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1
Kothari, Saroj. "EFFECTS OF DANCE AND MUSIC THERAPY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–8. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3389.
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Arts have consistently been part of life as well as healing throughout the history of humankind. Today, expressive therapies have an increasingly recognized role in mental health, rehabilitation and medicine. The expressive therapies are defined as the use of art, music, dance/movement drama, poetry/creative writing, play and sand play within the context of psychotherapy, counseling, rehabilitation or health care.Through the centuries, the healing nature of these expressive therapies has been primarily reported in anecdotes that describe a way of restoring wholeness to a person struggling with either mind or body illness. The Egyptians are reported to have encouraged people with mental illness to engage in artistic activity (Fleshman & Fryrear, 1981); the Greeks used drama and music for its reparative properties (Gladding, 1992); and the story of King Saul in the Bible describes music’s calming attributes. Later, in Europe during the Renaissance, English physician and writer Robert Burton theorized that imagination played a role in health and well-being, while Italian philosopher de feltre proposed that dance and Play was central to children’s healthy growth and development (Coughlin, 1990).
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Brantley, Jessica. "Middle English Drama Beyond the Cycle Plays." Literature Compass 10, no. 4 (March 19, 2013): 331–42. http://dx.doi.org/10.1111/lic3.12056.
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Masoumi-Moghaddam, Saman. "Using Drama and Drama Techniques to Teach English Conversations to English as A Foreign Language Learners." International Journal of Applied Linguistics and English Literature 7, no. 6 (November 1, 2018): 63. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.6p.63.
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The present study aimed to examine the ways in which drama and drama techniques and practices, as implemented in the English language classes and combined with pedagogical practices to teach and learn English conversation, can create the appropriate conditions that promote learning environments conducive for learning English conversations. The participants of this study were thirty undergraduate male and female students who had studied English at the secondary and high school levels at the public schools in Ardebil. They were classified into two groups including Control and Experimental groups. The two groups were administered a Test-Retest evaluation to measure the targeted language skills that was to be taught to them. In order to collect the necessary data, two modern plays were taught and rehearsed in classroom context and then a retest were administered after the practice of these two modern dramatic discourse in the classroom. The different data-collecting techniques were used for the current research were participant observation (direct and indirect), and interviews. After analysing the data the results showed that there was no significant improvement in English competence of the Control group but the Experimental group revealed a tremendous achievement in their abilities in English conversations through the use of dramatic discourse.
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Dayal, Dr Ashok. "Social Hypocrisies in Vijay Tendulkar’s The Vultures." International Journal for Research in Applied Science and Engineering Technology 9, no. 9 (September 30, 2021): 618–21. http://dx.doi.org/10.22214/ijraset.2021.38028.
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Abstract: Early plays in India were written in Bengali by Bengali writers which were mostly translated into English from Bengali in the 19th century. But drama in English failed to serve a local theatrical habitation, in sharp contrast to plays in the mother tongue (both original and in the form of adaptations from foreign languages); and the appetite for plays in English could more conveniently be fed on performances of established dramatic successes in English by foreign authors. Owing to the lack of a firm dramatic tradition nourished on actual performance in a live theatre, early Indian English drama in Bengal as elsewhere in India grew sporadically as mostly closet drama; and even later, only Sri Aurobindo, Ravindranath Tagore and Harindranath Chattopadhyaya produced a substantial corpus of dramatic writing. Between 1891 and 1916 Sri Aurobindo wrote five complete and six incomplete verse plays. Keywords: exploitation, sexual violence, homosexual, individuall degradation, consciousness, hypocrisies
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Meredith, Peter. "The direct and indirect use of the Bible in Medieval English drama." Bulletin of the John Rylands Library 77, no. 3 (September 1995): 61–78. http://dx.doi.org/10.7227/bjrl.77.3.6.
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Davies, Paul. "The Use of Drama in English Language Teaching." TESL Canada Journal 8, no. 1 (October 26, 1990): 87. http://dx.doi.org/10.18806/tesl.v8i1.581.
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This essay aims to examine the use of drama and dramatic activities in English Language Teaching CELT). Its opening part looks at some of the theories behind the use of drama with learners of English, and tries to answer questions such as what is drama, who needs it, and when should it be used. The essay then takes a look at some practical procedural strategies such as lesson preparation, students' language needs, how to present and integrate drama into the lesson, and overall classroom organization. The next section tackles the question of how dramatic activities can be employed in the language classroom. The possibilities considered include mime, simulation, role-play, scripted plays, improvisation, and coursebook dialogue. Some concluding remarks finish off the main body of the essay.
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Jackson, Lucy. "Proximate Translation: George Buchanan's Baptistes, Sophocles’ Antigone, and Early Modern English Drama." Translation and Literature 29, no. 1 (March 2020): 85–100. http://dx.doi.org/10.3366/tal.2020.0410.
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This essay takes up the question of what impact Greek tragedy had on original plays written in Latin in the sixteenth century. In exploring George Buchanan's biblical drama Baptistes sive calumnia (printed 1577) and its reworking of scenes and images from Sophocles' Antigone, we see how neo-Latin drama provided a valuable channel for the sharing and shaping of early modern ideas about Greek tragedy. The impact of the Baptistes on English drama is then examined, with particular reference to Thomas Watson's celebrated Latin translation of Antigone (1581). The strange affinities between Watson's and Buchanan's plays reveal the potential for Greek tragedy to shape early modern drama, but also for early modern drama to shape how Greek tragedy itself was read and received in early modern England.
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Moghadam, Saman M., and Reza Ghafarsamar. "Using Drama and Drama Techniques to Teach English Conversations to EFL Learners." Global Journal of Foreign Language Teaching 8, no. 2 (May 29, 2018): 92–101. http://dx.doi.org/10.18844/gjflt.v8i2.3319.
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The present study aimed to examine the ways in which drama and drama techniques and practices, as implemented in the English language classes and combined with pedagogical practices to teach and learn English conversation, can create the appropriate conditions that promote learning environments conducive for learning English conversations. The participants of this study were thirty undergraduate male and female students who had studied English at the secondary and high school levels at the public schools in Ardebil. They were classified into two groups including Control and Experimental groups. The two groups were administered a Test-Retest evaluation to measure the targeted language skills that was to be taught to them. In order to collect the necessary data, two modern plays were taught and rehearsed in classroom context and then a retest were administered after the practice of these two modern dramatic discourse in the classroom. The different data-collecting techniques were used for the current research were participant observation (direct and indirect), and interviews. After analysing the data the results showed that there was no significant improvement in English competence of the Control group but the Experimental group revealed a tremendous achievement in their abilities in English conversations through the use of dramatic discourse.
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Fastrup, Anne. "Handelsorientalisme i engelsk drama 1580-1630." K&K - Kultur og Klasse 45, no. 124 (December 31, 2017): 89–110. http://dx.doi.org/10.7146/kok.v45i124.103798.
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The early modern Turco-Barbary plays of Christopher Marlowe, Robert Daborne and Philippe Massinger bear witness to how deeply England’s expanding trade with the Muslim Ottoman Empire affected English literature. Within few decades, a new catalogue of dramatis personae such as Turcs, Barbary pirates, English sailors who had converted into Islam, Jewish merchants and go-betweens, began to appear on the scenes of London’s commercial theatres. The purpose of this article is to discuss the particular mercantile character of this renaissance orientalism. Through the demonstration of how the theatrical representation of the encounter with the Muslim world was based on a moral suspiciousness or scepticism toward the merchant whose commerce depended upon foreign markets in goods and money, this article attempts to understand why conversion to Islam and cross-cultural movement becomes such a prominent feature in the English Turco-Barbary plays.
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Chansky, Dorothy. "American Higher Education and Dramatic Literature in(to) English." Theatre Survey 54, no. 3 (August 29, 2013): 419–38. http://dx.doi.org/10.1017/s0040557413000288.
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In 2011 and 2012, I undertook a two-part survey to answer some large questions about the use of plays in translation in the higher education drama classroom in Anglophone North America and to test my ideas regarding the simultaneous ubiquity and invisibility of translation there. My project here is to report on that survey and to make clear why translation studies is ready to take a prominent role in theatre studies. U.S. colleges and universities constitute one of the largest single markets in the world for drama translated into English. Most U.S. theatre history classes include plays from the world canon, and many specialized classes in theatre departments focus on plays from non-Anglophone cultures. In English departments, where other genres in translation (e.g., the novel) may be approached with caution, drama seems to be offered a “pass” because the notion of being dramaturgically literate depends on some knowledge of a sizable canon of non-Anglophone plays. Yet despite its ubiquity, translation is often so normalized as to be invisible to those who depend on it. As Laurence Senelick notes, “For most students, a work exists wholly in its translated form, spontaneously generated.” Translation, as the survey confirmed, is part of the DNA of theatre studies. As such, I argue, it needs to be brought to the foreground of the field. In saying this, I am not unaware of the rich work undertaken by scholars, editors, and practitioners who are enmeshed in the difficult issues involved with translating plays, which include pressing for greater attention to cultural sensitivity and literacy. My focus here is on the academy and the classroom, where, for better or worse, the vast majority of future dramaturgs and audience members will cut their teeth on a critical mass of plays and where no single language or production entity or publisher can claim pride of place.
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Pountney, Rosemary, and Matthew Feldman. "An Interview with Dr Rosemary Pountney." Samuel Beckett Today / Aujourd'hui 22, no. 1 (October 1, 2010): 397–405. http://dx.doi.org/10.1163/18757405-022001027.
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Rosemary Pountney [RP] trained as an actor before taking an English degree at Oxford, followed by a D. Phil on Beckett's drama, later published as Now retired, she was Lecturer in English at University College Dublin and Jesus College, Oxford, Senior Lecturer in Drama at the University of Winchester, and is now an Hon. Fellow of St. Anne's College, Oxford. She began performing Beckett's one-woman plays while working on her thesis and subsequently made numerous tours in Europe and worldwide, performing the plays and lecturing on Beckett's drama.
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Nothof, Anne. "Canadian Radio Drama in English: Prick up Your Ears." Theatre Research in Canada 11, no. 1 (January 1990): 59–70. http://dx.doi.org/10.3138/tric.11.1.59.
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Radio drama is alive and well and living in Canada, even though the audience is scattered and silent, and the playwrights relatively obscure. It works best as an intimate, personal voice in the ear of the individual listener, seducing with the meaningful sound of language. Although its pervasive tone has been critical and ironic, it is most effective as a mental theatre: sound becomes a transcription of psychological reality. The CBC has, however, produced a diversity of radio plays, from adaptations of novels to innovative series featuring new Canadian playwrights.
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Mills, David. "Chester ceremonial: re-creation and recreation in the English ‘medieval’ town." Urban History 18 (May 1991): 1–19. http://dx.doi.org/10.1017/s0963926800015959.
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During the last two decades the interests of scholars of early drama and of urban historians have found common ground in the study of urban celebration and ceremonial. For the student of early drama the beginnings of this interest coincided with a redefinition of the area and nature of the study of early drama, a shift in emphasis from the textual and literary problems of the few extant dramatic texts to the circumstances and conditions of their performance. Signalled in the mid-1950s by F.M. Salter's revealing study of the production of Chester's Whitsun plays, this movement gained impetus from Glynne Wickham's investigations of the development of English stagecraft between 1300 and 1660, the first volume of which appeared in 1959, which illustrated the interdependence of a range of ostensibly disparate activities, such as plays, royal entries and tournaments. Then, in the 1970s an iconoclastic challenge to traditional theories about the staging of mystery plays was mounted by Alan H. Nelson, drawing upon various local records, and from the resulting controversies was born a new initiative, the Records of Early English Drama, whose avowed purpose is ‘to find, transcribe, and publish external evidence of dramatic, ceremonial, and minstrel activity in Great Britain before 1642’. That series is still ongoing and already constitutes a major primary resource of regional documentary transcripts for all interested in early dramatic and quasidramatic activity, suggesting a hitherto unsuspected diversity and frequency of dramatic activity throughout England.
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Hardie, Andrew, and Isolde van Dorst. "A survey of grammatical variability in Early Modern English drama." Language and Literature: International Journal of Stylistics 29, no. 3 (August 2020): 275–301. http://dx.doi.org/10.1177/0963947020949440.
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Grammar is one of the levels within the language system at which authorial choices of one mode of expression over others must be examined to characterise in full the style of the author. Such choices must however be assessed in the context of an understanding of the extent of variability that exists generally in the language. This study investigates a set of grammatical features to understand their variability in Early Modern English drama, and the extent to which Shakespeare’s grammatical style is distinct from or similar to that of his contemporaries in so far as these features are concerned. A review of prior works on Shakespeare’s grammar establishes that the quantitatively informed corpus linguistic approach utilised in this study is innovative to this topic. Using two of the grammatically annotated corpora created by the Encyclopedia of Shakespeare’s Language project, one made up of Shakespeare’s plays, one of plays by other playwrights of the period, we present a method which steers a course between the narrow focus of close reading and the naïvely quantitative metrics of authorship analysis. For a set of 15 grammatical features of stylistic interest, we retrieve all instances of each feature in each play via complex corpus search patterns and calculate its relative frequency. These results are then considered, in aggregate and at the text level, to assess the differences across plays, across dramatic genre, and between Shakespeare and the other dramatists, via both statistical summary and visual representation of variability. We find that Shakespeare’s grammatical style tends (especially in comedies and tragedies) to disprefer informationally dense noun phrases relative to the other playwrights; and, moreover, to prefer tense, aspect and pronoun features which suggest a greater degree of narrative focus in his style. Furthermore, we find Shakespeare to be highly distinct in his preferences regarding verb complement subordinate clause types. These findings point the way both to a novel methodology and to further as yet unconsidered questions on the subject of Shakespeare’s grammatical style.
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Starostina, Yu S. "Axiological Potential of Metaphors in Modern English Drama." Vestnik of Samara University. History, pedagogics, philology 26, no. 4 (December 30, 2020): 128–35. http://dx.doi.org/10.18287/2542-0445-2020-26-4-128-135.
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The article is devoted to axiological marking of speech metaphors in English stylized communication within drama discourse. Modern drama discourse, being the discursive space of its own status, unites the characteristics of belle-lettres discourse and colloquial speech, due to which the traditional linguistic markers of fiction obtain new meanings. While embedding into the context of stylized communication, metaphors significantly extend their functional paradigm, the centre of which is now taken by axiological function with expressive and emotive actualization. The article is aimed at systematization and linguistic interpretation of speech metaphors in English-language drama with the purpose of adequate determination of their evaluative potential and their role in linguistic representation of linguocultural axiosphere. The axiological nature of metaphors as their leading characteristic in the English-language drama has not previously been the subject of a separate linguistic study. The empirical base of the research includes 200 metaphors and metaphorical complexes recorded in modern English-language plays; the method of complex linguoaxiological interpretation was employed as the main one. In the course of the study, the boundaries of structural variation of axiological metaphors in the English-language drama discourse were determined and their leading patterns were identified, such as one-component metaphorical nominations, multi-component metaphorical nominations and metaphorical complexes. Besides, the types of thematic transfers of speech metaphors were determined, with attention being paid to the implementation of their evaluative function in the utterance. The defined system of evaluative objects within metaphorical evaluative statements allowed to identify the components of English linguocultural axiosphere which are conceptualized in drama with the help of various structural and thematic metaphorical types, namely 'family', 'intellect', 'truth'. Each of these axiological dominants acts as a value guideline in the English-language linguoculture being linguistically marked by a certain set of metaphors fulfilling their interdiscoursive evaluative potential
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Rathore, Chhayankdhar Singh. "Teacher-in-Role as a Tool for Scaffolding Role Plays in the English Classroom." JALT PIE SIG: Mask and Gavel 9, no. 1 (January 2021): 28–43. http://dx.doi.org/10.37546/jaltsig.pie9.1-3.
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While most drama-in-education activities include the students in the dramatic process, the teachers are often excluded. This exclusion creates a gulf between the fictional world inhabited by the students and the real world of the teacher, making it difficult for the teachers to scaffold and challenge the students without undermining the fictional world. One exception to this phenomenon is Teacher-in-Role. This article will analyze the process drama technique called Teacher-in-Role and discuss its functions, types, benefits, potential challenges, and solutions to avoid or manage these challenges. This article also includes examples of Teacher-in-Role to provide the readers with a better understanding of how this process drama technique can be used.
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Sankar, G. "Nationalism in Rabindranath Tagore Plays." IJOHMN (International Journal online of Humanities) 1, no. 3 (April 14, 2015): 8–45. http://dx.doi.org/10.24113/ijohmn.v1i3.11.
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History reveals that institutions or artifacts produced by human beings can lead to the exploitation or the loss of freedom of other human beings. Thus the celebration of the good life of an Athenian citizen in Plato‟s time can hide the wretchedness of vast numbers of slaves whose labor made it possible for the few free citizens to enjoy that good life. Our criteria then must apply to all, or at least the vast majority of the vast of the human group concerned, if they are to lay claim to universality. Amiya Kumar Bagchi, Perilous Passage1 The story of Indo-Anglican literature is the story of yesterday, of a little more than a century, and today. One of the natural results of the British rule in India is the rise and development of literature. The term “Indo-Anglican” was first used in 1883 when a book published in Calcutta that bore the title Indo-Anglian Literature. After the publication of two books by Dr.K.R.Srinivasa Iyengar, the term “Indo-Anglian” has not only acquired considerable currency, but also has come to stay as a familiar and accepted term applied to Indian contribution to literature in English. This has come to be known as Indo-Anglian writing and has been quite an active school of didactic and creative art for at least a century. The first theatre offering English language drama in 1776, Indian drama in English has never achieved the same status as Indian fiction and poetry in English. As in other colonies such as Canada, the Indian theatrical scene was dominated by foreign companies, touring plays drawn mainly from
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David Sharpe, J. "Early Modern Drama and the Bible: Contexts and Readings, 1570-1625 * The Oxford Handbook of the Early Modern Sermon." English 62, no. 239 (October 22, 2013): 409–11. http://dx.doi.org/10.1093/english/eft052.
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Kharkovskaya, A. A., and L. M. Leonovich. "Deregulation factors of business communicative norms in modern English drama texts." Professional Discourse & Communication 2, no. 4 (December 24, 2020): 10–27. http://dx.doi.org/10.24833/2687-0126-2020-2-4-10-27.
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This article aims at the analysis of the linguistic and paralinguistic aspects of business communicative models in the plays by modern English speaking playwrights. The main methods of the undertaken study are those of functional-linguistic and linguosynergetic analysis. Due to the dialogue structure of plays, the examples of personages’ business interactions could be taken as robust empirical material for business discourse studies and observations of the factors which cause deregulation of business communication and its pragmatic norms. During business-related verbal interaction interlocutors follow strict rules and norms of English business discourse to achieve their communicative goals. However, even the most regulated speech behavior could be affected by functional and stylistic fluctuations due to unpredictability of extralinguistic factors. Analysis of extensive empirical material proves that the functional framework of business communicative norms in personages’ speech behavior is regulated by the speaker’s personality, psychology and emotional state, background knowledge as well as multiple elements of the external environment of the discursive functional system. The communicative strategies of drama characters are reflected in their choice of linguistic and paralinguistic methods of pragmatic impact on the interlocutor’s mind.
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Székely, Éva. "The value of theatre as a teaching method in tertiary education: the activities of the Students’ Drama Club at the University of Oradea." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 11, no. 2 (July 7, 2019): 91–99. http://dx.doi.org/10.24917/20837275.11.2.7.
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The Author describes the main goals of the of the Students' Drama Club of the University of Oradea. The Club was founded in 2012 in Department of English Language and Literature of the Faculty of Letters. It is an amateur theatre group that performs plays in the English language. Students are involved in all the stages of the production of the play. Drama Club attention is paid to the acquiring of correct pronunciation and enunciation, to the under- standing of new vocabulary and text comprehension. Besides the honing of the students skills with the English language, the aims of the Students' Drama Club is also to teach literature, oratory and teamwork, and to teach assertive communication and self-confidence. The activity of Drama Club is also a useful way to establish a relationship between the university and the surrounding community.
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Howard-Hill, T. H. "The Evolution of the Form of Plays in English During the Renaissance." Renaissance Quarterly 43, no. 1 (1990): 112–45. http://dx.doi.org/10.2307/2861794.
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The modern arrangement of the texts of plays evolved from the confluence of two distinct methods of setting out plays for readers and theatrical use. The earliest, which I shall call the native tradition, had its seeds in the European liturgical drama and is most clearly manifested in the manuscripts of the early moral plays and of guild plays associated with Corpus Christi from the fourteenth century to the cessation of the performances late in the sixteenth century. The second is the classical method, exemplified by the early printings of the plays of Terence, Plautus, and Seneca from 1470 onwards and adopted by the university educated writers of secular plays in the sixteenth century.
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Harty, Kevin J. "Early English Performance: Medieval Plays and Robin Hood Games, Shifting Paradigms in Early English Drama Studies by John Marshall." Arthuriana 30, no. 2 (2020): 128–29. http://dx.doi.org/10.1353/art.2020.0016.
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Akhtar, Amer, Rida Rehman, and Neelum Almas. "The Theatre of Historical Revision: An Analysis of the Native American Drama Tradition." Global Language Review VI, no. II (June 30, 2021): 56–62. http://dx.doi.org/10.31703/glr.2021(vi-ii).07.
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We attempt to analyse the form and content of major Native American plays to discuss their relationship with the traditional English drama and its content. By looking at plays of key Native American playwrights, we show that the Native American tradition goes against the English tradition of drama in its form by challenging the unities of time and place and characterization. It also brings in elements of Native American tradition of storytelling such as the blend of the sacred and the profane, the use of humor, the attitude towards facticity, to the tradition of drama to carve out a unique space for itself through which it attempts to challenge the dominant narratives of history, Native American culture, and at the same time highlight the problems the Native American nations face currently.
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Warnicke, Retha M. "More'sRichard IIIand the mystery plays." Historical Journal 35, no. 4 (December 1992): 761–78. http://dx.doi.org/10.1017/s0018246x00026157.
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AbstractAn analysis of Thomas Mare's English version ofThe history of King Richard IIIindicates that the popular mystery cycles influenced his composition. Associated with the celebrations of Corpus Christi Day, the cycles present a series of biblical plays, beginning with the Creation and ending with the Last Judgment. The important themes of tyranny and sacrifice, which this drama explores, also loom large inRichard III. The theme of tyranny is loosely related in the cycles through Lucifer's functioning as the prototype of all earthly tyrants, including More'sRichard III. Evidence of the sacrifice, which is at the heart of the mass, can also be found in many biblical scenes. More's reference to Richard's adolescent nephews as ‘innocent babes’ links them to the infants Herod earlier sacrified to his ambitions. Indeed, inRichard III, More does make an intriguing reference to a cobbler performing the role of a ‘sowdayne’ in a play. The suggestion that this drama influenced More's writing is consistent with the speculation that he composed the English version first and then, with the classics in mind, wrote out a separate Latin text, for the two versions have significant differences in imagery, word choice and structure.
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Donegan, Robert. "Process Drama and Teacher in Role in ELT." JALT PIE SIG: Mask and Gavel 8, no. 1 (January 2020): 5–12. http://dx.doi.org/10.37546/jaltsig.pie8.1-1.
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This paper is a discussion of the potential of using specific drama techniques during English lessons at a Japanese private senior high school. The techniques in focus are process drama and specifically teacher in role (TiR). TiR is a specific technique that is often used in the broader area of process drama. Process drama concerns itself more with the experiential rather than the performance aspect of drama. In it, a teacher, or facilitator, goes into role with the participants in the co-construction of extended role-plays and dramas. Such methods have been used in English language teaching by many practitioners. The methods are discussed in this paper, with the focus on their suitability for teaching in a Japanese senior high school.
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Culpeper, Jonathan, Alison Findlay, Beth Cortese, and Mike Thelwall. "Measuring emotional temperatures in Shakespeare’s drama." Revisiting Shakespeare's Language 11, no. 1 (August 27, 2018): 10–37. http://dx.doi.org/10.1075/etc.00002.cul.
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Abstract This paper demonstrates how the computational analysis of Shakespeare’s plays can map the emotional language used across individual plays and across the canon more broadly, affording new insights. It explains how we adapted the “sentiment analysis” tool SentiStrength for use with Early Modern English. Our analyses allow us to test out the long-held critical hypothesis that Shakespeare’s work moved from a comic to a “problem” and tragic period, and thence to a more optimistic redemptive mood in his last plays. The paper will also suggest how computational techniques can further understanding of genre, in particular the relationship between history and tragedy in Shakespeare’s work.
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Keener, Andrew S. "Printed Plays and Polyglot Books: The Multilingual Textures of Early Modern English Drama." Papers of the Bibliographical Society of America 112, no. 4 (December 2018): 481–511. http://dx.doi.org/10.1086/700219.
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Jain, Susan Pertel, and Manuel D. Lopez. "Chinese Drama: An Annotated Bibliography of Commentary, Criticism, and Plays in English Translation." Asian Theatre Journal 10, no. 2 (1993): 218. http://dx.doi.org/10.2307/1124183.
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Rubik, Margarete. "English drama at the German theatre in Ljubljana in the last decades of the Habsburg monarchy." Acta Neophilologica 45, no. 1-2 (December 31, 2012): 33–52. http://dx.doi.org/10.4312/an.45.1-2.33-52.
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This article examines the English repertoire of the German theatre in Ljubljana in the last decades of the Habsburg monarchy and its reception by the local German newspaper, Laibacher Zeitung. It considers only drama, not operas or operettas. The English plays were, of course, performed in translation, in German, as opposed to the plays performed in the Slovenian language from the late 18th century on and especially within the Dramatično društvo circle established in 1867. The choice of performances gives interesting insights into the late 19th century attitude towards English culture as well as the self-image fostered by the German stage in Ljubljana.
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Privas-Bréauté, Virginie. "Drama Activities in a French Undergraduate Business School to Manage Speaking Anxiety in English." Scenario: A Journal for Performative Teaching, Learning, Research XIII, no. 2 (December 10, 2019): 157–70. http://dx.doi.org/10.33178/scenario.13.2.10.
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According to a study dated 2012 and led by the Confédération Française de l’Encadrement – Confédération Générale des Cadres (CFE-CGC) 2, many French executives feel stressed out when it comes to speaking English at work. An English teacher in a business school (undergraduate level), I am committed to preparing future actors of the professional world to better handle speaking English, so I introduce role plays and drama activities to help them feel less anxiety when they must speak English and prepare them to transfer it to their work place. This article will give an account of an experimentation I carried out through a pedagogical unit on "advertising" for third-year Business English students. I will analyze the interaction of body, emotions and mind along Varela’s “enaction” paradigm (1993, 1996) to show that drama games can foster students’ speaking skills development in English, and encourage transferable attitudes that can accompany speech and decrease anxiety.
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Sirisrimangkorn, Lawarn, and Jitpanat Suwanthep. "The Effects of Integrated Drama-Based Role Play and Student Teams Achievement Division (STAD) on Students’ Speaking Skills and Affective Involvement." Scenario: A Journal of Performative Teaching, Learning, Research VII, no. 2 (July 1, 2013): 64–78. http://dx.doi.org/10.33178/scenario.7.2.5.
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The study investigates the pedagogical use of integrated drama-based role play and Student Teams Achievement Division (STAD) cooperative learning, and its effects on the first year non-English majors’ speaking skills, motivation, and self-esteem. The study was conducted over an academic semester in a basic English class in a northeastern university in Thailand with two separate groups, with a quasi-experimental design. The participants in this study were 80 non-native undergraduate students whose major was not English. Over the 16 weeks of the study, both groups of students studied English with the same learning content; however, only the experimental group was introduced to drama-based role play and STAD, with blended-learning instruction, while the control group continued using the course book role plays with regular group work activities and classroom instruction. Both quantitative (t-test) and qualitative (content analysis) methods were used to analyze the results of the study. The results of the quantitative and qualitative analysis showed the effectiveness of drama-based role play combined with STAD on students’ speaking skills, motivation, and self-esteem in the experimental group. The study concludes with recommendations for the integration of the blended drama-based and cooperative learning to improve students’ English speaking skills and affective involvement.
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Grošelj, Nada. "Two 17th century Jesuit plays in Ljubljana inspired by English literature." Acta Neophilologica 37, no. 1-2 (December 1, 2004): 61–71. http://dx.doi.org/10.4312/an.37.1-2.61-71.
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Jesuit teachers, whose members came to Ljubljana in the late 16th century, placed great emphasis on the production and staging of the school drama. Despite the domination of religious themes, the range of its subject matter was wide and varied. The article discusses two plays which derived their subject matter from English literature, namely from Bede's Ecclesiastical History of the English People and Holinshed's Historie of Britain.The texts themselves are lost, but in the case of the Holinshed-inspired work (a version of the King Lear story), a detailed synopsis has been preserved. The article examines the synopsis and the extant manuscript reports about the plays, the original English sources, and the treatment of the two works in contemporary scholarly treatises.
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Craig, Hugh. "Is the Author Really Dead? An Empirical Study of Authorship in English Renaissance Drama." Empirical Studies of the Arts 18, no. 2 (July 2000): 119–34. http://dx.doi.org/10.2190/4baj-f8tk-ndeu-fw4p.
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For some time there has been debate in literary studies, and especially in the field of Shakespearean scholarship, about the importance of authorship in understanding and categorizing literary texts. In an analysis of affinities between 100 plays by various authors from the Shakespearean period, based on frequencies of very common words, authorship emerged as distinctly more important than genre or date in grouping plays. Cluster analysis showed further that, while authorial affinities are overwhelmingly dominant in the early stages of clustering, where only the closest pairings are considered, a small subset ofan author's plays typically remains apart from his other works as the analysis proceeds. The study indicates that in Shakespearean drama authorship is objectively detectable, and indeed very important, though it must also be acknowledged that these authors also regularly created texts which are not easily assimilable to the larger clusterings oftheir works.
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Güvenç, Sıla Şenlen. "‘Yae, Nae, or Dinnae Ken’: Dramatic Responses to the Scottish Referendum and Theatre Uncut." New Theatre Quarterly 33, no. 4 (October 11, 2017): 371–85. http://dx.doi.org/10.1017/s0266464x17000501.
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In this paper Sıla Şenlen Güvenç surveys the key plays staged in the run-up to the Scottish Independence Referendum of September 2014, with special emphasis on the six Theatre Uncut plays – Rob Drummond's Party Pieces, A. J. Taudevin's The 12.57, and Lewis Hetherington's The White Lightning and the Black Stag (composed in 2013), and Davey Anderson's twin plays, Fear and Self-Loathing in West Lothian and Don't Know, Don't Care, and Kieran Hurley's Close from 2014. Written prior to the referendum and performed together for the first time at the Edinburgh Fringe Festival in 2014, these plays became even more meaningful with developing events in the United Kingdom, especially Brexit and the potential for a second independence referendum in Scotland. The plays reflect many of the issues discussed in both the ‘Yes Scotland’ and ‘Better Together’ campaigns. Sıla Şenlen Güvenç is currently Associate Professor at Ankara University's Department of English Language and Literature. Besides articles and theatre reviews on English drama, she is the author of ‘Words as Swords’: Verbal Violence as a Construction of Authority in Renaissance and Contemporary English Drama (2009) and ‘The World is a Stage, but the Play is Badly Cast’: British Political Satire in the Neo-classical Period (in Turkish, 2014).
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Wozniak, Heather Anne. "THE PLAY WITH A PAST: ARTHUR WING PINERO'S NEW DRAMA." Victorian Literature and Culture 37, no. 2 (September 2009): 391–409. http://dx.doi.org/10.1017/s1060150309090251.
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In the late Victorian period, when writers, critics, and actors of the English theatre became obsessed with defining a decidedly New Drama – with establishing its history, directing its progress forward, and creating a literary drama – the majority of the plays produced focused upon forms of femininity. Strangely, these innovative dramas engaged not with the future, but with an all-too-familiar stock character: the woman with a past. This well-known type was “a lady whose previous conduct, rightly or wrongly, disqualified her from any position of rank or respect” (Rowell 108–09). Familiar examples of such plays include George Bernard Shaw's Mrs. Warren's Profession (1893) and Oscar Wilde's Lady Windermere's Fan (1892); lesser-known ones include Henry Arthur Jones's Case of Rebellious Susan (1894) and two plays that form the focus of this essay, Arthur Wing Pinero's The Second Mrs. Tanqueray (1893) and The Notorious Mrs. Ebbsmith (1895). Several English theatre historians (including Richard Dietrich and Jean Chothia) present these plays as the basis of modern intellectual drama, yet none explains the paradox that the theatre of modernity is founded upon the woman with a past, a figure whose future in these plays is foreclosed or ambivalently conceptualized at best.
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Həşim qızı Ələsgərova, Solmaz. "Unlimited Freedom and illusion (On the basis of the plays “The Guardian” and “The Dwarfs” by H.Pinter)." SCIENTIFIC WORK 15, no. 3 (March 24, 2021): 68–71. http://dx.doi.org/10.36719/2663-4619/64/68-71.
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The English playwright Harold Pinter's plays "The Guardian" and "The Dwarfs" chosen from his drama are addressed to. The "chaotic world" observed in the plot of the plays is analyzed and the conclusion that the heroes are born of conflict in their relationships is defended. The object of research is to take into account the difference between the consciousness and reality. Issues such as conflicts of mind, aimlessness, phobias, the virtual world, lack of communication, psychological disorders of the personality are examined. As in Pinter's works, you can see the features of realism, romanticism, modernism, postmodernism, symbolism, surrealism, absurdism in the drama of Elchin, Kamal Abdulla and Firuz Mustafa. It is important to compare the Azerbaijani and English drama, which does not fit into the framework of any literary trend and is relevant as it lags behind time, in terms of plot, motives and artistic features. Key words: dramaturgy, fears and phobias, fantasy, loneliness and aggression,“madness”
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Booth, R. J. "The Plays of Beaumont and Fletcher: Sexual Themes and Dramatic Represrntation; Incest, Drama and Nature's Law 1550-1700." English 43, no. 177 (September 1, 1994): 261–65. http://dx.doi.org/10.1093/english/43.177.261.
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Simorangkir, Imelda Malawaty, and Dewi Mutiara Indah Ayu. "STUDI PENERJEMAHAN METAFORA DALAM NASKAH DRAMA DI UNIVERSITAS NASIONAL JAKARTA." Pujangga 3, no. 2 (September 5, 2018): 244. http://dx.doi.org/10.47313/pujangga.v3i2.443.
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<p><em>The purpose of the research study in metaphore in the English text literary at National University is to enlarge the knowlodge in the translation of metaphore and the types of metaphore categorize that have been found in English text literary especially in role plays. Since the research is begun, translating the metaphore text was not the easiest once. In fact, metaphore becomes the part of figurative language which is refers to two parts like Implicit and Expicit. Literary text has been used by the English students as their data because they found metaphore sentences to be analyze in their research. This research uses descriptive qualitative research that focus on observation during the class. Therefore, all the data were collected dan arranged in dictionary that would be useful for the students in faculty of letters. </em></p>
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Brown, Pamela Allen. "An Index of Characters in Early Modern English Drama: Printed Plays, 1500-1660 (review)." Shakespeare Quarterly 54, no. 1 (2003): 97–98. http://dx.doi.org/10.1353/shq.2003.0050.
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Mages, Wendy K. "Educational drama and theatre pedagogy: An integral part of training English-as-a-Foreign-Language teachers." Scenario: A Journal for Performative Teaching, Learning, Research XIV, no. 1 (July 3, 2020): 11–23. http://dx.doi.org/10.33178/scenario.14.1.2.
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This mixed-methods research documents the integration of educational drama and theatre into a teacher-preparation program for Austrian teachers-in-training who plan to teach English-as-a-foreign-language to Austrian school children. Observations were conducted of the plays developed and performed in English by two cohorts of Austrian teachers-in-training who participated in the teacher-preparation program. Observations were also conducted of the second cohort’s process developing a script based on an English young adult novel, as well as their process of producing and performing the play in English for middle-school and adult audiences. In addition, a survey of participants’ perceptions of the program was conducted. This study investigates how the teachers-in-training responded to the process of creating and performing a play in English, and their perceptions of its benefits and challenges for themselves, as well as for their future students.
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Donnery, Eucharia. "Testing the Waters: Drama in the Japanese University EFL Classroom." Scenario: A Journal of Performative Teaching, Learning, Research III, no. 1 (January 1, 2009): 17–33. http://dx.doi.org/10.33178/scenario.3.1.3.
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This paper explores the rationale for including drama-based pedagogy into the curriculum of the Department of English at Ritsumeikan Asia Pacific University (APU) in Japan. Traditional Japanese teaching practices are explained, followed by an outline of the parallels between drama-based pedagogy and teaching practices of the Japanese elementary school. Contrary to popular expectation, drama-based pedagogy is compatible with existing traditional and cultural systems of education in Japan. Therefore, drama-based pedagogy was included in the Fundamental English language course at APU to provide the students a bridge to move from teacher-led styles of junior high and senior high schools to return to the more learner-centered styles of education of the elementary educational system. This would seem a reasonable way in which to facilitate more cooperative, rather than competitive, styles of learning. Secondly, within the course subject matter of “Intercultural Communication”, drama-based pedagogy could be employed through role plays and self-reflection inside the classroom to allow the students to experience awareness of differing communicative styles when engaged in social interaction with the international students outside of the classroom. Likewise, the process of self-reflection in drama and theatre practices is a complex mix of introspective interrogation and affective engagement, which forms the catalyst for dramatic communication. The purpose of this paper is to present one specific case where drama-based pedagogy was incorporated into the English language curriculum of a rather unique Japanese university.
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Simon-Jones, Lindsey Marie. "Neighbor Hob and neighbor Lob." English Text Construction 6, no. 1 (April 5, 2013): 40–59. http://dx.doi.org/10.1075/etc.6.1.03sim.
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Drawing on scholars like Paula Blank, Janette Dillon and Tim Machan, this article argues that, in the Tudor university and court plays of Shakespeare’s youth, the stigmatization of non-standard, dialect speakers demonstrates a cultural renegotiation of the contemporary linguistic climate. By defining the English language and the English people not against a foreign Other, but rather against the domestic, servile, and dialect-speaking Other, sixteenth-century playwrights demonstrated the threat of non-standard speaking and advocated the standardization of language through education while effecting cultural change through negative reinforcement. Keywords: Tudor drama; interludes; history of English language; dialect; university grammarians
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Strier, Richard. "The 2019 William B. Hunter Lecture of the scrc: Paleness versus Eloquence: The Ideologies of Style in the English Renaissance." Explorations in Renaissance Culture 45, no. 2 (November 7, 2019): 91–120. http://dx.doi.org/10.1163/23526963-04502001.
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This essay considers the contrast between plainness and eloquence in some canonical English (secular) lyrics and plays from Wyatt through Shakespeare. Its claim is that in the relevant body of work, and in the culture as a whole, each of the styles bore a specifiable ideological charge. It shows that English secular poetry and drama in the sixteenth and early seventeenth century was profoundly aware of the ideologies associated with the two levels or kinds of style, and profoundly divided in its commitments. In lyric poetry, this is true in Wyatt at the beginning of the sixteenth century and of Sidney at the end. In drama, Shakespeare is profoundly aware both of the styles and of the ideologies with which they are associated. He uses and also critiques both of these in the poems and the plays. Othello is the culmination of both the use and the critique.
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Christian. "“A Doll’s House Conquered Europe”: Ibsen, His English Parodists, and the Debate over World Drama." Humanities 8, no. 2 (April 22, 2019): 82. http://dx.doi.org/10.3390/h8020082.
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The London premieres of Henrik Ibsen’s plays in the late 1880s and 1890s sparked strong reactions both of admiration and disgust. This controversy, I suggest, was largely focused on national identity and artistic cosmopolitanism. While Ibsen’s English supporters viewed him as a leader of a new international theatrical movement, detractors dismissed him as an obscure writer from a primitive, marginal nation. This essay examines the ways in which these competing assessments were reflected in the English adaptations, parodies, and sequels of Ibsen’s plays that were written and published during the final decades of the nineteenth century, texts by Henry Herman and Henry Arthur Jones, Walter Besant, Bernard Shaw, Eleanor Marx and Israel Zangwill, and F. Anstey (Thomas Anstey Guthrie). These rewritings tended to respond to Ibsen’s foreignness in one of three ways: Either to assimilate the plays’ settings, characters, and values into normative Englishness; to exaggerate their exoticism (generally in combination with a suggestion of moral danger); or to keep their Norwegian settings and depict those settings (along with characters and ideas) as ordinary and familiar. Through their varying responses to Ibsen’s Norwegian origin, I suggest, these adaptations offered a uniquely practical and concrete medium for articulating ideas about the ways in which art shapes both national identity and the international community.
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Khan, Kehkashan. "RHYTHMIC BEAUTY IN THE PLAYS OF RENAISSANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3397.
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The Theatres were very much in vogue in the Elizabethan England. For the spectators, theatres were not merely places of amusement & entertainment but also of social gathering & instruction. Both Marlowe & Shakespeare are great dramatists & poets of Elizabethan age. Their poetry & music lend a unique power & beauty to their plays.Marlowe, the predecessor of Shakespeare, infused his own soul into his characters like a lyric poet. He is regarded as the Morning Star of Song & the first & foremost lyricist of English Stage. He poetized the English dramas. His play Doctor Faustus reads more like a poem than a drama. His passage on Helen is one of the loveliest of lyrics. In its idealization of beauty, in its riot of colour, in its swift transition from one myth to another, in music & melody, in its passionate exuberance & abundance the passage remains unsurpassed.
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Donnery, Eucharia. "Process Drama in the Japanese University EFL Classroom: The Emigration Project." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 1 (January 1, 2014): 36–51. http://dx.doi.org/10.33178/scenario.8.1.4.
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This paper examines the impact of using a process drama project in a Japanese university EFL class focusing on the social issue of emigration from a historical perspective while simultaneously developing English communicative skills. Speaking in English is a skill that many Japanese people find challenging. There are a number of cultural reasons for this, for example the enormous linguistic gap between Japanese and English communicative patterns in terms of explicitness/implicitness, hierarchy, gender, and the role of silence. Therefore, the overt aim was to help students develop English language skills while learning about Japanese historical emigration through the medium of English with Japanese scaffolding. This is in keeping with the needs of the average Japanese university EFL student, who has had six years of accuracy-based study for the short-term target of the university entrance examination and who sees English in terms of mathematical code, rather than as a communicative tool. The narrative arc of the paper follows the Noh theatre JO-HA-KYU, Enticement- Elaboration-Consolidation trajectory to take the reader through the emigration process drama project held in the spring semester of 2009 at the School of Human Welfare Studies (HWS), Kwansei Gakuin University (KGU), Japan. The research approach was a mixed-method one and data was collected through digital recording of role-plays, student self-critical reflection by writing-in-role and writing out-of-role in an online class group, qualitative and quantitative questionnaires and teacher observation. Results indicated that process drama projects can have a positive influence on Japanese university EFL learners from the perspective of both linguistic and intercultural communicative competence.
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Lara Castro, Jonathan Antonio, and Claudio Díaz Larenas. "Students’ willingness to participate in speaking activities through the use of scripted role-plays." Revista Comunicación 28, no. 2-2019 (December 20, 2019): 71–89. http://dx.doi.org/10.18845/rc.v28i2-2019.4930.
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The following study is a result of an action research carried out in an English as a foreign language class in a subsidized Chilean school, where 77 % of its population is at social risk. 38 of the participants are seventh grade students. The study addresses students’ willingness to participate in speaking activities in English class before and after the implementation of a drama based pedagogy strategy known as scripted role-play.
The students showed great commitment to scripted role-play as a way to learn English. Participants had the chance to work collaboratively with their peers in a safe and engaging environment, improving their social skills as they performed different roles. The study concludes that students are willing to participate in speaking activities after the use of scripted role-plays. This result is also coherent with the students’ perceptions of the intervention.
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Blank, Daniel. "Actors, Orators, and the Boundaries of Drama in Elizabethan Universities." Renaissance Quarterly 70, no. 2 (2017): 513–47. http://dx.doi.org/10.1086/693180.
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AbstractThis article discusses the debates over drama that took place in the English universities during the late sixteenth century. It reconsiders the career of the Oxford academic and theologian John Rainolds, whose objections to student performance are usually conflated with attacks upon professional drama. This article argues instead that his opposition arose largely from two related institutional concerns: the equation of drama with rhetorical exercises and the increasing use of spectacle in university plays. The controversy over theatrical performance is thus cast in a new light as an inquiry into the place and purpose of drama within university culture.
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Merino, Raquel. "Drama translation strategies." Babel. Revue internationale de la traduction / International Journal of Translation 46, no. 4 (December 31, 2000): 357–65. http://dx.doi.org/10.1075/babel.46.4.05mer.
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This paper, which deals with drama translations in Spain (English-Spanish) from 1950, presents the results of a four-stage analysis carried out on a large corpus of translated plays. Starting from the assumption that theatre is part of the field of drama (which includes cinema and television, among other spectacles), and taking into account drama’ś inherent specificity (written to be performed), as well as its peculiar structure (dialogue versus prose) this study on translated drama posits, as a starting point, an inherently dramatic unit (réplica) which is instrumental in describing and comparing drama texts, be they translated or not. Starting from an outline of the four-stage process adopted, this paper elaborates fundamentally on extreme cases of translation strategies (addition, deletion and adequacy), found to have been applied in each of the three extreme cases studied, relating them with a previously uncovered twofold characterization (into reading and acting editions) of the translations under scrutiny.
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Hillman, Richard. "Staging romance across the Channel: French–English exchanges and generic common ground." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (April 17, 2019): 33–44. http://dx.doi.org/10.1177/0184767819835566.
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This article explores a number of neglected cross-connections between English romantic drama from about 1585 to 1615, notably including Shakespeare’s last plays, and the French tragicomic tradition as it evolved prior to and beyond these dates. I suggest that dramatic and non-dramatic French models played a considerable part alongside Italian ones in stimulating development of what might be termed ‘tragedy with a happy ending’ in England, and that English texts, in turn, fed back into French practice. Attention is given to the precedent for key aspects of Pericles provided by François de Belleforest’s version of the Apollonius of Tyre romance.