Academic literature on the topic 'English drama (collections)'
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Journal articles on the topic "English drama (collections)"
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Elliott, Erin. "The Season for Speech: A Review of Critical Perspectives on Canadian Theatre in English, Vols. 1, 2, and 3." Canadian Theatre Review 128 (September 2006): 138–41. http://dx.doi.org/10.3138/ctr.128.024.
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Aboriginal Drama and Theatre, African-Canadian Theatre and Judith Thompson are the first three books in the Critical Perspectives on Canadian Theatre in English series from Playwrights Canada Press. Under general editor Ric Knowles, these three collections serve to “facilitate the teaching of Canadian drama and theatre in schools, colleges, and universities across the country for years to come” (iii).
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Urban, Eva. "Reification and Modern Drama: an Analysis, a Critique, and a Manifesto." New Theatre Quarterly 32, no. 3 (June 30, 2016): 256–68. http://dx.doi.org/10.1017/s0266464x16000233.
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Drawing on a close reading of Theodor Adorno's essay, ‘Education after Auschwitz’, in this article Eva Urban develops the argument that an analysis of the reification that reduces human relationships to mere business interactions has been a central concern of modern drama. The article offers an analysis of some of the ways in which this theme continues to be represented, interrogated, and challenged internationally in contemporary political plays and theatre performances across a range of genres and grounded in a variety of dramaturgical principles. It asks how drama, theatre-making, theatre-spectating, and theatre-participating can create dynamics necessary to enable a move from reified consciousness towards the development of critical autonomy and solidarity. A negotiation of the principles of critical consciousness and solidarity is problematic within economic structures that cause social, ethnic, and religious atomization and divisions. Her argument concludes with an outline for a manifesto for political drama and theatre practice to work against reification. Eva Urban is a lecturer and researcher in the English Department and an Associate of the Irish Studies Research Centre, CEI/CRBC, at the University of Rennes 2, France. She recently completed a British Academy Postdoctoral Fellowship at the University of Cambridge and is a Life Member of Clare Hall, Cambridge. The author of Community Politics and the Peace Process in Contemporary Northern Irish Drama (Peter Lang, 2011), she has also published articles in New Theatre Quarterly, Etudes Irlandaises, Caleidoscopio, and edited book collections.
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Prancisca, Stella, Ana Fergina, Zou Deping, Iwan Ramadhan, Muhammad Ainur Rizqi, and Elsa Ananda. "Undergraduate students’ reading preference in the extensive reading program: Diary method." Journal of English Language Teaching Innovations and Materials (Jeltim) 5, no. 2 (October 5, 2023): 110. http://dx.doi.org/10.26418/jeltim.v5i2.67998.
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Although the Extensive Reading (ER) program has multiple benefits for language learners, the long nature of this program can make it daunting, especially for those with limited book selection. Thus, ensuring a book collection that fits the learners’ preferences is crucial, not only to maintain their reading enjoyment during the program but also to save costs. This research then investigated learners' reading preferences during an ER program, particularly by looking at the reading genres that were frequently chosen by the learners. This research was conducted on 30 university students who took English as a mandatory course. The course used ER as part of the curriculum. This research recorded the learners’ reading preferences through a reading log. This log must be filled in after reading a book or text. Overall, the research generated 373 entries. The results of this research indicated participants’ high interest in books with the themes of drama (slice of life), tales, and comedy. The current research also discovered a preference difference between gender. In conclusion, this research believes ER practitioners must consider learners’ preferences to provide suitable book collections for students. Thus, the learners can read more comfortably and maintain their motivation.
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Bentley, Eric. "From Half-Century to Millennium: the Theatre and the Electric Spectator." New Theatre Quarterly 10, no. 37 (February 1994): 3–10. http://dx.doi.org/10.1017/s0266464x00000038.
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Well into his eighth decade, Eric Bentley now regards himself as primarily a playwright, having redefined the agenda of serious criticism during the early post-war years, pioneered the understanding, translation, and production of Brecht in the West, and for long combined academic work at Columbia with producing the best kind of regular theatre reviews. Apart from several collections of that ‘occasional’ writing, and anthologies of plays in translation which have helped to extend the range of the English-language repertoire, he has produced several full-length studies of seminal importance – from his early re-evaluation of Shaw and, in The Playwright as Thinker, of other major modern dramatists, to the more theoretical but invariably stimulating ‘rethink’ of dramatic genres in The Life of the Drama. More recently, he has devoted his time to active playwriting, and it was during a production of his Lord Alfred's Lover in Miami that the director and self-proclaimed ‘counterfeit critic’ Charles Marowitz persuaded him to discuss the present state of both the active theatre in the West – and of the condition of the critical trade he had once pursued.
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Urban, Eva. "Multilingual Theatre in Brittany: Celtic Enlightenment and Cosmopolitanism." New Theatre Quarterly 34, no. 3 (July 13, 2018): 283–97. http://dx.doi.org/10.1017/s0266464x1800026x.
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In this article Eva Urban describes a historical tradition of Breton enlightenment theatre, and examines in detail two multilingual contemporary plays staged in Brittany: Merc’h an Eog / Merch yr Eog / La Fille du Saumon (2016), an international interceltic co-production by the Breton Teatr Piba and the Theatr Genedlaethol Cymru (the Welsh-language national theatre of Wales); and the Teatr Piba production Tiez Brav A Oa Ganeomp / On avait de jolies maisons (2017). She examines recurring themes about knowledge, enlightenment journeys, and refugees in Brittany in these plays and performances, and presents the argument that they stage cosmopolitan and intercultural philosophical ideas. Eva Urban is Senior Research Fellow at the Senator George J. Mitchell Institute for Global Peace, Security and Justice, Queen's University Belfast. She has held a Région de Bretagne Postdoctoral Research Fellowship at the Centre for Breton and Celtic Studies, University of Rennes 2, a research lectureship in the English Department, University of Rennes 2, and a British Academy Postdoctoral Fellowship at the University of Cambridge. She is the author of Community Politics and the Peace Process in Contemporary Northern Irish Drama (Peter Lang, 2011) and has published articles in New Theatre Quarterly, Etudes Irlandaises, Caleidoscopio, and chapters in book collections.
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MARSHALL, ALAN. "THE WESTMINSTER MAGISTRATE AND THE IRISH STROKER: SIR EDMUND GODFREY AND VALENTINE GREATRAKES, SOME UNPUBLISHED CORRESPONDENCE." Historical Journal 40, no. 2 (June 1997): 499–505. http://dx.doi.org/10.1017/s0018246x97007255.
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One of the more absorbing events in the great drama of the Popish Plot, which swept through English political life in the autumn of 1678, was the discovery of the corpse of a Westminster magistrate, Sir Edmund Berry Godfrey, in a ditch near Primrose Hill on 17 October 1678. This event, which sparked off a great deal of panic in London and gained some notoriety at the time, has continued to perplex historians, both professional and amateur, ever since. The speculation as to how Godfrey met his death and who did the deed, has tended to obscure the fact that we still know surprisingly little about this prominent Westminster merchant and justice of the peace before his demise. Despite an intensive historical investigation of Godfrey's murder, if murder it was, a lack of evidence has always been the main problem for any historian attempting to analyse Godfrey's character and career prior to his death. This was compounded by the allegation that on the night before his disappearance Godfrey burnt a large number of his personal papers. However, located in the collections of the National Library of Ireland is a small white leather-backed volume containing seventeenth-century copies of the correspondence of Sir Edmund Godfrey to his close friend the Irish healer and stroker Valentine Greatrakes. This letterbook is a significant addition to the historical record in that it contains what may be the only surviving personal letters of the ‘murdered’ magistrate during the late 1660s and early 1670s.
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Ploom, Ülar. "Some Aspects of Subversive Rhetoric in Juhan Viiding’s Poetry." Interlitteraria 16, no. 1 (December 31, 2011): 137–59. http://dx.doi.org/10.12697/il.2011.16.1.9.
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The aim of the present article is to study some aspects of subversive rhetoric in the poetry of Juhan Viiding (1948–1995), one of Estonia’s most admired and cherished poets and actors whose “Complete Poetry” (edited by Hasso Krull) includes texts written between 1968 and 1994, published either in collections (until 1978, under the pseudonym of Jüri Üdi, which translates as George Marrow in English) or separately in newspapers and magazines. It is important to mention that Juhan Viiding often read and sang his texts (accompanied on the piano by Tõnis Rätsep, a friend and colleague from the Estonian Drama Theatre), quite a few of which are recorded on cassette and CD. Üdi/Viiding was and continues to be widely read, quoted, imitated and discussed by his Estonian readers, fellow poets, intellectuals and critics. However, despite the fact that Viiding’s poetry has been translated into sixteen languages, according to Aare Pilv’s “Juhan Viidingu ja Jüri Üdi bibliograafia” (Pilv 2010: 170–175), Viiding has not achieved the sort of fame abroad which he enjoys in Estonia. Indeed, the volume of articles and essays written in Estonian on Viiding’s poetry is not equalled by writing in other languages. Reviews written in English and Russian are mostly by Estonian critics or Russian critics from Estonia (ib. 196–208). Of course, poetry in general does not submit easily to being translated, but in Üdi/Viiding’s case we are dealing with a kind of poetic which makes the process even more complicated, perhaps also partly unachievable. This seems to be the most probable explanation for the asymmetry of Üdi/Viiding’s poetic reputation. So, apart from the peculiar charm of his poetry, with its highly intricate poly-semantic spectrum which calls out for discussion of the organising principles of his texts, I am writing this article in the hope that more foreign critics will take an interest in this exceptional poet and more poets who write in other languages will rise to the challenge of translating his texts or providing their own original pieces of creative writing in Üdi/Viiding’s wake.
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Rochelson, Meri-Jane. "“THEY THAT WALK IN DARKNESS”: GHETTO TRAGEDIES: THE USES OF CHRISTIANITY IN ISRAEL ZANGWILL’S FICTION." Victorian Literature and Culture 27, no. 1 (March 1999): 219–33. http://dx.doi.org/10.1017/s1060150399271124.
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AT THE END of the Victorian era and in the first decades of the twentieth century, Israel Zangwill was a well-known name in Europe, America, and even the Middle East. The enormous success of his 1892 novel Children of the Ghetto had made Zangwill the spokesperson for English Jewry throughout the world, as he revealed and explained an alien community to its non-Jewish neighbors and made the universe of the Jewish immigrants more intelligible to their acculturated coreligionists. An early Zionist, Zangwill met with Theodore Herzl in London and attended the first Zionist Congress in Basel in 1897; he continued to participate in the movement until 1905, when he formed his own nationalist group, the Jewish Territorial Organization (ITO). He became active in the pacifist and feminist movements of the early 1900s, and his literary output of that period for the most part reflects those interests, although he still explored issues of Jewish identity in numerous short stories and the highly popular play The Melting Pot (1908). In all, Zangwill published eight novels, nine collections of short fiction, eleven plays, and a volume of poetry, writing on both Jewish and more general themes; and (with the exception of some of his later thesis drama) his work was for the most part both popular and acclaimed. During the later 1880s and 1890s Zangwill was a prolific journalist, publishing columns on literature and current topics not only in the Jewish Standard, but also in the comic paper Puck (later Ariel, which he also edited), the Critic, and the Pall Mall Magazine. In short, he was very much a turn-of-the-century literary personality, esteemed as one of their own by his Jewish readers, but also prominent in the more general transatlantic literary milieu.
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Gudkov, Maxim M. "Red Rust vs Yellow Rust: Metamorphoses of the Soviet Play on Broadway." Literature of the Americas, no. 14 (2023): 141–88. http://dx.doi.org/10.22455/2541-7894-2023-14-141-188.
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The study focuses on the adaptation of a politically engaged dramaturgical work from Bolshevik Russia — Vladimir Kirshon’s and Andrey Uspensky’s play Konstantin Terekhin (Rust) — to the specific requirements of Broadway, the commercial theater of the USA, and the textual changes of the Soviet original associated with it. The basic principles of the Broadway theater creative and organizational model, drastically different from the repertory theater of post-revolutionary Russia, are defined — the primacy of commerce over artistry, the absence of state support and censorship, a respectable audience that does not accept radical political ideas. On the American stage the Soviet play was produced in 1929, with the changed title (Red Rust), and the text subjected to changes and distortions. The paper considers these changes in the context of American socio–economic life of the Red Thirties. The discrepancy between the original dramaturgical material and the specific requirements of the American commercial theater is analyzed. The free handling of the text from Bolshevik Russia in the US theater is due to the absence of copyright regulations between the two countries. The process of exporting the play to the United States — via Paris and London — is being reconstructed. Three sources that have carried out the textual transformation of the Soviet original are characterized: the authors of the French-language adaptation from Russian (Fernand Nozière and Vladimir Bienstock), British translators from French into English (Virginia and Frank Vernon) and Broadway stage director who previously visited Moscow and sought to introduce into the text what, in his opinion, Soviet censorship would not allow (Herbert Biberman). The study is based on the materials from the Beinecke Library of Rare Books and Manuscripts collections (Yale University), as well as documents from the Houghton Library (Harvard University), the New York Public Library for Performing Arts, the Russian State Archive of Literature and Art (Moscow), and the museum of the Mossovet State Academic Theater (Moscow). The study is aimed at expanding the understanding of the stage history of the Russian drama in America.
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Wahyuningtyas, Dwi, and Adelia Savitri. "EXPLORING THE USE OF DRAMA WAYANG FOR ESP SPEAKING ACTIVITIES." Celtic : A Journal of Culture, English Language Teaching, Literature and Linguistics 9, no. 1 (June 6, 2022): 21–38. http://dx.doi.org/10.22219/celtic.v9i1.17767.
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Drama is among English teaching and learning activities that can improve students' communication and speaking skills. However, only a few studies documented the integration between local culture and drama for English teaching and learning activities. This study aims at exploring the use of drama wayang in the English for Specific Purposes Speaking activities. A descriptive qualitative study was employed as the study design, with observation, documentation, and questionnaire as methods of data collection. The subjects of this study were first-semester university students from the Indonesian Language and Literature Department. Findings showed that students were enthusiastic about performing drama wayang and could perform it well. Furthermore, drama wayang can be integrated into English teaching and learning activities to improve activity variety and attract students’ interest in learning speaking. This study also implies that drama wayang can be developed into an ESP teaching method combined with Indonesia's local culture and serves as an innovative and contextual ESP teaching method.
Dissertations / Theses on the topic "English drama (collections)"
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Pruitt, John. "British drama museums : history, heritage, and nation in collections of dramatic literature, 1647-1814 /." View abstract, 2005. http://wwwlib.umi.com/dissertations/fullcit/3203336.
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Kirk, Maria. "Performing consumption and consuming performance : a 17th century play collection." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/61894/.
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This thesis explores the relationship between performance and consumption in relation to play collection in the 1630s, and also examines the wider contexts of performance and consumption in that decade. It proposes that the 1630s were a decade characterised by particularly self-conscious performances of consumption, and that this environment contributed directly to the beginnings of the collection of books for display purposes. A focus on the Petworth collection and its original collector is maintained throughout the thesis, which weaves together the material and literary content of the collection. Using material evidence from the volumes themselves, this thesis demonstrates that the collection was purchased in 1638 by the 10th Earl of Northumberland through an agent who assembled the collection specifically for the Earl just prior to his purchase of it. It also demonstrates, again using evidence from the volumes themselves, that the purchase was partly informed by principles of education, personal taste and a consideration for family history, but that the overwhelming motive was the drive to consume and to perform that consumption. Using the literary content of the collection to explore representations of performed consumption, this thesis tracks the development of the conceptualisation of consumption on the stage from the wariness about dangerous consumption in the late Elizabethan period to the much more open, and yet still rather complex, attitudes of the 1630s. Finally, the thesis discusses some other kinds of public, performed consumption, including a procession by Northumberland and an entertainment with which he was connected, exploring the explicitly social elements of performance. The Petworth play collection is at once anomalous and typical as an example of mid-17th century book collection, and it can be used to illustrate and map the multitude of issues, concepts and attitudes which surround performance, consumption and collection in the 1630s, and beyond.
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Hill, Alexandra. "BLOUDY TYGRISSES": MURDEROUS WOMEN IN EARLY MODERN ENGLISH DRAMA AND POPULAR LITERATURE." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2281.
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This thesis examines artistic and literary images of murderous women in popular print published in sixteenth and seventeenth-century England. The construction of murderous women in criminal narratives, published between 1558 and 1625 in pamphlet, ballad, and play form, is examined in the context of contemporary historical records and cultural discourse. Chapter One features a literature review of the topic in recent scholarship. Chapter Two, comprised of two subsections, discusses representations of early modern women in contemporary literature and criminal archives. The subsections in Chapter Two examine early modern treatises, sermons, and essays concerning the nature of women, the roles and responsibilities of wives and mothers, and debates about marriage, as well as a review of women tried for murder in the Middlesex assize courts between 1558 and 1625. Chapter Three, comprised of four subsections, engages in critical readings of approximately 52 pamphlets, ballads, and plays published in the same period. Individual subsections discuss how traitorous wives, murderous mothers, women who murder in their communities, and punishment and redemption are represented in the narratives. Woodcut illustrations printed in these texts are also examined, and their iconographic contributions to the construction of bad women is discussed. Women who murder in these texts are represented as consummately evil creatures capable of inflicting terrible harm to their families and communities, and are consistently discovered, captured, and executed by their communities for their heinous crimes. Murderous women in early modern popular literature also provided a means for contemporary men and women to explore, confront, and share in the depths of sin, while anticipating their own spiritual salvation. Pamphlets, plays, and broadsides related bawdy, graphic, and violent stories that allow modern readers a glimpse of the popular culture and mental world of Renaissance England.M.A.
Department of Liberal and Interdisciplinary Studies
Graduate Studies;
Interdisciplinary Studies MA
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Shams, Golnaz [Verfasser]. "Social Minds in Drama : The Delineation of Mentalities and Collectives / Golnaz Shams." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2020. http://d-nb.info/1209451778/34.
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Knoell, David. "THE RESURRECTION OF EVERYMAN." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3850.
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In March of 2005 I was a cast member in Mad Cow Theatre's production of the Morality drama Everyman. This classic tale on the condition of human dying is regarding as one of the greatest dramas of the Medieval period and is one of the first plays in the English language to be put into print. This thesis is an actor's journey into the history of Medieval theatre, the challenges of producing Everyman for a contemporary audience, and the techniques of acting implemented in the creation of allegorical characters. Medieval drama, like Everyman, is still relevant in today's world because it addresses universal themes of friendship, material wealth, and reverence towards death. It is the story of the human being, the power of beliefs, and the fear of death. This thesis reflects a group of artists' desire to give an audience the gift of insight into their common selves.M.F.A.
Department of Theatre
Arts and Sciences
Theatre
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Brantley, Kathryn Perkins. "Who do I Play: Appraising the Impact of Teacher-in-Role with Kindergartners in an ESOL Classroom." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5143.
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Educators employing process drama, a non-presentational dramatic form, establish memorable classroom environments where students co-author their learning with teachers. Process drama facilitators often use the dramatic structure of teacher-in-role to guide and support the students. An instructor heightens tension, introduces new ideas, and encourages participation by engaging alongside students as a character. An educator employing process drama needs to determine the appropriate type of role to impact the development of a classroom drama; while negotiating tension felt between desires for student-led discovery and the necessity of meeting curriculum benchmarks. Academic studies establish process drama as a tool to aid English Students of Other Languages or ESOL classrooms. Process drama heightens comprehension, whole language usage and ownership of learning. Using the methodology of reflective practice I analyzed my teaching in role to determine how I negotiate diverse and conflicting objectives. I facilitated a six week process drama with four to six-year-old ESOL students at a learning centre in Hong Kong. This study improved this teacher's understanding and usage of teacher-in-role. The ideals of a process centered classroom were not always realized, but the needs of the population necessitated adaption from expectations. The experiences of the researcher indicate ambiguous character may not be the best way to motivate dialogue among this population of ESOL students. Students' age and English experience suggests using co-participant characters whose motivations are clearly defined. This study contributes to the discussion on what differing "role types" offer facilitators of process drama and how it may be used to meet demands of curriculum including development of performances. Process drama with very young students presents a field for further research investigating methods and practices to effectively structure process dramas that address their learning.ID: 031001277; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: .; Title from PDF title page (viewed February 25, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 70-77).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Theatre for Young Adults
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Becker, Theresa. "Evaluating Improvisation as a Technique for Training Pre-Service Teachers for Inclusive Classrooms." Doctoral diss., University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5129.
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Improvisation is a construct that uses a set of minimal heuristic guidelines to create a highly flexible scaffold that fosters extemporaneous communication. Scholars from diverse domains: such as psychology, business, negotiation, and education have suggested its use as a method for preparing professionals to manage complexity and think on their feet. A review of the literature revealed that while there is substantial theoretical scholarship on using improvisation in diverse domains, little research has verified these assertions. This dissertation evaluated whether improvisation, a specific type of dramatic technique, was effective for training pre-service teachers in specific characteristics of teacher-child classroom interaction, communication and affective skills development. It measured the strength and direction of any potential changes such training might effect on pre-service teacher's self-efficacy for teaching and for implementing the communication skills common to improvisation and teaching while interacting with student in an inclusive classroom setting. A review of the literature on teacher self-efficacy and improvisation clarified and defined key terms, and illustrated relevant studies. This study utilized a mixed-method research design based on instructional design and development research. Matched pairs t-tests were used to analyze the self-efficacy and training skills survey data and pre-service teacher reflections and interview transcripts were used to triangulate the qualitative data. Results of the t-tests showed a significant difference in participants' self-efficacy for teaching measured before and after the improvisation training. A significant difference in means was also measured in participants' aptitude for improvisation strategies and for self-efficacy for their implementation pre-/post- training. Qualitative results from pre-service teacher class artifacts and interviews showed participants reported beneficial personal outcomes as well as confirmed using skills from the training while interacting with students. Many of the qualitative themes parallel individual question items on the teacher self-efficacy TSES scale as well as the improvisation self-efficacy scale CSAI. The self-reported changes in affective behavior such as increased self-confidence and ability to foster positive interaction with students are illustrative of changes in teacher agency. Self-reports of being able to better understand student perspectives demonstrate a change in participant ability to empathize with students. Participants who worked with both typically developing students as well as with students with disabilities reported utilizing improvisation strategies such as Yes, and…, mirroring emotions and body language, vocal prosody and establishing a narrative relationship to put the students at ease, establish a positive learning environment, encourage student contributions and foster teachable moments. The improvisation strategies showed specific benefit for participants working with nonverbal students or who had commutation difficulties, by providing the pre-service teachers with strategies for using body language, emotional mirroring, vocal prosody and acceptance to foster interaction and communication with the student. Results from this investigation appear to substantiate the benefit of using improvisation training as part of a pre-service teacher methods course for preparing teachers for inclusive elementary classrooms. Replication of the study is encouraged with teachers of differing populations to confirm and extend results.Ph.D.
Doctorate
Education and Human Performance
Education; Instructional Technology
Books on the topic "English drama (collections)"
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N, Klausner David, ed. Records of early English drama. Toronto: University of Toronto Press, 1990.
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1934-, Cornish Roger, and Ketels Violet, eds. Landmarks of modern British drama. London: Methuen, 1985.
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Wheatley, Christopher J. Drama in English from the Middle Ages to the early twentieth century: An anthology of plays with old spelling. Washington, D.C: The Catholic University of America Press, 2016.
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C, Coldewey John, ed. Early English drama: An anthology. New York: Garland Pub., 1993.
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David, Womersley, ed. Restoration drama: An anthology. Oxford, OX, UK: Blackwell Publishers, 2000.
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1903-1967, Gassner John, Gassner John 1903-1967, and Green William 1926-, eds. Elizabethan drama: Eight plays. New York: Applause Theatre Book, 1990.
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M, Rogers Katharine, ed. The Meridian anthology of 18th- and 19th-century British drama. New York: Meridian, 1996.
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Cóilín, Owens, and Radner Joan Newlon, eds. Irish drama, 1900-1980. Washington, D.C: Catholic University of America Press, 1990.
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N, Cox Jeffrey, and Gamer Michael, eds. The Broadview anthology of Romantic drama. Peterborough, Ont: Broadview Press, 2003.
Find full textBook chapters on the topic "English drama (collections)"
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Berger, Sidney E. "Editions and Collections." In Medieval English Drama, 1–26. Routledge, 2019. http://dx.doi.org/10.4324/9780429202636-1.
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"REED Collections." In Teaching with the Records of Early English Drama, edited by Elza C. Tiner. Toronto: University of Toronto Press, 2006. http://dx.doi.org/10.3138/9781442680401-017.
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Hays, Rosalind Conklin. "13. Introducing Undergraduates to Documents in REED Collections." In Teaching with the Records of Early English Drama, edited by Elza C. Tiner. Toronto: University of Toronto Press, 2006. http://dx.doi.org/10.3138/9781442680401-016.
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Palmer, Barbara D. "9. 'The husbandry and manage of my house': Teaching Women's Studies from the Records of Early English Drama Collections." In Teaching with the Records of Early English Drama, edited by Elza C. Tiner. Toronto: University of Toronto Press, 2006. http://dx.doi.org/10.3138/9781442680401-012.
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Lennard, John, and Mary Luckhurst. "Dramaturgs and literary managers." In The Drama Handbook, 186–94. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780198700708.003.0020.
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Abstract Adramaturg is literally a drama-worker or -maker, from Greek drama+ ‘i:pyov, ergon, ‘work’, and in antiquity probably incorporated the modern ideas of playwright and director. The earliest English use of the word is in 1787, shortly after the tenure of G. E. Lessing, the first official modern dramaturg, at the German National Theatre, Hamburg, 1767-9. Lessing’s collection of theatre-criticism, Hamburg ische Dramaturgie (1768-9),1 roused considerable interest, and the word dramaturgy, ‘the structural composition of a drama’ and ‘a collection of writings about drama’ as well as ‘the activity of a dramaturg’, followed in 1801.
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Moulton, Ian Frederick. "Erotic Writing in Manuscript Culture." In Before Pornography, 35–69. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195137095.003.0002.
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Abstract Erotic writing pervaded early modern English literary culture. It circulated in coterie manuscripts; it was bought and sold in printed books; it was declaimed on the public stage and embodied in private entertainments. A great deal of scholarly attention has been paid to certain manifestations of erotic writing, especially the eroticism of the public theater-an area this study addresses in later chapters. And there is no denying the eroticism of the great genres of Renaissance poetry-the Ovidian, the Petrarchan, the metaphysical.1 Although studies of Renaissance drama have not only examined the playtexts themselves but also recognized the importance of the theater as a social space, much analysis of poetic texts has paid insufficient attention to the social place of poetry in early modern culture. If one wishes to explore the nature of erotic poetry one must focus not only on texts but on the ways they circulated. Most erotic poetry in early modern England-including such now canonical texts as Donne’s elegies or Shakespeare’s sonnets-circulated primarily in manuscript, not print. Such texts were thus the product of a specific literary and cultural environment that remains unfamiliar to many modern readers who encounter these poems in anthologies of canonical texts or in carefully assembled editions of a given author’s oeuvre. An examination of surviving manuscript collections quickly reveals that in range of tone and subject matter erotic writing goes far beyond the Petrarchan discourses of Sidney’s Astrophil and Stella and the metaphysical wit of Donne’s “The Ecstasy.” As I will show, manuscript collections are enormously varied in their content, and their promiscuous mixing of texts creates fascinating juxtapositions-of tone, of genre, of subject matter, of poetic sophistication. An examination of the place of erotic poetry in manuscript culture not only clarifies the fundamental differences between early modern erotic writing and later forms but also leads to a better understanding of the larger social functions of erotic poetry in the early modern period. Two aspects of manuscript culture are particularly important in this context: the communal nature of manuscript production, and the role of literate women in manuscript circulation.
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Chambers, E. K. "Playwrights." In The Elizabethan Stage, 201–518. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199567508.003.0005.
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Abstract Bibliographical Note.-The abundant literature of the drama is more satisfactorily treated in the appendices to F. E. Schelling, Elizabethan Drama (1908), and vols. v and vi (1910) of the Cambridge History of English Literature, than in R. W.Lowe, Bibliographical Account of English Theatrical Literature (1888), K. L. Bates and L. B. Godfrey, English Drama: a Working Basis (1896), or W. D. Adams, Dictionary of the Drama (1904). There is an American pamphlet on Materials for the Study of the English Drama, excluding Shakespeare (1912, Newbery Library, Chicago), which I have not seen. Periodical lists of new books are published in the Modern Language Review, the Beiblatt to Anglia, and the Bulletin of the English Association, and annual bibliographies by the Modern Humanities Research Association (from 1921) and in the Shakespeare Jahrbuch. The bibliography by H. R. Tedder in the Encyclopaedia Britannica (11th ed.) s.v. Shakespeare, A. C. Shaw, Index to the Shakespeare Memorial Library (1900-3), and W. Jaggard, Shaluspeare Bibliography (19u), on which, however, cf. C. S. Northup in J. G. P. xi. 218, are also useful. W. W. Greg, Notes on Dramatic Bibliographers (1911, M. S. C. i. 324), traces from the publishers’ advertisements of the Restoration a catena of play-lists in E. Phillips, Theatrum Poetarum (1675), W. Winstanley, Lives of the Most Famous English Poets (1687), G. Langbaine, Momus Triumphans (1688) and Account of the English Dramatick Poets (1691), C. Gildon, Lives and Characters of the English Drainatick Poets (1698), W. R. Chetwood, The British Theatre (1750), E. Capell, Notitia Dramatica (1783), and the various editions of the Biographica Dramatica from 1764 to 1812. More recent are J. 0. Halliwell-Phillipps, Dictionary of Old English Plays (1860), and W. C. Hazlitt, Manual of Old English Plays (1892); but all are largely superseded by W. W. Greg, A List of English Plays (1900) and A List of Masques, Pageants, &-c. (1902). His account of Warburton’s collection in The Bakings of Betsy (Library, 1911)serves as a supplement. A few plays discovered later than 1900 appeared in an Irish sale of 1906 (cf. JahYbuch, xliii. 310) and in the Mostyn sale of 1919 (cf. t.p. facsimiles in Sotheby’s sale-catalogue). For the problems of the early prints, the Bibliographical Note to ch. xxii should be consulted.
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Barker, Howard. "Theatre without a Conscience (1990)." In Modern Theories of Drama, 55–61. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711407.003.0008.
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Abstract In his dramatic output of over fifty works for stage, radio, television, and film, the English author Howard Barker (b. 1946) occupies a singular niche. Though originally taking a left-wing satirical stance he has come to advocate a morally and politically ambiguous ‘Theatre of Catastrophe’; this aggressively black viewpoint he has defended in a collection of essays, Arguments for a Theatre. The following piece from that book was first delivered as a paper at the University College of Wales, Aberystwyth, in 1990. Barker’s plays present striking but ambiguous images rather than conventionally readable plots and refuse to give any easy guidelines for deciphering the action. In order to force audiences to do their own thinking, Barker uses disjunctions of every kind-abrupt changes of character, multivalent time and place, sudden switches of tone. Since the British theatre and broadcast media have not proved wholly sympathetic to this difficult genre, a company-the Wrestling School-began work in 1988 with the sole aim of staging his plays.
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King, Emily L. "Commemorating Revenge." In Civil Vengeance, 109–45. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501739651.003.0005.
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Chapter four examines the relationship between civil vengeance and national memory during the English Interregnum. As government authorities aim to establish and inculcate a new national memory, the chapter connects their attempts to the phenomenon of civil vengeance. But such indoctrination was not without considerable resistance, as royalists focused their challenges to the new government, the chapter argues, through their insistence on remembering differently and circulating counter-memories in ballads, drama, and elegiac verse. Although the cultivation of counter-memory might constitute resistance—and thereby offer an antidote to civil vengeance—it substitutes terms without revising the structural system. To pursue an escape from the ideological intractability between parliamentarians and royalists, the chapter turns finally to Margaret Cavendish’s Sociable Letters, a collection of epistles to an imaginary interlocutor that foregrounds other possibilities for memory, history, and community.
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Lamberti, Edward. "The Ethical and the Juridical in Reversal of Fortune and Terror’s Advocate." In Performing Ethics Through Film Style, 105–28. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444002.003.0008.
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Chapter 5 considers Barbet Schroeder’s English-language American true-life drama Reversal of Fortune (1990) and his French-language political documentary Terror’s Advocate (2007), two films about lawyers and legal systems. Desmond Manderson refers in his collection Essays on Levinas and Law: A Mosaic (2009) to the ‘mosaic’ of a Levinasian approach to the law, as, sceptical of legal systems but devoted to justice, Emmanuel Levinas posits an ethics that refuses to crystallise into a prescriptive view of how the law should work in respect of the Other. I argue that these two Schroeder films, with their multi-faceted, ‘mosaic-like’ styles and structures, perform this fractured Levinasian refusal to settle on a fixed, simplistic definition of the law’s purpose. I analyse Reversal of Fortune for its multiple story strands and the different visual styles Schroeder deploys to delineate them, along with elements of performance – especially from Jeremy Irons as Claus von Bülow – that complicate questions of otherness. In discussing the documentary Terror’s Advocate, I draw on Stella Bruzzi’s work on performative documentary (2006) to explore how Schroeder uses film style to perform both the bravado of the film’s protagonist, the real-life criminal lawyer Jacques Vergès, and the Levinasian ‘mosaic’ of the legal situations he surveys.
Conference papers on the topic "English drama (collections)"
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Mtesigwa, Fortunatha, and Philpo John. "Implementation of Competence-Based Language Teaching Approach in Tanzania Lower Secondary Education English Classrooms." In Proceedings of the 1st International Conference of Education. Dar es Salaam University Press, 2023. http://dx.doi.org/10.37759/ice01.2023.09.
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This is a qualitative study which explored how potentials of the Competencebased language teaching (CBLT) approach were utilised by the English language subject teachers in Tanzania lower secondary schools. It employed a single case study design in which 67 participants consisted of 36 students; 24 English language teachers; six (6) heads of schools; and one (1) Municipal Secondary Education Officer (MSEO) were involved. Sumbawanga Municipality is situated in Rukwa region was selected for data collection. Data were collected through interviews, classroom observations, focused group discussions (FGDs) and documentary review; and the data were analysed using both content and thematic analysis methods. The study showed that English language teachers had inadequate understanding of CBLT; most teachers applied teaching methods which did not promote the language competence among learners; teachers who taught English subject relied on the traditional language teaching methods including lecturing, audio-lingua and grammar translation. With exception of discussion which was used, the CBLT techniques such as drama, debate, roleplay, cooperative learning, simulations, and inquiry-techniques like critical questioning recommended in the competence-based curriculum were not employed. It was also observed that the use of the traditional teaching methods was not enabling learners to acquire the intended language skills as expected of the curriculum. The study, recommends that teacher education curriculum at both universities and colleges should be improved to offer the prospective English language teachers with relevant skills in tandem with the competence-based language curriculum. There should also be a regular in-service training on CBLT to build capacity of the subject teachers who can implement the curriculum effectively.
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Alazzawi, Istabraq Tariq, Ahmed Hassani Yaseen, and Fatima Khatab Hussien. "Prospects of Online Learning in Teaching Drama for EFL University Students." In 3rd International Conference on Language and Education. Cihan University-Erbil, 2023. http://dx.doi.org/10.24086/iclangedu2023/paper.963.
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Online learning is education conducted over the internet. Online language learning may provide students with more options to become acquainted with language acquisition. The study aims to investigate Iraqi university professors’ Perceptions of utilizing the online interactive learning platform in teaching drama as one of the needed learning materials through the Covid-19 program to strengthen the language skills of EFL students. It supplies researchers and educators with a collection of empirical data that assists them in gaining a deeper understanding of students' learning and expectations of this new learning technique. Teaching literature is useful for EFL university students and using online learning platforms may affect EFL students’ language knowledge. University professors have different views on using online learning platforms. The sample of this study is literature professors in the Iraqi universities, Department of English during the academic year 2020\2021. Finally, to analyze the obtained data, suitable statistical methods are used to analyze the questionnaire results. The results revealed that the majority of Iraqi universities professors using the online interactive learning platform is high. In light of these findings, several conclusions, ideas for further research, and recommendations are offered.