Wlad Lima, em uma confissão poética, onde o corpo homossexual, do intérprete criador desta cena, expõe suas vivências do ciclo do amor em devaneios transversais entre a poética pessoal e a dramaturgia do ator, desenvolvendo uma escrita autobiográfica narrada da perspectiva das personas criadas durante o processo, entendendo o devaneio poético autobiográfico na criação cênica como um ato necessário de empoderamento de si e resistência.AbstractThis article is a descriptive memorial of the process of creation of the scene “AFETHE: fervent love in (ordinary) transit” constructed as part of the evaluation of the “Dramaturgy of the Actor” course of the Licensed Theater course of the Federal University of Pará, 2017. We start from cross-over on Gaston Bachelard’s studies in the book “The Poetics of Daydreaming” and notes from his work on Wlad Lima’s “Personal Actor’s Dramaturgy” in a poetic confession where the homosexual body of the creative interpreter of this scene, exposes his experiences of the cycle of love in transverse daydreams between the personal poetics and the dramaturgy of the actor, developing an autobiographical writing narrated from the perspective of the people created during the process, understanding the autobiographical poetic reverie in the scenic creation as a necessary act of empowerment and resistance.

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Rodrigues, Eder. "A frente performática de atuação do dramaturgo na cena contemporânea." Pitágoras 500 8, no. 1 (June 22, 2018): 47–58. http://dx.doi.org/10.20396/pita.v8i1.8651374.

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Este artigo analisa a aproximação dos campos da dramaturgia e da performance, mobilizando apontamentos em torno dos territórios e das fronteiras de suas bases epistemológicas e processuais. A discussão teórica parte de Richard Schechner, Erika Fischer-Lichte, Renato Cohen, Denise Pedron e Ana Pais, com foco na investigação sobre como os desdobramentos dos princípios da performance contaminam o pensamento e a práxis da escrita para o palco. Nessa perspectiva, discute-se o redimensionamento do trabalho do dramaturgo e seu papel simbólico na gênese criativa, principalmente quando sua atuação incorpora uma frente performática e a dramaturgia passa a ser entendida como campo expandido.

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Broze, Yuri. "Commentary on Frieler, Pfleiderer, Abeßer, and Zaddach's "Telling a Story"." Empirical Musicology Review 11, no. 1 (July 8, 2016): 83. http://dx.doi.org/10.18061/emr.v11i1.5308.

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Theoretical and methodological perspectives are offered. Perceived personal involvement, variety of improvisational tools, and dramaturgy might be attributed to multimodal signals and cues of emotion, implicit learning of motor routines and musical tendency, and deliberate planning on the part of the musician. I give a personal perspective on my experience as an improvising musician, and suggest a sketch of how I imagine improvisation often works. Dramaturgical models meant for iteratively constructed artworks such as plays are likely to be deficient for improvisational artworks in general. Finally, the authors' methodological choices are considered. Both exploratory research and model selection are also driven by implicit hypotheses, so care must be taken to minimize false discovery.

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Rebollo Calzada, Mar. ""Los ojos de la noche" de Paloma Pedrero = "Los ojos de la noche", by Paloma Pedrero." Estudios Humanísticos. Filología, no. 38 (December 20, 2016): 105. http://dx.doi.org/10.18002/ehf.v0i38.3929.

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Paloma Pedrero ha sido reconocida como la dramaturga más representada en lo que llevamos de siglo. Los orígenes de su escritura se remontan al último cuarto del siglo XX, cuando aparece en España una nueva generación de dramaturgos que empiezan a escribir en la Democracia. Este artículo aborda un análisis de Los ojos de la noche, pieza emblemática de teatro breve de la dramaturga donde conecta con la sociedad de su tiempo desde una mirada femenina. Se abordan los temas recurrentes de la autora como la soledad, el amor, la ceguera y el triunfo. Y es que la pieza se centra en una mujer madura que supuestamente ha triunfado en el ámbito familiar y profesional como no podría haber soñado ninguna de las dramaturgas del s. XIX, a las que recordamos al principio, pero que evidencia los conflictos y contradicciones entre los valores tradicionales y los nuevos tiempos.Paloma Pedrero has been recognized as the playwright more represented in so far this century. The origins of his writing can be traced back to the last quarter of the twentieth century, when displayed in Spain a new generation of playwrights who begin to write in democracy. This article discusses an analysis of Los ojos de la noche emblematic site in teatro breve of the playwright where it connects with the society of his time from a female perspective. Addresses the recurrent themes of the author as the loneliness, the love, the blind nessand the triumph. And that is that the piece focuses on a mature woman who supposedly has triumphed in the family and professional as could not have dreamed of none of the dramaturgas of s. XIX, which we recall at the beginning, but that evidence the conflicts and contradictions between traditional values and the new times.

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Hagström-Ståhl, Kristina. "“almost invisible until now”." Nordic Theatre Studies 31, no. 1 (March 14, 2019): 141–54. http://dx.doi.org/10.7146/nts.v31i1.113013.

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This essay discusses Sophocles’ Antigone in relation to its Hegelian legacy, engaging with the play from a directorial perspective. Drawing on the work of Judith Butler, Anne Carson , Bonnie Honig, Peggy Phelan and Cecilia Sjöholm, I attempt to envision a contemporary mise en scène that repositions feminine subjectivity within the dramaturgy of tragedy. Centering on the relationship between Antigone and Ismene, as well as on the possibility of revaluing Ismene’s position in terms of political and dramaturgical agency, I hope to challenge dramaturgical conventions that assume binary, heteronormative relations as the primary framework of interpretation for female characters, and death and destruction as the only possible outcome for what is positioned as feminine. This resituated reading of the drama examines the function of embodied performance in processes of meaning-making, and offers dramaturgical structure as a site for strategies of resistance.

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Jardim, Jéssica Cristina. "A sombra do mártir: visões da morte na peça histórica romântica Bartolomeu de Gusmão, de Agrário de Menezes." Brasiliana: Journal for Brazilian Studies 7, no. 1 (December 28, 2018): 132–48. http://dx.doi.org/10.25160/bjbs.v7i1.107988.

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O presente artigo reflete sobre a fascinação pela morte e pela queda do heroi na dramaturgia romântica brasileira. Por meio de uma comparação com outros gêneros, como o épico e o lírico, de acordo com as contribuições teóricas de Hegel (2014; 2001), buscamos analisar o drama histórico Bartolomeu de Gusmão, publicado em 1865. Na obra de Agrário de Menezes, como também na de outros dramaturgos do romantismo brasileiro, as dificuldades impostas à ação heróica e a perspectiva de falha formam parte integrante da configuração da ação. O drama tem como assunto a vida – e a morte – de Bartolomeu Lourenço, o padre inventor da “Passarola”, uma máquina voadora. Menezes põe em cena um personagem morto – o fantasma do padre – modificando os eventos históricos e inserindo o tema do sobrenatural. Indicando suas similaridades e dissimilaridades com outros dramas históricos, a análise mobiliza conceitos como heroi, mártir, ação e acontecimento. Palavras-chave: Bartolomeu de Gusmão; peça histórica; heroi; dramaturgia romântica; Agrário de Menezes.

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Santos Sánchez, Diego. "Dramaturgas y censura en el último Franquismo: Carmen Resino y Ana Diosdado." Revista de literatura 78, no. 156 (January 18, 2017): 499. http://dx.doi.org/10.3989/revliteratura.2016.02.021.

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Partiendo de los expedientes censores, este trabajo aborda el modo en que la censura de los últimos años del Franquismo entendió y gestionó el teatro escrito por mujeres y el rol de la dramaturga en el mundo teatral. Ello se ilustrará a través de las dos autoras más representativas y populares de la década de los setenta: Carmen Resino y Ana Diosdado. El modo en que la censura conceptuó su labor será puesto en perspectiva y enlazado tanto con la situación de las autoras del primer Franquismo como con la génesis de la dramaturgia femenina de la democracia.

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Gontijo Rosa, Carlos Junior. "O Precipício de Chichisbéu: o ‘gracioso’ feito à sombra do ‘galán’ em O precipício de Faetonte, de Antônio José da Silva." Acta Scientiarum. Language and Culture 38, no. 3 (August 16, 2016): 311. http://dx.doi.org/10.4025/actascilangcult.v38i3.30059.

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Neste trabalho, analisamos a personagem de Chichisbéu na peça O Precipício de Faetonte, de Antônio José da Silva (1705-1739), representada em 1738 no Teatro do Bairro Alto, Lisboa, Portugal. Partindo de perspectivas teóricas diversas, mas convergentes no sentido de compreender a pouco explorada dramaturgia do período, tentamos um entendimento dos textos joco-sérios do comediógrafo. Como forma tragicômica de origem espanhola, a personagem do gracioso é o principal representante do cômico nesse gênero teatral. Busca-se, portanto, o entendimento desse personagem (Chichisbéu, no caso) em suas relações com o ‘galán’ e a relação da obra do dramaturgo com as preceptivas e técnicas de escrita teatral vigentes no período.

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PETTENGILL, RICHARD. "Peter Sellars's Merchant of Venice: A Retrospective Critique of Process." Theatre Research International 31, no. 3 (October 2006): 298–314. http://dx.doi.org/10.1017/s0307883306002252.

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This article offers a dramaturg's perspective on the day-to-day rehearsal activities of the director Peter Sellars as he prepared his highly controversial production of Shakespeare's The Merchant of Venice at Chicago's Goodman Theatre in 1994. Because Sellars had conceptualized his production well before his arrival in Chicago, and because he was inaccessible prior to the first rehearsal, the usual pre-production collaboration could not take place. On one level the article is about the dramaturg being thrust into the thick of an unusual process and finding his role(s) along the way: as enquiring interlocutor asking questions to clarify the proceedings for self and for the audience, another as documenter. Sellars readily agreed that any other person's perceptions of his process are different from his own. My purpose here is to offer a dramaturg's-eye view of the working methods of one of contemporary theatre's most iconoclastic and innovative directors, along with some critical reflections on the process.

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Théberge, Mariette. "Développement dramaturgique et perspective systémique de la créativité à La Troupe du Jour de Saskatoon." Éducation et francophonie 40, no. 2 (February 5, 2013): 23–40. http://dx.doi.org/10.7202/1013812ar.

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Cet article vise à comprendre la manière dont le développement dramaturgique de La Troupe du Jour de Saskatoon est mis en oeuvre et s’inscrit dans une perspective systémique de la créativité. À cette fin, les concepts d’expérience et d’accompagnement, la théorie de l’apprentissage transformationnel ainsi que le modèle de la perspective systémique de l’étude de la créativité constituent les assises du cadre conceptuel de la présente recherche qui se situe dans un contexte d’apprentissage non pas pas scolaire, mais institutionnel. Il s’agit d’une recherche qualitative, plus spécifiquement d’une étude de cas dont la principale stratégie de collecte de données est l’entrevue individuelle semi-dirigée réalisée auprès de neuf participants, dont deux conseillers dramaturgiques, cinq dramaturges ainsi que les directeurs artistique et administratif de La Troupe du Jour. Les résultats de l’analyse de ces témoignages mettent en valeur les temps d’émergence, de consolidation et de reconnaissance de cette dramaturgie en plaçant l’expérience et l’accompagnement comme clef de voûte de la pratique de développement dramaturgique dans ce contexte.

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Albas, Daniel, and Cheryl Albas. "The Staging of Examinations: A Student Response to the Institutional Perspective." Canadian Journal of Higher Education 18, no. 3 (December 31, 1988): 69–81. http://dx.doi.org/10.47678/cjhe.v18i3.183046.

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When universities administer examinations, they do so dramaturgically. That is, they use spaces, props, equipment, and bodies to convey specific messages (that examinations are important, serious, formal affairs which reflect the larger societal values of universalism and individualism) to students. Drama and dramaturgy require both actors and an audience; the interaction consists of the effect that the one has on the other, that the other has on the one and both of these. The focus of this paper is on the interaction between the message and students' response to it, that is, the students' definition of the situation. In particular, emphasis is upon the notion that the dramaturgical messages given by the university will be interpreted largely as they were intended to be, that in some cases the effect of the message is dysfunctional, either because it is misinterpreted or because it is challenged.

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Rodrigues, Eder. "Tessituras dramatúrgicas: a imagem como escritura performática." Aletria: Revista de Estudos de Literatura 27, no. 2 (October 2, 2017): 113–26. http://dx.doi.org/10.17851/2317-2096.27.2.113-126.

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Este artigo se concentra nos estudos sobre dramaturgia contemporânea e no diálogo interartes como motor de sua tessitura. A fronteira entre as artes e as perspectivas de trabalho com o texto na cena atual são investigadas a partir do labor que elege a imagem como o fundamento de suas fontes, teorizações e adjacências. As questões levantadas analisam o prospecto da imagem enquanto escritura performática e também como correspondente de um pensamento pautado sobre o imagético como dispositivo político e estético. Nesta vertente, apresento o trabalho do dramaturgo português Mickaël de Oliveira junto ao Colectivo 84 para sublinhar o viés conceitual pautado em um olhar plural sobre o texto em relação às fontes tradicionais de produção, além de evidenciar o performático de sua gênese.

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Charko-Klekot, Paulina. "Dramatopisarki w natarciu — feministyczny charakter najnowszej dramaturgii rosyjskojęzycznej." Rusycystyczne Studia Literaturoznawcze 30 (December 29, 2020): 128–47. http://dx.doi.org/10.31261/rsl.2020.30.08.

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This article enumerates the most salient features of works by the youngest contemporary Russian-speaking playwrights of Eastern Europe, including Irina Vaskovska, Asya Voloshyna, Natalya Blok, Olga Shilyayeva and Darya Slyusarenko. Conducted from a feminist perspective, the study discusses various ways in which the plays contradict a male-centric vision of the world. Their authors undertake the (re-)definition of the concept of femininity by proposing new perspectives on seemingly well-known topics such as motherhood, family relationships, sexuality, and corporeality. The protagonists of the plays presented in the text oppose the social and moral norms that limit them, make attempts to go beyond those cliches, and fight for the opportunity to be themselves.

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Rodríguez Torres, Georgina Azucena. "Óscar Villegas y sus personajes deshumanizados en La paz de la buena gente." Investigación Teatral. Revista de artes escénicas y performatividad 10, no. 16 (October 28, 2019): 124–46. http://dx.doi.org/10.25009/it.v10i16.2608.

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El presente artículo tiene como propósito rescatar la trayectoria y estilo creativo del dramaturgo mexicano Óscar Villegas en la dramaturgia nacional. También se estudiarán, a través del análisis teórico-dramático correspondiente al género del teatro del absurdo, la naturaleza abstracta de los personajes creados por el autor de manera despersonalizada, animalizada y degradada –como alegorías de la sociedad y su histeria colectiva– en su segunda obra, La paz de la buena gente, escrita en la Ciudad de México en 1967 y estrenada en 1980.Oscar Villegas and his Dehumanized Characters in La paz de la buena genteThis article describes Butoh’s route from its origins to its global presence, from a Mexican perspective. The essential elements derived from Butoh’s techniques can be understood as a vital search for a path. The article offers a starting point and a midpoint in body-mind exploration as part of an actor’s training. Recibido: 14 de mayo de 2019Aceptado: 20 de agosto de 2019

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De Paula, Eduardo. "CARTOGRAFIA THIERRY SALMON." Revista Rascunhos - Caminhos da Pesquisa em Artes Cênicas 6, no. 1 (April 1, 2019): 05–19. http://dx.doi.org/10.14393/rr-v6n1-2019-01.

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Título: Cartografia Thierry Salmon - entre uma apresentação ao público brasileiro e uma contextualização necessária Resumo: Apresentação e contextualização de Thierry Salmon e dos textos escolhidos para o público brasileiro: Biografia Thierry Salmon, Dez perguntas mais uma a Thierry Salmon¸ Homenagem a Thierry Salmon, Pentesiléia e o Projeto Amazonas: duplo olhar para uma dramaturgia – [com] um fragmento de diálogo à distância com Thierry Salmon e É Preciso que o real penetre no espetáculo. Para conhecer mais sobre o teatro de Thierry Salmon o texto é acompanhado de uma bibliografia elaborada a partir dos materiais reunidos. Palavras-chave: Thierry Salmon, Encenação, Atuação, Dramaturgia, Processo de Criação. Titolo: Cartografia Thierry Salmon – tra una presentazione al pubblico brasiliano e una necessaria contestualizzazione Riassunto: Presentazioni e contesto generali su Thierry Salmon e i testi scelti per il pubblico brasiliano: Biografia: Thierry Salmon, Dieci Domande più una a Thierry Salmon, Omaggio a Thierry Salmon, Pentesilea e il Progetto Amazzone: doppio sguardo per una drammaturgia – [con] un frammento di dialogo a distanza con Thierry Salmon e Bisogna che il reale penetri nello spettacolo. Per conoscere meglio il lavoro di Thierry Salmon il testo è seguito da una sintesi bibliografica dai materiali raccolti. Parole chiave: Thierry Salmon, Messa in scena, Recitazione/Rappresentazione, Drammaturgia, Processo di creazione. Title: Cartography Thierry Salmon - between a performance for the Brazilian audience and a necessary contextualisation Abstract: Presentation and contextualization of Thierry Salmon and selected texts for the Brazilian public: Biography: Thierry Salmon, Ten questions plus one to Thierry Salmon, Tribute to Thierry Salmon, Penthesilea and the Amazon Project: dual perspective for a dramaturgy – [with] a fragment of a distance dialogue with Thierry Salmon and It is necessary that the real enter the spectacle. In order to know more about the Theatre of Thierry Salmon, the text is accompanied by a detailed bibliography. Keywords: Thierry Salmon, Staging, Acting, Dramaturgy, Creative Process.

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Furduy, Yulia, and Marharyta Husieva. "FEMALE IMAGES IN OPERA CREATIVITY OF THE AMERICAN COMPOSERS." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 70–81. http://dx.doi.org/10.33287/222006.

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The purpose of this article is to analyze and understand the interpretation of female images in the works of Opera composer’s national American school. One of the reasons, which prompted the author to dive into the problem and answers Opera performances of American composers such as K. Floyd, John. K. Menotti, J. Gershwin. Methods. In achieving this goal, applied the following research methods a namely the source, comparison, systematization, analysis, generalization of the research problem, used many specialized works on the theory and history of culture. Scientific novelty of the work is that needs to expand views about the development of the Opera genre in American music. In addition, the inspection should be disclosed images of women in the perspective of self-identity of American music like the classic design in the field of Opera. This is due to the necessity of paying attention by the singer relative to the faithful and meaningful interpretation of the female character (Clara – George. Gershwin), Susanna K. Floyd, Monica K. Menotti), as in the dramaturgic sense, and the performing, as well as the emphasis on the vocal abilities of the singer and his acting skills. Conclusions. The analysis of this study was to identify patterns in the musical and thematic material of American Opera composers (K. Floyd, John. K. Menotti, J.Gershwin). In the plots of the operas presented by the harsh realities of the treatment of women at that time. In the women's images traced the line of resistance, the struggle for the future bright and strong-willed traits. The suffering and pain which resonates with the despair, but at the end of the story, spill over into the acceptance of his dark fate. Singer, in the performance of these works, will be able to learn the history of the characters, to understand their national and ideological features, for a more accurate interpretation of the characters in the performance of solo numbers in the Opera. Note also that the transformation of women’s images, which provides an opportunity to trace the psychological and spiritual aspects of their development. This primarily happens due to the influence of social, political and historical moments.

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Taylor, Benedict. "Sullivan, Scott andIvanhoe: Constructing Historical Time and National Identity in Victorian Opera." Nineteenth-Century Music Review 9, no. 2 (December 2012): 295–321. http://dx.doi.org/10.1017/s1479409812000316.

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Arthur Sullivan's Walter Scott-based operaIvanhoe, despite attaining great success at its 1891 premiere, has since quickly fallen from musicological grace. Substantive criticism of this work in the twentieth century has concentrated on the static, tableau-like dramaturgy of the opera, a lack of dramatic coherence, and its undeniably conservative musical language. Taking its bearings from such criticisms this paper explores Sullivan's problematicmagnum opusfrom the perspective of its relationship with time, understood from multiple levels – his opera's musical-dramaturgical, historical, and music-historical temporalities. Starting from Michael Beckerman's insightful analysis of what he terms the ‘iconic mode’ in Sullivan's music,Ivanhoecan be viewed as an attempt at creating a different type of dramaturgical paradigm that emphasizes stasis and stability located in the past – highly apt for a work seeking both to crystallize past history and to found a new tradition for future English opera. Moreover, investigating this work and the composer's stated aesthetic concerns more closely reveal a conscious desire to opt out of continental European narratives of musical progress and build a composite, pageant-like vision of English history, therefore inevitably partaking in a process of constructing national identity. These features are teased out in the context of Scott's impact on the Victorian mind and their affinities with other historicist tendencies in the arts such as the Pre-Raphaelite movement.

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Almeida, Verônica Fabrini Macahdo de, and Melina Scialom. "Apresentação." Pitágoras 500 8, no. 1 (June 27, 2018): 3–13. http://dx.doi.org/10.20396/pita.v8i1.8652802.

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Apesar do conceito de dramaturgia manter forte conexão com o campo da literatura teatral, é certo que, especialmente depois do desenvolvimento da figura do encenador e do refinamento das múltiplas perspectivas do trabalho do ator no século passado, o conceito vem se expandindo, ou ainda, retomando seu sentido primeiro, ou seja o sentido da organização das ações, quer seja no suporte do texto escrito, quer seja na materialidade da cena e seus sistemas de signos. É um movimento natural: quando se refinam os sistemas de signos esses buscam uma autonomia de linguagem. Hoje fala-se na dramaturgia do ator, do movimento, da dança, do espaço, da luz, do tempo...Neste sentido, é interessante examinarmos, numa perspectiva dramatúrgica, as múltiplas linguagens cênicas que vêm sendo produzidas, discutidas e analisadas neste último século.

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Zakharov, Yurii. "Witold Lutosławski: artistic portrait on the background of world wars." Человек и культура, no. 6 (June 2020): 184–99. http://dx.doi.org/10.25136/2409-8744.2020.6.29242.

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This article examines the life and artistic journey of the Polish composer Witold Lutosławski over the period from 1913 to 1945. Special attention is given to the fate of his father Józef who along with his brother were executed by a firing squad in September 1918, as well as to the fate of the omposer himself and his brother Henryk during the World War II. In the second part of the article, the subject of research becomes the peculiarities of musical language of W. Lutoslawski, as well as his views upon the sound structure and dramaturgical construct of the compositions. The presence of two substantive aspects in Lutoslawski’s music is proven: 1) gradual transformation of harmonious vertical due to progressive changes or addition of sounds (in combination with intonation transformations); 2) dramaturgy of sections and dramaturgy of layers. The author offers a new perspective on the works of Witold Lutosławski as the continuation G. Mahler in the area of the general concept of symphonic style, as well as in the area of intonation plot. At attempt is made to explain the peculiarity of perception of Lutosławski’s music by Russian audience in the context of comparison of the Russian and Polish mentality.

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Gardner, William L., and Bruce J. Avolio. "The Charismatic Relationship: A Dramaturgical Perspective." Academy of Management Review 23, no. 1 (January 1998): 32–58. http://dx.doi.org/10.5465/amr.1998.192958.

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Gardner, William L., and Bruce J. Avolio. "The Charismatic Relationship: A Dramaturgical Perspective." Academy of Management Review 23, no. 1 (January 1998): 32. http://dx.doi.org/10.2307/259098.

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Kettnich, Karen. "The Tamer Tamed: A Dramaturg's Perspective." Shakespeare 7, no. 3 (September 2011): 361–68. http://dx.doi.org/10.1080/17450918.2011.589069.

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Quinn, Brian. "A Dramaturgical Perspective on Academic Libraries." portal: Libraries and the Academy 5, no. 3 (2005): 329–52. http://dx.doi.org/10.1353/pla.2005.0039.

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Brncić Becker, Carolina. "Metadrama: reescrituras y falsificaciones en Shakespeare, Barrales y Radrigán." Alpha: Revista de Artes, Letras y Filosofía, no. 47 (January 2, 2019): 75–89. http://dx.doi.org/10.32735/s0718-220120180004700165.

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Este artículo aborda dos reescrituras de William Shakespeare en la dramaturgia chilena actual, Shakespeare falsificado: reconstrucción falsificada de un manuscrito censurado (2011) de Luis Barrales y La Tempestad (2015) de Juan Radrigán. Para ello propone la reescritura como ejercicio metadramático, un gesto consciente, dramático y político, que busca dialogar y discutir con el original, inscribiendo la nueva perspectiva autorial en el continuum de la tradición cultural. Dentro de este enfoque, el trabajo expone, en primer lugar, las características de la dramaturgia renacentista inglesa como una praxis híbrida, colaborativa, refundidora y política. Luego, caracteriza ambas reescrituras como prácticas que muestran la vigencia y continuación de un canon cultural, literario y dramático, por medio de las distintas modulaciones que se imprimen desde estas nuevas voces. Asimismo, las perspectivas de Barrales y Radrigán se exhiben como gestos políticos expresados hacia sus contextos.

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Jackson-Schebetta, Lisa. "Dramaturgy and change." Performing Ethos: An International Journal of Ethics in Theatre & Performance 10, no. 1 (December 1, 2020): 101–3. http://dx.doi.org/10.1386/peet_00022_7.

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What are the challenges and opportunities of working with undergraduates from the perspective of institutional dramaturgy in relation to equity, diversity and inclusion? How can ideas of change be foregrounded as methods, subjects and objects of study?

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Kotnik, Vlado. "Thinking the Interview: On the Epistemology of an Intersubjective Field Method (Part II)." Monitor ISH 17, no. 2 (November 3, 2015): 133–69. http://dx.doi.org/10.33700/1580-7118.17.2.133-169(2015).

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The paper continues the article “Thinking the Interview: On the Epistemology of an Intersubjective Field Method (Part I)”, which focuses on the constant adaptability, changeability and interchangeability of the subject and object positions which are practised by researcher and informant in an interview. In order to understand better the fluid, flexible and circumstantial construction of this particular interpersonal relationship within an interview situation, the paper continues with presenting five further perspectives, based on well-established theories of some important thinkers in the field of social sciences and humanities, which may be helpful in reflecting on the positions, roles, investments, and doings of both protagonists within an interview situation: discursive perspective, underpinned by the theory of power and authority (Michel Foucault); psychoanalytic perspective, centred around the theory of the unconscious (Sigmund Freud); ethnographic perspective, capped by the theory of reflexivity (Pierre Bourdieu); mnemonic perspective, grounded on the theory of memory (Maurice Halbwachs); dramaturgical perspective, supported by the theory of interaction (Erving Goffman). The abovementioned perspectives can be helpful in planning and organising field work, as well as in collecting and interpreting the qualitative empirical data obtained by interviews.

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Baldo, Lysiane Cassia, and Acir Dias Da Silva. "Kintsugi 100 (sem) memórias: o gesto autoficcional performativo para o encontro com a dramaturgia da memória." Travessias 15, no. 1 (April 27, 2021): 165–79. http://dx.doi.org/10.48075/rt.v15i1.26227.

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O ponto de partida se dá pelo diálogo entre um alargamento do conceito de ‘dramaturgia’ exercitado em experimentações cênicas contemporâneas, colocado em relação a espetáculos que têm como mote a investigação da memória do ator/performer em uma perspectiva autoficcional. O trabalho sobre o “eu” e a evocação das memórias é evidenciado como procedimento de criação de um teatro performativo. Com base nestes pressupostos e, tomando como objeto um trabalho artístico de relevância nesta temática e referência nas artes da cena, o objetivo é compreender como a dramaturgia da memória se constrói no processo de criação do espetáculo Kintsugi: 100 (sem) memórias (2019) do Lume Teatro. Para tanto, os seguintes questionamentos são levantados: Sob quais perspectivas a memória é configurada nesta obra? Como os limites entre o “real” e o ficcional são definidos nos processos de criação neste trabalho cênico? A metodologia empregada é a da literatura comparada, na análise texto/cena/performatividade com vistas ao processo de composição. A base teórica se delimita principalmente nos seguintes autores: Eco, Borriaud, Lopes e nos relatos da atriz Ana Cristina Colla em entrevista nesta pesquisa elaborada, entre outros. Como resultado, constatamos que a 'memória criadora' aliada à performatividade fricciona as fronteiras real/ficcional, redimensionando a cena e a dramaturgia contemporâneas.

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Stull, Judith C., and E. Brent. "Erving: Sociological Reasoning from the Dramaturgical Perspective." Teaching Sociology 17, no. 2 (April 1989): 272. http://dx.doi.org/10.2307/1317499.

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Boito, Sofia Rodrigues. "A dramaturgia no teatro site-specific." Conceição/Conception 5, no. 1 (June 30, 2016): 21. http://dx.doi.org/10.20396/conce.v5i1.8647646.

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O artigo debate a criação de dramaturgia em obras teatrais site-specific sob a perspectiva do gesto. Transplantamos o conceito de gesto lírico do crítico literário Dominique Rabaté para o contexto de uma criação teatral em processo colaborativo nas ruas de São Paulo a fim de investigar as possibilidades de emergência de textualidades na relação corporal entre ator e cidade.

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Hasmann, Robson Batista dos Santos. "Historiadores como metateatro na dramaturgia de Rodolfo Usigli." Revista Entrecaminos 2, no. 1 (August 25, 2017): 19–35. http://dx.doi.org/10.11606/issn.2447-9748.v2i1p19-35.

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A aproximação entre a história e a ficção proporciona um campo bastante fértil nos estudos sobre a América Latina. O crítico Roberto González Echevarría (2000), por exemplo, procurou demonstrar que a ficção romanesca é credora de uma série de discursos jurídicos e legais produzidos nos primeiras décadas da colonização. Da mesma forma, André Trouche (2006) buscou evidenciar que a reflexão e a reescrita da história é uma constante da produção ficcional. Mais recentemente, Leyla Perrone-Moisés (2007) destacou que boa parte dos “paradoxos do nacionalismo” da América Latina é entrevisto no trabalho dos ficcionistas com a historiografia do continente. Porém, a dramaturgia não faz parte desses estudos e raramente aparece em outros que se dedicam a trabalhar essa perspectiva teórica na literatura hispano-americana. Com efeito, nosso trabalho propõe inserir o texto teatral nesse espectro de abordagens. . Selecionamos duas peças mexicanas do dramaturgo Rodolfo Usigli, a saber El gesticulador (1938) e Corona de sombra (1943). Usigli é considerado o principal responsável pela revitalização da arte dramática em seu país, em particularporque construiu sua obra a partir do conceito de que ele chamou de “anti-historia”. Nas obras selecionadas, destaca-se a figura de historiadores como personagens centrais. Buscamos centrar nossa leitura em uma possível função “metateatral” dessas personagens.

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Sohrabi, Hadi, and Karen Farquharson. "Social integration of Australian Muslims: A dramaturgical perspective." Journal of Sociology 52, no. 2 (February 5, 2015): 387–402. http://dx.doi.org/10.1177/1440783314562415.

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Artagea Solomon, Centa. "Schimbarea de perspectivă în dramaturgia postbelică sub presiunea comunistă." Comunicare interculturală și literatură 25, no. 1 (July 20, 2018): 238–44. http://dx.doi.org/10.35219/cil.2018.1.20.

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Carvalho, Luiz Fernando Medeiros de. "Animal em movimento." Revista do Centro de Estudos Portugueses 27, no. 38 (December 31, 2007): 91. http://dx.doi.org/10.17851/2359-0076.27.38.91-100.

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Este ensaio investiga como a poesia de Armando Freitas Filho tem elaborado um modo de olhar a transformação operada pelo tempo nas coisas para mostrar o efeito de sua passagem no humano. Essa mirada não abrangeria apenas acontecimentos vividos na perspectiva de sua ocorrência no passado, mas desdobraria insights sobre a inquietude da cena contemporânea. Nos três últimos livros, intensifica-se uma dramaturgia da escrita onde se destaca o jogo entre o ato de escrever e os suportes materiais da escrita. Desse embate surge uma imagem do verso proposto como animalidade mutante, configurada na multiplicidade daquilo que não se paralisa ao se converter em texto. Ce texte montre de quelle façon le poète brésilien Armando Freitas Filho déploie un regard sur le travail du temps parmi les choses et les effets sur l´humain. Ce regard n´appartient pas aux événements vécus autrefois, mais glisse vers l´inquietante étrangété du présent. Dans ses dernières ouvrages, on voit augmenter une dramaturgie de l´écriture autour de l´acte même de production du trait littéraire et les conditions matérielles de acte d´invention du langage. Dans l´imminence de ce combat, la trace du poétique dévient le visage d´un animal en fuite, produit dans la dispersion d´un être qui est en train de devenir texte.

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Borges, Rosa, and Isabela Santos de Almeida. "A correspondência nos acervos de João Augusto e Jurema Penna." Revista Légua & Meia 10, no. 1 (August 11, 2019): 30. http://dx.doi.org/10.13102/lm.v10i1.3658.

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Neste artigo, serão estudadas as correspondências de João Augusto e Jurema Penna, compreendendo as décadas de 1960 a 1990, no âmbito dos acervos dos referidos dramaturgos/escritores no Arquivo Textos Teatrais Censurados (ATTC). Tais correspondências colocam em evidência a produção dramatúrgica baiana e as ações dos sujeitos envolvidos com o fazer teatral, bem como suas subjetividades, próprias do espaço epistolar. Em perspectiva filológica, ao realizar a etapa da recensio, ocupamo-nos da pesquisa de fontes, documentais, literárias e dramatúrgicas, buscando nas cartas elementos que conduzem a prática de edição e estudo crítico de textos, conciliando as metodologias da crítica textual e da crítica genética. Investigamos o processo de transmissão dos textos, considerando os contextos de produção, recepção, circulação, articulando as dimensões materiais, culturais e históricas, constitutivas de um dado documento. Interessa-nos, neste trabalho, tecer relações entre o que apontam tais correspondências e os demais documentos presentes no ATTC, de maneira que, partindo da crítica filológica, seja possível suplementar a leitura dos acervos em questão. Com a realização dessa investigação, conseguimos observar o trabalho do dramaturgo e sua atuação na cena cultural baiana e brasileira para além da escrita, bem como elucidar aspectos da interação entre os diferentes sujeitos que compunham essa cena.

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Chong, SinHui, and Riguang Gao. "Linking Ethical Leadership to Follower Outcomes: A Dramaturgical Perspective." Academy of Management Proceedings 2016, no. 1 (January 2016): 12480. http://dx.doi.org/10.5465/ambpp.2016.12480abstract.

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Sullivan, Daniel, Mark J. Landau, Isaac F. Young, and Sheridan A. Stewart. "The dramaturgical perspective in relation to self and culture." Journal of Personality and Social Psychology 107, no. 5 (November 2014): 767–90. http://dx.doi.org/10.1037/a0037904.

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Amarante, Dirce Waltrick do. "A perspectiva de Patópolis." Aletria: Revista de Estudos de Literatura 21, no. 3 (December 31, 2011): 103–8. http://dx.doi.org/10.17851/2317-2096.21.3.103-108.

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O artigo propõe um paralelo entre os rinocerontes, da peça O rinoceronte, de 1959, de Eugène Ionesco, e o Pato Donald, protagonista de Patópolis, 2010, de Marcelo Coelho. Se O rinoceronte é um texto “trágico” de um dramaturgo que refletiu sobre o animal, sem ser visto por ele, em Patópolis, ao contrário, é através do olhar irônico de um pato que a cultura é analisada.

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Hafifi, Hoirul. "COPY PASTE VIDEO TEATER SAE DALAM KERJA POLITICAL DRAMATURGY DAN REENACTMENT DALAM KERJA SUTRADARA." IKONIK : Jurnal Seni dan Desain 2, no. 2 (July 29, 2020): 115. http://dx.doi.org/10.51804/ijsd.v2i2.741.

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Artikel ini membahas copy paste video Teater Sae yang dilakukan Artery Performa pada senin, 8 Juli 2019 di Graha Bakti Budaya, Taman Ismail Marzuki dalam Djakarta Teater Platform merupakan cara kerja dramaturgi baru, yang mendudukkan kerja operasi sistem gagasan ke atas panggung merupakan kerja riset terhadap hubungan gambar dan estetika yang sudah menjadi arsip dalam tataran sinematografinya, maunpun reenactment dalam kerja penyutradaraan. Bukan kerja bentuk yang sama persis dengan video; tetapi lebih kepada usaha pencapaian dalam memberikan spektrum kerja performativitas yang berlapis-lapis antara arsip dan medium, antara estetika dan teknologi, juga perbedaan kodifikasi makna berdasarkan konteks arsip. Selain itu, konteksnya bagaimana memperlakukan video dokumenter yang di-copy paste dalam analisis teks, makna, dari aktor-aktor masa lalu ke arah tekstual hari ini yang bisa memiliki perbedaan dan persamaan dari beragam perspektif, termasuk pada ranah politik dalam Teater Sae, yang muaranya dilakukan oleh Dendi Madiya dalam Political Dramaturgy.This article discusses copy paste of Teater Sae video conducted by Artery Performa on Monday, July 8, 2019 at Graha Bakti Budaya, Taman Ismail Marzuki in Djakarta Theater Platform is a new dramaturgy way of working, which puts the work of the idea system operation on stage is a research work on the relationship pictures and aesthetics that have become archives in the cinematographic level, and reenactment in directing work. Not working the exact same shape as the video; but rather the effort to achieve in providing a spectrum of work performance in layers between the archive and the medium, between aesthetics and technology, as well as differences in the codification of meaning based on the context of the archive. In addition, the context is how to treat documentary videos that are copied and pasted in the analysis of texts, meanings, from past actors in the textual direction today that can have differences and similarities from various perspectives, including in the political sphere in the Sae Theater, which is done by Dendi Madiya in Political Dramaturgy.

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Cancela, Elina Miranda. "La recepción clásica en el teatro cubano del siglo XXI: la “tetralogía” de Yerandy Fleites." Nuntius Antiquus 14, no. 1 (July 13, 2018): 9–30. http://dx.doi.org/10.17851/1983-3636.14.1.9-30.

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Si bien desde mediados del siglo XX aparecen Antígonas, Electras, Medeas en la dramaturgia latinoamericana, ciertamente en el teatro cubano, después de un primer momento en los años sesenta en que se escriben o estrenan un buen número de tales versiones, es a partir de fines de los noventa y, sobre todo, en este siglo XXI, cuando el teatro cubano conoce un segundo auge en relación con la recepción clásica. Destaca el propósito de Yerandy Fleites, un joven dramaturgo, de escribir una especie de tetralogía sobre heroínas clásicas muy jóvenes: Antígona, Electra, Medea e Ifigenia. Comienza este proyecto alrededor de 2005, publica Antígona en 2007; Jardín de héroes, su versión de Electra, en 2009; Un bello sino, en torno a Medea, en 2010; mientras que la aparición de su Ifigenia (tragedia ayer) demora hasta el 2015. Analizar en estas cuatro obras las estrategias de recepción, marcadamente metateatrales, paródicas y de vínculos intertextuales multifacéticos, es el propósito asumido a fin de mostrar cómo se mantiene el diálogo con los clásicos, con variantes en relación a los recursos y perspectivas asumidos generalmente en la pasada centuria, pero con un propósito semejante de apropiación con vista a generar creativamente una nueva versión que no solo plasme sino haga reflexionar sobre inquietudes inherentes al momento y entorno social del autor.

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Regina, Sueli Maria Oliveira. "Enunciado e enunciação." Aletria: Revista de Estudos de Literatura 7 (December 31, 2000): 293. http://dx.doi.org/10.17851/2317-2096.7.0.293-299.

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Sob a perspectiva da Análise do Discurso, este artigo examina as didascálias do texto secundário da obra dramática, considerando-as enunciados diretamente relacionados ao autor e pertencentes ao metadiscurso da dramaturgia.

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Jișa, Simona. "La relation mère-enfant dans la dramaturgie staëlienne." Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (October 30, 2020): 57–71. http://dx.doi.org/10.24193/subbdrama.2020.2.03.

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"The Relationship between Mother and Child in Staël’s Playwriting. The article aims to analyse the plays of Germaine de Staël Agar dans le désert, Geneviève de Brabant and La Sunamite, considered as serious dramas, brought together in the perspective of the maternal relationship. The maternal archetype follows the form of the mater dolorosa capable of the greatest sacrifices. The child is seen as being inseparable from the mother and is often an innocent victim of human sins. Passionate love as the essential coordinate of romanticism is replaced by maternal love and by the love of God. The plays have a clear moralizing value, but the pathos of declamation and the introspection, characteristic of romanticism, are well visible. Keywords: Germaine de Staël, theatre, maternal relationship, romanticism."

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Vargas, Vagner De Souza, and Denise Marcos Bussoletti. "Dramaturgia da corporeidade do ator: Proposta e Reflexões." Revista Digital do LAV 8, no. 4 (April 30, 2015): 065. http://dx.doi.org/10.5902/1983734817036.

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A maneira como os atores se relacionam com os seus corpos vem sendo uma preocupação constante no teatro contemporâneo. O objetivo desse artigo é apresentar e discutir sobre o conceito de dramaturgia da corporeidade do ator. Esse conceito envolve questões que inter–relacionam técnicas corporais, imaginação, pensamento, sensorialidade e a maneira como os atores se relacionam com os seus próprios corpos, de como associam isso as suas relações com a corporeidade do personagem e com a sua própria corporeidade. A dramaturgia da corporeidade estaria incluída no período pós-aquisição de repertório estético-corpóreo-vocal. Propomos aqui algumas reflexões sobre os direcionamentos que os trabalhos dos atores possam adotar sob a perspectiva dessa premissa.

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Encinias, Nevarez. "Queer Dramaturgies: International Perspectives on Where Performance Leads Queer." TDR/The Drama Review 61, no. 4 (December 2017): 172–74. http://dx.doi.org/10.1162/dram_r_00706.

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Lewis, Helen Deborah. "Queer dramaturgies: international perspectives on where performance leads queer." Studies in Theatre and Performance 37, no. 2 (August 2, 2016): 290–92. http://dx.doi.org/10.1080/14682761.2016.1215048.

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Down, Simon, and James Reveley. "Between narration and interaction: Situating first-line supervisor identity work." Human Relations 62, no. 3 (March 2009): 379–401. http://dx.doi.org/10.1177/0018726708101043.

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This article examines how frontline managers establish managerial identities. It combines narrational and Goffmanesque conceptions of managerial identity work in a longitudinal study of one first-line supervisor at a restructured Australian industrial plant. We argue that, singly, neither self-narration nor dramaturgical performance accounts for the practical discursive work that constructs managerial `identity'. We demonstrate that frontline manager identity work is an iterative process in which self-narration and dramaturgical performance are almost seamlessly interwoven. The supervisor uses these different identity work stratagems simultaneously, and they are processually co-dependent. We conclude, therefore, that organizational scholars who study how persons construct managerial identities should take Goffman's dramaturgical perspective more seriously. It is an indispensible complement to the analysis of identity narratives, because successful performances undergird managers' attempts to craft stable narrative identities.

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Journal articles on the topic 'Dramaturgic perspective'

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