Journal articles: 'English drama (Comedy) English drama English drama English drama'

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Kesson, A. "Was Comedy a Genre in English Early Modern Drama?" British Journal of Aesthetics 54, no. 2 (April 1, 2014): 213–25. http://dx.doi.org/10.1093/aesthj/ayu035.

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Wickham, Glynne, and R. D. S. Jack. "Patterns of Divine Comedy: A Study of Medieval English Drama." Modern Language Review 86, no. 1 (January 1991): 159. http://dx.doi.org/10.2307/3732110.

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Vaseneva, Nadezhda Vladimirovna. "Reception of the B. Shaw’s play "Pygmalion" in Russian literature." SHS Web of Conferences 101 (2021): 01004. http://dx.doi.org/10.1051/shsconf/202110101004.

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The article is devoted to the analysis of reception of B. Shaw's play «Pygmalion» in Russian literature. The article emphasizes that Russian literature had a huge impact on the formation and development of B. Shaw's aesthetic system and drama, as a result of which B. Shaw's drama acquired an epic character. The standard of «epic drama» is B. Shaw's play «Pygmalion». The extreme popularity, relevance and significance of B. Shaw's comedy «Pygmalion» for Russian literature are noted. The article examines translations of B. Shaw's play «Pygmalion» and individual-author's interpretations of Russian directors of English comedy as a form of reception of B. Shaw's play in Russian literature. It is said that the plot and images of B. Shaw's play «Pygmalion» received a new life in Russian literature. The author analyzes allusions and reminiscences with B. Shaw's comedy «Pygmalion» in Soviet prose and drama of the 20th – early 21st centuries. It is proved that B. Shaw's play «Pygmalion» is characterized by a rich reception in Russian literature.

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Walker, William. "Anadiplosis in Shakespearean Drama." Rhetorica 35, no. 4 (2017): 399–424. http://dx.doi.org/10.1525/rh.2017.35.4.399.

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A complex definition of the figure, anadiplosis, develops in the tradition that runs from ancient Greek and Roman rhetoricians up to sixteenth-century continental rhetorical theorists such as Susenbrotus. Drawing on and enriching this tradition, the English rhetoricians of Shakespeare's day defined the figure as the repetition of the word or words with which one phrase or line ends, at or near the beginning of the succeeding phrase or line. A series of anadiploses was understood to make for a gradatio (or climax). Having been schooled in these and other definitions of the tropes and figures, Shakespeare implements anadiplosis, as well as the rhetoricians’ rich metaphorical description of it, in his text. In so doing, he enhances his representation of people who are impassioned, thoughtful, witty, deranged, and ridiculous. In keeping with the rhetoricians’ recognition of the polysemy of the figure, Shakespeare also implements this figure to narrate events and make some of them seem inevitable (usually in history and tragedy) and others unlikely (usually in comedy). The Shakespearean script also frequently includes dialogic anadiplosis: the sharing of the figure by two speakers. In this form, it plays a significant role in Shakespeare's creation of authentic dialogue.

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Li, Yuan, and Tim Beaumont. "Dramatizing Chinese Intellectuals of the Republican Era in Face for Mr. Chiang Kai-shek: Encoding Nostalgia in a Comedy of Ideas." New Theatre Quarterly 37, no. 3 (July 19, 2021): 281–94. http://dx.doi.org/10.1017/s0266464x2100018x.

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Face for Mr. Chiang Kai-shek, one of the most influential Chinese plays to have garnered attention in recent years, serves as a reminder of the importance of campus theatre in the formation and development of modern Chinese spoken drama from the early twentieth century onwards. As an old-fashioned high comedy that features witty dialogues and conveys philosophical and political ideas, it stands in opposition to such other forms of theatre in China today as the extravagant, propagandistic ‘main melody’ plays, as well as the experimental theatre of images. This article argues that the play’s focus on Chinese intellectuals of the Republican era and their ideas encodes nostalgia both in its dramatic content and theatrical form: the former encodes nostalgia for the Republican era through a nuanced representation of Chinese intellectuals of that period, while the latter encodes nostalgia for orthodox spoken drama (huaju) in the form of a comedy of ideas. Yuan Li (first author) is Professor of English in the Faculty of English Language and Culture, Guangdong University of Foreign Studies. She has published extensively on contemporary Chinese and Anglo-Irish drama, theatre, and cinema. Tim Beaumont (corresponding author) is Assistant Professor at the School of Foreign Languages at Shenzhen University. His research is primarily philosophical, and it is currently focused on the relationship between nineteenth-century liberal nationalism and contemporary multiculturalism.

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Singh, Dr Pramod Kumar. "Mahesh Dattani’s “Do the Needful”: An Unconventional Romantic Comedy." SMART MOVES JOURNAL IJELLH 8, no. 10 (October 29, 2020): 74–81. http://dx.doi.org/10.24113/ijellh.v8i10.10802.

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Mahesh Dattani is a contemporary Indian English Dramatist who gave voice to the 60 million English speakers of India through his drama. He is the first dramatist recognised for his contribution in this field. Through his plays, he raises the problems of eunuch, homosexuality, transgender, child- sexual abuse, gender-discrimination, thought towards HIV-infected people etc. To such issues, he called them ‘fringe issue’ to whom we face but never take it as a part of society. Through ‘Do the Needful’ Mahesh Dattani has presented the problems of male homosexuality. The play was broadcasted by BBC. The play ‘Do the Needful’ is actually an unconventional romantic comedy.

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Dharwadker, Aparna. "Authorship, Metatheatre, and Antitheatre in the Restoration." Theatre Research International 27, no. 2 (June 18, 2002): 125–35. http://dx.doi.org/10.1017/s0307883302000214.

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Restoration theatre theory, polemic, and practice are closely concerned with questions of value, although they have received little attention in recent criticism that considers the formation of the English canon up to and during the eighteenth century. The main issue addressed concerns the legitimacy of dramatic form, which dominates the metatheatre of 1668–75, but also appears unexpectedly in the political drama (especially the comedy) of the early 1660s and the antitheatrical rhetoric of the 1690s. In all these instances, the complexity, integrity, and completeness of drama-in-performance are seen to determine the value of plays as well as playwriting. While the attack on heroic drama in metatheatrical plays such as Shadwell's The Sullen Lovers (1668) and Buckingham's The Rehearsal (1671) is directed by authors of one persuasion against another, Thomas Duffett's burlesque attack on the theatre of spectacle in the 1670s paradoxically is reinforced by the self-criticism of his targets. Moreover, Jeremy Collier's antitheatrical offensive in the late 1690s shows an atypical concern with specific dramatic content, especially in comedy, suggesting that both metatheatre and antitheatre in the Restoration focus their oppositional energies on the particulars of genre.

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FINZI, BIANCA, and CONTINI CALABRESI. ""Bawdy Doubles": Pietro Aretino's Comedie (1588) and the Appearance of English Drama." Renaissance Drama 36/37 (January 2010): 207–35. http://dx.doi.org/10.1086/rd.36_37.41917459.

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Double, Oliver, and Michael Wilson. "Karl Valentin's Illogical Subversion: Stand-up Comedy and Alienation Effect." New Theatre Quarterly 20, no. 3 (August 2004): 203–15. http://dx.doi.org/10.1017/s0266464x04000107.

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Admired by Brecht, yet also counting Hitler among his fans, the German cabaret performer Karl Valentin remains an enigmatic figure for most English-speaking theatre people; and his accommodation as a licensed jester during the Nazi years has reinforced the received wisdom that his comedy was ultimately offering reassurances of their own supremacy to bourgeois audiences. Here, Oliver Double and Michael Wilson outline Valentin's life and career, and offer an analysis of his performance style closely linked to two of his best-known routines, which are here also translated for the first time into English. They conclude that Valentin's idiosyncratic style of surreal logic had an effect akin to that of Brecht's Verfremdung, of making the familiar strange, and so, while often extremely funny in its unexpected dislocations, never offering a simple view either of comedy or of life. Oliver Double worked as a comedian for ten years on the alternative comedy circuit, was formerly proprietor and compère of Sheffield's Last Laugh Comedy Club, and is the author of Stand-Up! On Being a Comedian (Methuen, 1997). Currently he lectures in Drama at the University of Kent at Canterbury. Mike Wilson, whose background is in community theatre, is now Professor of Drama and Field Leader for Performing Arts and Film at the University of Glamorgan. He has published widely on varying aspects of storytelling practice and, in particular, on teenage storytelling culture, notably in Performance and Practice: Oral Naratives Among Teenagers in Britain and Ireland (Ashgate, 1997). His latest book, Theatre, Acting, and Storytelling will be published by Palgrave in 2004.

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Wang, Ying. "A corpus-based study of composite predicates in Early Modern English dialogues." Journal of Historical Pragmatics 20, no. 1 (June 4, 2019): 20–50. http://dx.doi.org/10.1075/jhp.16011.wan.

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Abstract Composite predicates (CPs), that is, complex predicate structures comprising a light verb and an eventive noun (e.g., make a move or give a speech) are common in Present-day English and are particularly characteristic of spoken language. The aim of the paper is to trace language changes involving CPs from 1560 to 1760, a period in which the use of CPs has not yet received adequate scholarly attention. Specifically, the study examines the frequencies, lexical productivity and syntactic patterns of CPs in two types of Early Modern English (EModE) dialogues, drawn from Trial Proceedings and Drama Comedy sampled in A Corpus of English Dialogues 1560–1760 – a 1.2-million word computerized corpus of EModE speech-related texts. The results reveal significant differences between the two types of dialogue and shed light on the development of CPs in association with grammaticalization and lexicalization.

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Haughton, Miriam. "Performing Power: Violence as Fantasy and Spectacle in Mark O'Rowe's Made in China and Terminus." New Theatre Quarterly 27, no. 2 (May 2011): 153–66. http://dx.doi.org/10.1017/s0266464x11000285.

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Mark O'Rowe's work marks a shift in Irish theatrical form and practice, positing his stories in urban landscapes that defy modernist dramatic frames and established linguistic styles. Here, angels and demons roam the earth with lost human souls and, though mythical creatures and influences are frequently made manifest, the connection to the other world does not remove the presence of popular culture – karate movies and salty snacks in particular. But perhaps the most viscerally striking aspect of O'Rowe's dramaturgy stems from the sense of pain, isolation, and trauma his characters embody and enact. His dramatized communities are either in crisis or no longer visible, thereby situating the scope for human connection or reconnection as the prize sought from their struggle – while comedy is not lost, and the ‘skullduggerous’ tone so applauded in Howie the Rookie accompanies these later works alongside an evolved dramatic voice and sense of theatrical form. Miriam Haughton is currently in the second year of her doctoral work on postmodern Irish drama in the School of English, Drama, and Film at University College Dublin. Her research interests include drama studies, Irish studies, anthropology, and sociology.

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McDermott, Ryan. "The Ordinary Gloss on Jonah." PMLA/Publications of the Modern Language Association of America 128, no. 2 (March 2013): 424–38. http://dx.doi.org/10.1632/pmla.2013.128.2.424.

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THE ORDINARY GLOSS WAS THE MOST WIDELY USED EDITION OF THE BIBLE IN THE LATER MIDDLE AGES AND WELL INTO THE SIXTEENTH century. Medievalists know the commentary element as the Gloss to which theologians as diverse as Thomas Aquinas, Bonaventure, John Wyclif, and Martin Luther habitually referred. As the foremost vehicle for medieval exegesis, the Gloss framed biblical narratives for a wide range of vernacular religious literature, from Dante's Divine Comedy to French drama to a Middle English retelling of the Jonah story, Patience.

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Haugland, Kari E. "ThouandYouin Early Modern English Dialogues: Trials, Depositions, and Drama Comedy (Pragmatics and Beyond New Series 158)." English Studies 90, no. 4 (August 2009): 502–3. http://dx.doi.org/10.1080/00138380802583212.

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Nevala, Minna. "Review of Walker (2007): Thou and You in Early Modern English Dialogues: Trials, Depositions, and Drama Comedy." Journal of Historical Pragmatics 11, no. 2 (June 18, 2010): 304–7. http://dx.doi.org/10.1075/jhp.11.2.07nev.

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Mahfouz, Safi Mahmoud. "Tragedy in the Arab Theatre: the Neglected Genre." New Theatre Quarterly 27, no. 4 (November 2011): 368–85. http://dx.doi.org/10.1017/s0266464x11000686.

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In this article Safi Mahmoud Mahfouz investigates the current state of tragedy in the Arab theatre and suggests some of the reasons behind the lack of an authentic Arabic tragedy developed from the Aristotelian tradition. Through analyses of the few translations and adaptations into Arabic of Shakespearean and classical tragedy, he both confirms and questions the claims of non-Arabic scholars that ‘the Arab mind is incapable of producing tragedy’. While the wider theatre community has been introduced to a handful of the Arab world's most prominent dramatists in translation, many are still largely unknown and none has a claim to be a tragedian. Academic studies of Arabic tragedy are insubstantial, while tragedy, in the classical sense, plays a very minor role in Arab drama, the tendency of Arab dramatists being towards comedy or melodrama. Safi Mahmoud Mahfouz is Head of the Department of English Language and Literature at UNRWA University, Amman, Jordan. His research interests include American Literature, Arabic and Middle Eastern literatures, modern and contemporary drama, contemporary poetics, comparative literature, and synchronous and asynchronous instructional technology.

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Shepherd, Lisa. "Communication through comedy: a drama and theatre project with young people for whom English is a second language." Support for Learning 29, no. 2 (May 2014): 167–76. http://dx.doi.org/10.1111/1467-9604.12055.

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Tiarina, Yuli, Hermawati Syarif, Jufrizal Jufrizal, and Yenni Rozimela. "Students’ need on basic English grammar teaching material based on interactive multimedia: an innovative design." COUNS-EDU: The International Journal of Counseling and Education 4, no. 1 (March 3, 2019): 29. http://dx.doi.org/10.23916/0020190419310.

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This article, a part of dissertation entitled Developing Basic English Grammar Teaching Material based on Interactive Multimedia at University Level, presents the results of a study conducted to find the model of Basic English Grammar teaching material based on interactive multimedia needed by the students. This empirical research employed both quantitative and qualitative analyses. Seventy eight students of English Department of Universitas Negeri Padang were involved. The students were required to articulate their need on a design of Basic English Grammar teaching material based on interactive multimedia. The data were collected through an open questionnaire. The first result is that Basic English Grammar teaching material based on interactive multimedia is very needed (with the score 3.1 out of 4). Second, the result indicates the organization of Basic English Grammar teaching material based on interactive multimedia. The organization consists of six parts. They are Time to watch/sing/read, Time to chat, Time to Focus, Time for fun practice, Time for tube, and Time for action. Third, the students have different learning style. Fourty two students (53.84%) have visual learning style. Twenty two students (28.21%) have audio learning style. The rest, fourteen students (17.95%) have kinestetic learning style. Four, the finding shows the students have their favorite movies, colors, and music. The students like comedy/humor, drama, horror, dokumentary, and action movies; they love pop, jazz, rock, country, and rap music; they adore blue, green, black, pink, and red color. Another important research finding is almost all students (91%) have their own laptop. Those findings will be considerations in designing the Basic English Grammar teaching material based on interactive multimedia. Further research to see the effectiveness of the model of Basic English Grammar teaching material based on interactive multimedia needs to be done.

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Carlson, Susan. "Comic Collisions: Convention, Rage, and Order." New Theatre Quarterly 3, no. 12 (November 1987): 303–16. http://dx.doi.org/10.1017/s0266464x00002451.

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How can the socially critical aspects of comedy be reconciled with a ‘happy ending’ which seems to affirm the existing order of things? This perennial problem has become acute in a period when both playwrights and comic performers are increasingly conscious of the dangers inherent in the stereotyping – racial, sexual, and hierarchical – on which so much comedy depends. In this article, Susan Carlson looks at some recent ‘meta-comedies’ which have used the form, as it were, to expose itself – notably, Trevor Griffiths's Comedians, Peter Barnes's Laughter, Susan Hayes's Not Waving, and Caryl Churchill's Cloud Nine – and analyzes their responses to comedy, which range from the despairing to the affirmative. She concludes that only Churchill has found a positive way of ‘connecting the painful recognitions of twentieth-century dissociations to comic hope’. Susan Carlson is Associate Professor of English at lowa State University. In addition to numerous articles on modern drama and the novel, she has published a full-length study of the plays of Henry James, and is currently working on a book about women in comedy.

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Robinson, Anne. "Penelope Spencer (1901–93) Dancer and Choreographer: A Chronicle." Dance Research 28, no. 1 (May 2010): 36–89. http://dx.doi.org/10.3366/drs.2010.0004.

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The career of the English dancer, choreographer, teacher and dance writer, Penelope Spencer (1901–93), primarily spanned the twenty-year period between the First and Second World Wars (1919–39). Spencer's versatile dance training and career encompassed diverse British theatre genres of the period, including ballet, drama, mime, modern dance, musical comedy, opera, pantomime and revue. It was common practice during the inter-war period for English dancers to disguise their British origins by ‘Russianising’ their names. Spencer, however, maintained her English name throughout her career. She practised consecutively both as a freelance artiste and also under the auspices of important cultural institutions, including the British National Opera Company [BNOC], the Camargo Society, the Cremorne Company, the Dancer's Circle Dinners, the Glastonbury Festival, the Imperial Society for Teachers of Dancing [ISTD], the League of Arts, the London Opera Syndicate Limited, the Margaret Morris Movement, the One Hundred Club, the Royal Academy of Dancing [RAD], the Royal Academy of Dramatic Art [RADA], the Royal College of Music [RCM], and the Sunshine Matinées. Spencer's significant contribution to British theatre dance and wider cultural heritage, is largely forgotten. Since no major study of her work has been published, 1 and because not one of her creations survives in performance, the importance of her wide-ranging, and often pioneering achievements, is not fully recognised.

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Kaplun, M. V. "Plays on Plot of Tamerlane and Bayazet on Russian Stage of Late 17^th — Early 18^th Centuries: Northern European Sources." Nauchnyi dialog, no. 6 (June 24, 2021): 207–24. http://dx.doi.org/10.24224/2227-1295-2021-6-207-224.

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The article is devoted to the little-studied Northern European sources of Russian plays on the plot about Tamerlane and Bayazet of the late 17th — early 18th centuries. The material was the play “Temir-Aksakovo Action” in 1675, a not preserved version of the play of the early 18th century “The Clear History of Tamerlane, the Tatar Khan how he defeated Saltan of Tursk Bayazet”, plays from the repertoire of “English comedians” of the 17th century, plays by the German playwright Andreas Gryphius and the English playwright Nicholas Roe. It is shown that the interludes of the play “Temir-Aksakovo Action” could be taken from the little-known play “The Comedy of Tamerlane”, staged in Nuremberg in 1667. Analysis of the play by German playwright Andreas Gryphius “The Armenian Leo” in 1656 makes it possible to talk about general formulas in constructing the theme of the overthrow of tyranny, the baroque theme of the mutability of life in the German and Russian drama of the 17th century. The play “The Clear History of Tamerlane ...”, staged at the court of Peter I in the 1700s, has been brought into consideration. Particular attention is paid to the analysis of the typological commonality of the Russian play with the play by the English playwright Nicholas Rowe “Tamerlane” in 1701, containing real historical allusions to the present.

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Harvey, Kyle. "Casting, diversity and fluid identities in Australian television." Media International Australia 174, no. 1 (October 24, 2019): 86–96. http://dx.doi.org/10.1177/1329878x19882528.

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This article examines the practice and function of casting in the Australian television industry from the 1960s to the 1990s. It investigates the role of ethnicity and accents and the practice of casting actors of migrant backgrounds in Australian drama, variety and comedy. In an industry so often dominated by Anglo-Australian stories, faces and voices, the increasing presence of actors from non-English-speaking backgrounds and non-European ethnicities has been a key feature of the changing nature of Australian television production. By analysing ‘Showcast’ casting directories, supplemented with oral history interviews, this article suggests that actors have tended to adopt fluid or hybrid identities to navigate the casting process and find steady work in the television industry. The manipulation of identity, I argue, sits at the nexus of overlapping cultural spheres amid the challenging operation of multiculturalism in Australian media.

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Er, Zekiye. "Tom Stoppard, New Historicism, and Estrangement in Travesties." New Theatre Quarterly 21, no. 3 (July 18, 2005): 230–40. http://dx.doi.org/10.1017/s0266464x05000138.

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New historicism rewrites history from different viewpoints in order to prove that the past is inaccessible, and all historians can do is to work on incomplete knowledge, aware of the fact that a teleological, linear approach to their subject is misleading. In this study, Zekiye Er aims not only to analyze Tom Stoppard's Travesties from a new historicist stance, but also to utilize a new historicist approach to an understanding of what Stoppard is doing in the play, in the light of the striking parallels between Stoppard's technique and the new historicist critics' methods of analyzing history and literary texts. She concludes that Stoppard himself plays the role of a new historicist while writing a brilliant comedy of ideas. Zekiye Er received her PhD for a dissertation on Stoppardian drama from Ankara University in 2004. She has been working as a lecturer in the Department of English Language and Literature of Gaziantep University since 1993.

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Morozova, Svetlana N., and Dmitriy N. Zhatkin. "Creative work of Edmund John Millington Synge in literary and critical perception of Korney Chukovsky." Vestnik of Kostroma State University, no. 3 (2019): 101–6. http://dx.doi.org/10.34216/1998-0817-2019-25-3-101-106.

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The article considers the specifics of Korney Chukovsky’s perception of dramatic art of Edmund John Millington Synge (1871–1909), one of the greatest personalities of national revival of Ireland. Synge, who created his works in English, not only revived legends of his nation, but also expanded the idea of the Irish national originality, having offered his own vision of the image of an Irish of his time. Korney Chukovsky is the author of one of the first translations of Synge’s dramatic art into Russian (a comedy "The Playboy of the Western World") and of the introductory article to its publication in 1923. The article "Synge and His "Playboy"" reflects the Russian writer’s understanding of the moral and aesthetic questions of the play. According to Korney Chukovsky, tSynge's complex art method was formed under the influence of the ideas of revival of the national drama theatre. This direction in perception of Synge’s heritage was determinative in Russian literature and, in general, reflected the nature of the attitude of Russian cultural consciousness to the Irish playwright’s creative work.

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Greenhill, Pauline, and Steven Kohm. "“Hansel and Gretel” Films: Crimes, Harms, and Children." Dzieciństwo. Literatura i Kultura 2, no. 1 (August 3, 2020): 11–34. http://dx.doi.org/10.32798/dlk.350.

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A brutal narrative of child abandonment, murder, and cannibalism may not seem the conventional stuff of fairy tales to those trained for a Disney-eyed view. Yet that is exactly what “Hansel and Gretel” offers. Film versions across genres, including drama, noir, horror, slasher, thriller, comedy, and adventure, deal seriously with crimes against and harms to children. Many practices and behaviours that endanger and damage people of various ages in all kinds of contexts, including environmental degradation, economic exploitation, and many forms of discrimination, are not proscribed in the formal criminal justice system, and/or are beyond the jurisdiction of public institutions. Many actions and inactions that affect and/or pertain to children’s wellbeing are found as recurring themes and ideas in “Hansel and Gretel” films. In this paper, the authors focus on non-supernatural, live-action films available in English for adult viewers that include child main characters, that is, those whose Hansels and Gretels are clearly below the age of puberty. These films, the authors contend, offer distinctive perspectives on harms to children as individuals and as groups, especially with relation to institutions implicating justice.

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Paul, Abigail. "Incorporating theatre techniques in the language classroom." Scenario: A Journal of Performative Teaching, Learning, Research IX, no. 2 (July 1, 2015): 115–24. http://dx.doi.org/10.33178/scenario.9.2.8.

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The following workshop was presented at a Foreign Language and Drama Conference at the University of Reutlingen on July 10, 2015. It outlines the use of improvisational theatre techniques in the foreign language classroom by making parallels between the communicative approach to language learning and improvisational theatre techniques learned in various books read and seminars attended by the author throughout the years in numerous cities, but predominantly with Second City Chicago1, iO Chicago2, Keith Johnstone, and Comedy Sportz3. As Friederike Klippel states, “activities are invented, but we rarely know who invented them. Like games or folk songs they are handed on from teacher to teacher” (Klippel 1985: 1). Similarly improvisational activities morph over time, with each teacher adding his or her own personal flair. The seminar is built predominantly on the games and philosophies as outlined by theatre practitioners Augusto Boal, Viola Spolin and Keith Johnstone, but from the viewpoint of the author. While these activities can be used for a variety of purposes with native and non-native English speakers in a number of areas, the focus in the following is on the second language learner. The generally-accepted understanding of a communicative approach to language learning is that it focuses ...

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Kinney, Arthur F. "Patterns and Perspectives in English Renaissance Drama Eugene M. Waith Comedy from Shakespeare to Sheridan: Change and Continuity in the English and European Dramatic Tradition. Essays in Honor of Eugene M. Waith A. R. Braunmuller J. C. Bulman." Huntington Library Quarterly 52, no. 4 (October 1989): 509–16. http://dx.doi.org/10.2307/3817159.

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Fischler, Alan. "The Modern Major Remodelling of the Gilbert and Sullivan Operas." New Theatre Quarterly 34, no. 1 (January 10, 2018): 35–46. http://dx.doi.org/10.1017/s0266464x17000665.

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Following the success of The Gondoliers (1889), Gilbert wrote to Sullivan: ‘It gives one the chance of shining right through the twentieth century.’ However, while this prophecy was largely fulfilled, clouds of cultural disapproval have darkened over the Savoy operas since the start of the present century, especially with regard to the mockery of women's education at the heart of Princess Ida (1884) and, most pointedly, the demeaning and ostensibly racist depiction of the Japanese in The Mikado (1885). On the other hand, the largely overlooked Utopia, Limited (1893) has experienced a boom in productions over the last decade, seemingly due to its subject matter, which, as one recent critic put it, make it ‘an anti-colonialist, anti-capitalist comic opera’. He also argues that, while some of the traditional performance practices associated with The Mikado ought to be re-evaluated, recent objections to the spirit of the opera as a whole are not entirely justified, and that a re-evaluation of the validity of some (but not all) of the performance practices traditionally associated with The Mikado is both just and timely. Alan Fischler is a Professor of English at Le Moyne College, Syracuse. He is the author of Modified Rapture: Comedy in W. S. Gilbert's Savoy Operas (University of Virginia Press, 1991) and ‘Drama’ in the Blackwell Companion to Victorian Literature and Culture (2014), among many other articles on Gilbert and nineteenth-century theatre.

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Sagar, Aparajita, and Bruce King. "Post-Colonial English Drama: Commonwealth Drama since 1960." World Literature Today 68, no. 1 (1994): 228. http://dx.doi.org/10.2307/40150112.

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Wickham, Glynne, Marianne G. Briscoe, and John C. Coldewey. "Contexts for Early English Drama." Modern Language Review 86, no. 4 (October 1991): 971. http://dx.doi.org/10.2307/3732563.

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Wetmore, Kevin J. "Modern Japanese Drama in English." Asian Theatre Journal 23, no. 1 (2006): 179–205. http://dx.doi.org/10.1353/atj.2006.0013.

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WIGGINS, MARTIN. "MORINDOS AND ENGLISH RENAISSANCE DRAMA." Notes and Queries 41, no. 4 (December 1, 1994): 505–7. http://dx.doi.org/10.1093/nq/41-4-505.

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Traub, Valerie. "Daughters, Wives, and Widows: Writings by Men about Women and Marriage in England, 1500-1640. Joan Larsen KleinFashioning Femininity and English Renaissance Drama. Karen NewmanStaging the Gaze: Postmodernism, Psychoanalysis, and Shakespearean Comedy. Barbara Freedman." Signs: Journal of Women in Culture and Society 20, no. 1 (October 1994): 200–204. http://dx.doi.org/10.1086/494965.

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Vidal, B. "English Heritage, English Cinema: Costume Drama since 1980." Screen 44, no. 3 (September 1, 2003): 351–54. http://dx.doi.org/10.1093/screen/44.3.351.

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Wulstan, D. "Early English religious drama: Richard Rastall, Minstrels playing: music in early English religious drama." Early Music XXX, no. 4 (November 1, 2002): 620–21. http://dx.doi.org/10.1093/em/xxx.4.620.

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Traub, Valerie. "Correction to TraubDaughters, Wives, and Widows: Writings by Men about Women and Marriage in England, 1500-1640. Joan Larsen KleinFashioning Femininity and English Renaissance Drama. Karen NewmanStaging the Gaze: Postmodernism, Psychoanalysis, and Shakespearean Comedy. Barbara Freedman." Signs: Journal of Women in Culture and Society 20, no. 2 (January 1995): 428–31. http://dx.doi.org/10.1086/494982.

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Comensoli, Viviana, and David George. "Records of Early English Drama: Lancashire." Sixteenth Century Journal 24, no. 2 (1993): 453. http://dx.doi.org/10.2307/2541966.

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Ardolino, Frank, and Jack D'Amico. "The Moor in English Renaissance Drama." Sixteenth Century Journal 24, no. 3 (1993): 775. http://dx.doi.org/10.2307/2542179.

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Comensoli, Viviana, and Alan H. Nelson. "Records of Early English Drama: Cambridge." Sixteenth Century Journal 21, no. 4 (1990): 747. http://dx.doi.org/10.2307/2542246.

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Evans, Robert C., and Dale B. J. Randall. "Winter Fruit: English Drama, 1642-1660." Sixteenth Century Journal 28, no. 3 (1997): 1053. http://dx.doi.org/10.2307/2543114.

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Desens, Marliss, and Dale B. J. Randall. "Winter Fruit: English Drama 1642-1660." Rocky Mountain Review of Language and Literature 50, no. 2 (1996): 205. http://dx.doi.org/10.2307/1348246.

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Vander Motten, J. P. "Derek Hughes, English Drama 1660 - 1700." Documenta 15, no. 2 (May 12, 2019): 129–33. http://dx.doi.org/10.21825/doc.v15i2.11133.

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Levenson, Jill L., Peter Davison, and S. Gorley Putt. "Contrasting Approaches To Early English Drama." Shakespeare Quarterly 36, no. 3 (1985): 380. http://dx.doi.org/10.2307/2869729.

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Lancashire, Anne, and Sylvia Stoler Wagonheim. "Annals of English Drama 975-1700." Shakespeare Quarterly 42, no. 2 (1991): 225. http://dx.doi.org/10.2307/2870549.

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Shahane, Vasant A., and S. Krishna Bhatta. "Indian English Drama: A Critical Study." World Literature Today 62, no. 3 (1988): 509. http://dx.doi.org/10.2307/40144477.

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Haynes, Robert, and J. Alan B. Somerset. "Shropshire (Records of Early English Drama)." Sixteenth Century Journal 29, no. 1 (1998): 301. http://dx.doi.org/10.2307/2544506.

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Butler, Martin, and Dale B. J. Randall. "Winter Fruit: English Drama 1642-1660." Shakespeare Quarterly 49, no. 1 (1998): 93. http://dx.doi.org/10.2307/2902213.

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Gurr, Andrew, and J. Alan B. Somerset. "Records of Early English Drama: Shropshire." Modern Language Review 92, no. 2 (April 1997): 438. http://dx.doi.org/10.2307/3734840.

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Smith, M. Rick, and Cameron Louis. "Records of Early English Drama: Sussex." Sixteenth Century Journal 34, no. 2 (July 1, 2003): 601. http://dx.doi.org/10.2307/20061508.

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Cannan, Paul D. "English Drama, 1660-1700. Derek Hughes." Modern Philology 97, no. 1 (August 1999): 114–17. http://dx.doi.org/10.1086/492816.

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Davidson, Clifford. "Positional Symbolism and English Medieval Drama." Comparative Drama 25, no. 1 (1991): 66–76. http://dx.doi.org/10.1353/cdr.1991.0004.

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