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Journal articles on the topic 'English drama English drama Theater Theater Magic in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Paiva, Leila Piovesan Garcia, Lilian Martins, and Monica Martinez. "O FUTURO DO JORNALISMO LITERÁRIO: John S. Bak." Revista Observatório 4, no. 6 (2018): 86–116. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n6p86.

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Perfilar um dos estudiosos contemporâneos mais expressivos do Jornalismo Literário mundial é o casamento perfeito entre a responsabilidade e o desafio profissional. John Steven Bak é um homem complexo, como todo ser humano, mas de intrigante e singular personalidade. Estadunidense radicado na França há 20 anos, o professor de Literatura Americana na Universidade de Lorraine (FR) integra o grupo de pesquisadores do Centro de Pesquisas Interdisciplinares de Estudos Ingleses (I.D.E.A), tem pós-doutorado pela Universidade de Sorborne (FR), é doutor e mestre pela Ball State University (EUA) e bacha

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2

Bednarz, James P. "Jonson, Marston, Shakespeare and the Rhetoric of Topicality." Ben Jonson Journal 27, no. 2 (2020): 155–76. http://dx.doi.org/10.3366/bjj.2020.0282.

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The revival of commercial “private” theater by the Children of Paul's in 1599 and the Children of the Chapel in 1600 transformed the culture of playgoing in London at the end of the sixteenth century. It was during this period that John Marston at Paul's and Ben Jonson at Blackfriars attracted attention at these theaters by ridiculing each other personally and denigrating each other's work. In doing so they converted these playhouses into forums for staging ideologically opposed interpretations of drama. Rather than aligning themselves with each other against the “public” theater, as Alfred Ha

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3

Truc, Le Quang. "Theater in education at Ho Chi Minh City Open University in Vietnam: students’ awareness of benefits and challenges in English and American literature classes." SOCIAL SCIENCES 9, no. 1 (2020): 28–47. http://dx.doi.org/10.46223/hcmcoujs.soci.en.9.1.269.2019.

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This study examined whether the students participating in the drama program “THEATER IN EDUCATION: English and American Literature Classes’ Performances, 2017” at Ho Chi Minh City Open University in Vietnam perceived the benefits and challenges of the Theater in Education method as demonstrated in previous research in the field of foreign language learning. The data needed was collected by means of a questionnaire that consisted of seven questions. Similarities and differences between the findings of the study and what had been reported in previous research studies were then discussed. Hopeful

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4

Eriks Cline, Lauren. "The Long Run of Victorian Theater." Victorian Literature and Culture 48, no. 3 (2020): 623–31. http://dx.doi.org/10.1017/s106015032000025x.

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It's March 2020 as I write this, and the theaters are closed. Broadway is dark, and the Globe is once again shut due to a plague. Perhaps “self-isolation” is a strange condition under which to be thinking about crowded Victorian playhouses. As I make dates to watch movies with friends hundreds of miles away on the Netflix Party app, the media environment in which I pursue entertainment has perhaps never felt more dissimilar to that of nineteenth-century theatergoers. But, then again, maybe the photos of empty auditoria and deserted streets are the best demonstration of the space that public cu

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5

Keener, Andrew S. "Japan Dramas and Shakespeare at St. Omers English Jesuit College." Renaissance Quarterly 74, no. 3 (2021): 876–917. http://dx.doi.org/10.1017/rqx.2021.103.

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This essay examines how Catholics at the English Jesuit College at Saint-Omer reflected on Japanese religious politics during the 1620s and 1630s, both through translated mission reports and drama. This analysis expands scholars’ view of English encounters with Japan; it also decenters predominantly Eurocentric approaches to early modern Jesuit education and theater. The essay concludes with a discussion of Shakespeare and George Wilkins's “Pericles,” a quarto playbook of which was possessed by St. Omers and which, through the generic elements of romance it shared with the Japan material, prov

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6

Lee, Josephine. "Disciplining theater and drama in the English department: Some reflections on ‘performance’ and institutional history." Text and Performance Quarterly 19, no. 2 (1999): 145–58. http://dx.doi.org/10.1080/10462939909366256.

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7

Roberts, Matthew. "Ajax in America, or Catharsis in the Time of Terrorism." New Theatre Quarterly 36, no. 4 (2020): 306–19. http://dx.doi.org/10.1017/s0266464x20000652.

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Originally funded by the US Department of Defense in 2009, Theater of War Productions’ first project, Theater of War, performs dramatic readings of Ajax at military bases, hospitals, and academic institutions throughout the United States. Developed by Bryan Doerries, Theater of War brings awareness to the epidemic of suicide and other forms of violence committed by American military service members in the wake of the United States’ so-called ‘war on terror’. But like Ajax, American military personnel typically turn to violence only after being betrayed by the institutions that they served. Thi

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8

Hassan, Waïl S. "Oyono in Arabic." PMLA/Publications of the Modern Language Association of America 128, no. 1 (2013): 127–32. http://dx.doi.org/10.1632/pmla.2013.128.1.127.

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A rendition by nayif kharma of michael etherton's theatrical adaptation of john reed's english translation, the arabic version of Ferdinand Oyono's novel Une vie de boy is at three removes from the original French. Under the title Al-khādim (“The Servant”), the play appeared in 1982 in the series Min al-masrah al-'ālami (“From World Theater”), published by Kuwait's Ministry of Culture. Since to all effects and purposes Etherton's theatrical adaptation is Kharma's original, it is necessary to begin by describing how the Zambian-born British writer who taught drama at the University of Zambia in

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9

Maguire, Nancy Klein. "The Theatrical Mask/Masque of Politics: The Case of Charles I." Journal of British Studies 28, no. 1 (1989): 1–22. http://dx.doi.org/10.1086/385923.

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Britain now wear's the sock; the Theater's clean Transplanted hither, both in Place and Scene.Martin Butler and Jonathan Dollimore have recently documented the importance of drama in English political life before 1642. Such scholarship, however, has stopped cold at the great divide of 1642. Except for Lois Potter in “‘True Tragicomedies’ of the Civil War and Interregnum,” no one has considered the relationship between politics and theater while the theaters were officially closed. Scholars have thereby missed a seminal question in understanding the discourse and complex political maneuvering e

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10

Westgate, J. Chris. "David Hare's Stuff Happens in Seattle: Taking a Sober Account." New Theatre Quarterly 25, no. 4 (2009): 402–18. http://dx.doi.org/10.1017/s0266464x09000682.

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As The Power of Yes, the third play by David Hare to document recent history, opens at London's National Theatre, J. Chris Westgate examines in this article Hare's Stuff Happens in a regional production in the United States, at Seattle's A Contemporary Theater in 2007. He tracks the emphasis placed on controversy during the advertising and marketing of the play, which stands in direct contrast to the response to the play, which was received with self-satisfaction rather than increased insight in this highly liberal city. From this contrast, he discusses the way that this production of Hare's p

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11

Диянова and O. Diyanova. "The Role of the Literary Theatrical Project in the Development of the Sociocultural Competence on English Classes (Based on Work Experience)." Socio-Humanitarian Research and Technology 4, no. 2 (2015): 14–17. http://dx.doi.org/10.12737/11930.

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In this article the author shares her experience on how to develop sociocultural competence by means of the literary and theatrical project on English classes. The Author&#180;s need of appealing to the study of literature and theatreof the country which language is learned is caused by the nowadays increased necessity in cross-cultural communication and cooperation. The search for the solution led to the idea to organize the process of training English language on the basis of modern educational technologies allowing to improve educational p

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12

Gupta, Yashasvi. "STAGE TECHNOLOGY IN THE MODERN ERA." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3416.

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The specific place where the artist sits for the presentation of any art or specific ideas is called the stage. This is also called theater because pigmentation is its main subject. In Western countries or the English language, it is called a stage. It seems that theater was prevalent among the deities even before the emergence of humans. Like Kailash festival of Lord Shiva, Mata Vagishwari sitting on a peacock with a veena in her hand and dancing in the court of Indra to Gandharva, Kinnar, and Apsaras only indicate the existence of the stage. According to the tradition of Indian music and dra

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13

Walsh, Brian. "Heather Anne Hirschfeld. Joint Enterprises: Collaborative Drama and the Institutionalization of the English Renaissance Theater. Massachusetts Studies in Early Modern Culture. Amherst and Boston: University of Massachusetts Press, 2004. x + 204 pp. index. bibl. $34.95. ISBN: 1-55849-434-0." Renaissance Quarterly 58, no. 01 (2005): 345–47. http://dx.doi.org/10.1353/ren.2008.0676.

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14

Kreps, Barbara. "Lorna Hutson, The Invention of Suspicion: Law and Mimesis in Shakespeare and Renaissance Drama. Oxford: Oxford University Press, 2007. x + 382 pages.Solon and Thespis: Law and Theater in the English Renaissance, ed. Dennis Kezar. Notre Dame: University of Notre Dame Press, 2007. viii + 294 pages." Ben Jonson Journal 17, no. 2 (2010): 269–78. http://dx.doi.org/10.3366/bjj.2010.0111.

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15

Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari

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16

"Intertexuality and intermediality of modern drama-parabola (based on material by Koki Mitany "The Academy of Laugh")." Journal of V. N. Karazin Kharkiv National University, Series "Philology", no. 86 (2020). http://dx.doi.org/10.26565/2227-1864-2020-86-08.

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The article deals with the problem of finding the manifestations of intertextual reminisces in the English drama of the Renaissance in the context of contemporary drama parabole consideration. On the basis of the play “Akademy of Laugh” by the famous modern Japanese playwright Koki Mitani the categories of “intertextuality” and “intermediality”are investigated, namely, the features of the manifestations of these aspects in the light of modern parabolic drama. In the process of analyzing the play, the author draws attention to the context of intermedial connections of literature with theatrical

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17

McGillivray, Glen. "Nature Transformed: English Landscape Gardens and Theatrum Mundi." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1146.

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IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas an

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18

Lavers, Katie. "Cirque du Soleil and Its Roots in Illegitimate Circus." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.882.

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IntroductionCirque du Soleil, the largest live entertainment company in the world, has eight standing shows in Las Vegas alone, KÀ, Love, Mystère, Zumanity, Believe, Michael Jackson ONE, Zarkana and O. Close to 150 million spectators have seen Cirque du Soleil shows since the company’s beginnings in 1984 and it is estimated that over 15 million spectators will see a Cirque du Soleil show in 2014 (Cirque du Soleil). The Cirque du Soleil concept of circus as a form of theatre, with simple, often archetypal, narrative arcs conveyed without words, virtuoso physicality with the circus artists prese

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