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Journal articles on the topic 'European drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Frayne, John P. "Yeats and European Drama." European Legacy 19, no. 3 (2014): 391–92. http://dx.doi.org/10.1080/10848770.2014.898945.

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2

Nally, Claire V. "Yeats and European drama." Irish Studies Review 21, no. 1 (2013): 132–33. http://dx.doi.org/10.1080/09670882.2012.757927.

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3

Czerwinski, E. J., and Brian Docherty. "Twentieth-Century European Drama." World Literature Today 68, no. 2 (1994): 438. http://dx.doi.org/10.2307/40150348.

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4

MOKLYTSIA, M. ""HISTORICISM" OF THE NEW EUROPEAN DRAMA (LESYA UKRAINKA – B. BRECHT – Y. KOSACH)." Brecht-Magazine: Articles, Essays, Translations, no. 9 (December 26, 2023): 83–93. http://dx.doi.org/10.35433/brecht.9.2023.83-93.

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The article deals with the development of the historical theme in drama, the stage of the new drama traced on the examples of Lesya Ukrainka’s plays "Boyarynya", 1910, B. Brecht’s "Mother Courage and her children", 1939, Y. Kosach’s "Action about Yuriy the Victorious", 1947. The first collection of these different texts under one slogan ensures the scientific novelty of research. The purpose of the research: to trace the development of the historical theme in the modernist drama of the 20th venture and outline the problematic aspects of the concept of historicism of the new drama. The an

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5

Slipushko, O. M., and A. O. Katyuzhynska. "THE INTEGRATION OF PANEUROPEAN THEATRIC TRADITIONS OF THE BAROQUE EPOCH INTO THE HISTORICAL DRAMA OF THE LUMINARIES." Literary Studies, no. 60 (2021): 199–210. http://dx.doi.org/10.17721/2520-6346.60.199-210.

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The article represents the study of the peculiarities of the integration of PanEuropean theatrical traditions of the Baroque epoch into the historical drama by Ukrainian coryphees. Particular attention is paid to the study of the specifics of the creation of baroque drama of the XVIII century and its influence on the formation of the dramatic tradition of the Coryphées. The main European tendencies represented in historical baroque dramas are singled out. It is proved, that succession is manifested primarily at the level of national identity. The historical dramas of F. Prokopovych “Volodymyr”

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6

Pořízka, Petr. "CapekDraCor: A New Contribution to the European Programable Drama Corpora." Journal of Linguistics/Jazykovedný casopis 74, no. 1 (2023): 244–53. http://dx.doi.org/10.2478/jazcas-2023-0042.

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Abstract The aim of this paper is to present the new CapekDraCor corpus and the DraCor project with its research-oriented concept of a programmable corpora focused on quantitative analyses within the framework of computational literary studies. This digital platform extends the possibilities of large-scale drama analysis with a focus on the dramatic character(s). The basic operationalisation is the interaction within a dramatic configuration, i.e., the scenic co-presence of two speakers, from which network data are automatically extracted, both global networks of interactions of dramas and dat

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7

Величковська, Юлія. "Особливості української антиколоніальної драматургії ХVIII – першої половини ХІХ ст." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 7, № 4 (2022): 15–22. http://dx.doi.org/10.15804/ppusn.2022.04.01.

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The article deal the general patterns and main trends in the formation and development of dramatic genres as a self-sufficient genre in Ukrainian literature of the XVIII – first half of the XIX century, aimed at highlighting anti-imperial ideas in close connection with the requirements of general literary genre and national traditions. It was found that the anti-colonial national literature found its expression in such genres as historical drama, drama-morality, vaudeville, social-household drama and comedy. «Vladimir» by Feofan Prokopovich, «God’s Mercy ...» by an unknown author, «Resurrectio

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8

Gemzøe, Lynge Stegger. "Language, European identity and stereotypical diversity in trans-European crime dramas." Journal of European Popular Culture 12, no. 2 (2021): 135–47. http://dx.doi.org/10.1386/jepc_00034_1.

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Interrogating two transnational television dramas – Crossing Lines (2013, 2014, 2015, the first season) and The Team (2015, 2018, the second season) – and employing critical, textual and production perspectives, this article investigates representations of national and European identity in the series. In this article, I argue that the series on the one hand picture a diverse Europe uniting when challenges arise, embodying the dominant European narrative of ‘unity in diversity’ and, seen from a certain point of view, facilitate a mediated cultural encounter. On the other hand, the diversity dep

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9

Petković, Ivana I. "SIMEON POLOTSKY’S DRAMA NEBUCHADNEZZAR THE TSAR AND ITS WESTERN-EUROPEAN DRAMA SOURCES." Филолог – часопис за језик књижевност и културу 14, no. 28 (2023): 436–59. http://dx.doi.org/10.21618/fil2328436p.

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Тhis paper aims to reconsider the influences of Western-European drama of the XVII century on the creation of Russian baroque and the first drama writer in Russia Simeon Polotsky. During the initial period, Russian theatre, especially during the XVI and XVII centuries, was under the strong influences of Western theatre culture. This paper reconsiders the influence of German, French, English and Polish theatre plays. Plots of his playwright were popular and well known in Western European literature from the XII century. In this paper, we tried to reconsider those influences on the example of hi

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10

Swales, Martin. "Goethe'sFaustand the Drama of European Modernity." Publications of the English Goethe Society 74, no. 1 (2005): 83–94. http://dx.doi.org/10.1080/09593683.2005.11716341.

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11

Thorbergsson, Magnus Thor. "Being European." Nordic Theatre Studies 25, no. 1 (2018): 22–33. http://dx.doi.org/10.7146/nts.v25i1.110895.

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During the campaign for Iceland’s independence in the nineteenth and early twentieth centuries, theatre was considered an important site for the representation of the nation. Emphasis was placed on producing and staging local plays dealing with the nation’s folklore, myths and history, thereby strengthening a sense of the roots of national identity. The article examines the longing for a representation of the nation in late nineteenth-century theatre as well as the attempts of the Reykjavik Theatre Company to stage the nation during theso-called ‘Icelandic Period’ (1907-20), before analyzing t

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12

Thorbergsson, Magnus Thor. "Being European." Nordic Theatre Studies 25, no. 1 (2018): 22–33. http://dx.doi.org/10.7146/nts.v25i1.110895.

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During the campaign for Iceland’s independence in the nineteenth and early twentieth centuries, theatre was considered an important site for the representation of the nation. Emphasis was placed on producing and staging local plays dealing with the nation’s folklore, myths and history, thereby strengthening a sense of the roots of national identity. The article examines the longing for a representation of the nation in late nineteenth-century theatre as well as the attempts of the Reykjavik Theatre Company to stage the nation during theso-called ‘Icelandic Period’ (1907-20), before analyzing t

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13

Logsdon, Richard. "Where Have All the Vampires Gone? An Examination of Gothic Horror in BBC's Luther." Popular Culture Review 29, no. 1 (2018): 99–112. http://dx.doi.org/10.1002/j.2831-865x.2018.tb00219.x.

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Abstract:Gothic horror has found a home in several recent European crime dramas. One of these dramas is BBC's four‐season series Luther. Episode after episode, London “copper” John Luther tracks down a sociopathic killer whose monstrous actions are easily the equivalent of those committed by the creatures of traditional Gothic horror. Just as significantly, Luther's encounters with the evil represented by these killers taps into those anxieties that currently grip a European continent that has experienced mass shootings, mass stabbings, suicide bombings, baby trafficking, sex trafficking, and

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14

Auerbach, Erich. "Scenes from the Drama of European Literature." Poetics Today 6, no. 4 (1985): 797. http://dx.doi.org/10.2307/1771974.

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15

Cusack, George. "Yeats and European Drama (review)." Modern Drama 55, no. 2 (2012): 276–78. http://dx.doi.org/10.1353/mdr.2012.0025.

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16

Morrison, Robert. "The Liturgical Context of Early European Drama." Bulletin of the Comediantes 44, no. 2 (1992): 283–85. http://dx.doi.org/10.1353/boc.1992.0000.

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17

Beaven, Ana, and Inma Alvarez. "Non-Formal Drama Training For In-Service Language Teachers." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 1 (2014): 5–18. http://dx.doi.org/10.33178/scenario.8.1.2.

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Research on the connections between drama and language learning is not new, and interest in the potential collaboration between these fields has increased in the last four decades. However, studies have mostly focused on students’ experiences and the type of drama activities that could be incorporated in their language class, neglecting key aspects of the specific skills language teachers might need and how these could be developed. Most language teachers have no training in drama, and often the inclusion of drama activities in the language classroom is dependent on the specific interest and e

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18

Lacey, Stephen. "Book Review: European Television Crime Drama and Beyond." Critical Studies in Television: The International Journal of Television Studies 17, no. 1 (2022): 100–102. http://dx.doi.org/10.1177/17496020221087100.

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19

Azarova, Valentina Vladimirovna. "French mystery drama in the mirror of the twentieth century." Культура и искусство, no. 3 (March 2022): 54–72. http://dx.doi.org/10.7256/2454-0625.2022.3.37697.

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The article considers the reflection of the basic laws of the mystery of the XIV–XVI centuries in the musical and theatrical works of the French "synthetic theater" of the twentieth century. These are "The Martyrdom of Saint Sebastian" by G. d'Annunzio — C. Debussy (1911) and "The Good News of Mary" by P. Claudel (1912-1948). The purpose of the work is to establish the peculiarities of the operation of the principles of semantics and composition of the genre, revived at the end of the XIX century and further developed in the French musical theater. In interdisciplinary, hermeneutical and art c

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20

Stenberg, Josh. "How far does the sound of a Pipa carry? Broadway adaptation of a Chinese classical drama." Studies in Musical Theatre 14, no. 2 (2020): 175–91. http://dx.doi.org/10.1386/smt_00031_1.

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The 1946 Broadway premiere of Lute Song represents a milestone in reception of the Chinese dramatic tradition in the United States. Despite its yellowface and ‘Oriental pageantry’, it must be situated at the beginnings of a more respectful relationship to China and Chinese people, as the American stage began to move beyond treatments of China dominated by racist vaudeville or fantastical fairy tales. Instead, Lute Song emerged from a classic text, the long drama Pipa ji ‐ even as its own casting and staging inherited some of the same problematic habits of representing Asia. Lute Song, one of s

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21

Lidova, Natalia R. "Genre Typology of Drama in European and Sanskrit Literature." Studia Litterarum 9, no. 1 (2024): 10–29. http://dx.doi.org/10.22455/2500-4247-2024-9-1-10-29.

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The article examines the notion of drama as a genre category in European and ancient Indian theatrical theory. The analysis of ancient texts, foremost the treatise of the Nāṭyaśāstra, which can be considered the most authoritative primary source for the study of classical Indian poetics, forms the basis of the research. This paper identifies Sanskrit analogues of such fundamental concepts of Western literary theory as “drama,” “genre,” “performance,” “scenicism,” “literariness,” etc. The closest analogical to European definitions of drama and genre Sanskrit notions are investigated in depth. T

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22

Richmond-Garza, Elizabeth M. "Modernism in European Drama: Ibsen, Strindberg, Pirandello, Beckett: Essays from Modern Drama (review)." Comparatist 25, no. 1 (2001): 187–88. http://dx.doi.org/10.1353/com.2001.0006.

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23

ROMERO, RAMÓN ESPEJO. "Some Notes about Arthur Miller's Drama in Francoist Spain: Towards a European History of Miller." Journal of American Studies 39, no. 3 (2005): 485–509. http://dx.doi.org/10.1017/s0021875805000629.

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Since Arthur Miller is frequently considered the most European of American playwrights it is hard to understand why we still lack a history of his drama in our continent and hence ignore much more about its presence here than we know. Unfortunately that has given rise to misconceptions which it would be the task of historians to refute and place in correct focus. One such misconception is that his drama was extremely successful in Europe during the 1950s. Some European productions of Miller were not successful at all and many of those that were proved less spectacularly so than is often held.

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24

Arons, Wendy. "Ecology and Environment in European Drama (review)." Modern Drama 54, no. 3 (2011): 385–87. http://dx.doi.org/10.1353/mdr.2011.0029.

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25

May, Theresa J. "Ecology and Environment in European Drama (review)." Theatre Journal 63, no. 4 (2011): 669–71. http://dx.doi.org/10.1353/tj.2011.0115.

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26

Castellani, Victor. "Ritual or Playful? On the Foundations of European Drama." European Legacy 14, no. 5 (2009): 621–31. http://dx.doi.org/10.1080/10848770903128786.

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27

van Maanen, Hans. "Erika Fischer‐Lichte,History of European drama and theatre." International Journal of Cultural Policy 16, no. 1 (2010): 86–88. http://dx.doi.org/10.1080/10286630902998549.

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28

Müller, Péter P. "Post-Stalinist central European drama on the British stage." History of European Ideas 20, no. 1-3 (1995): 25–29. http://dx.doi.org/10.1016/0191-6599(95)92919-l.

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29

Rebellato, Dan. "Fog on the Channel. The repatriation of European drama." History of European Ideas 20, no. 1-3 (1995): 35–41. http://dx.doi.org/10.1016/0191-6599(95)92921-g.

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30

Kaiser, Wolfram. "From Great Men to Ordinary Citizens? The Biographical Approach to Narrating European Integration in Museums." Culture Unbound 3, no. 3 (2011): 385–400. http://dx.doi.org/10.3384/cu.2000.1525.113385.

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The history of European integration is not easy to tell – in books or, for that matter, in museums. Most importantly, it appears to lack drama. This lack of drama creates a dilemma for museum practitioners who wish to tell stories about the contemporary history of Europé as shared history. In these circumstances, one prominent way of telling stories about European integration history in museums, and the focus of this article, is the biographical approach. Drawing upon research in all of the museums mentioned in this article and many more, and some 60 interviews with museum practitioners from a

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31

Fine, Gary Alan, and Harvey Young. "Still Thrills: The Drama of Chess." TDR/The Drama Review 58, no. 2 (2014): 87–98. http://dx.doi.org/10.1162/dram_a_00348.

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Although chess is a game that is played, it is also an event that is performed. An analysis of the Fischer-Spassky World Championship, the match between Garry Kasparov and IBM's Deep Blue, and the European tour of the 19th-century American champion Paul Morphy reveals the qualities that make competitive chess a theatrical event that relies both on bodies and on imaginations.

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32

Bašović, Almir. "Bosnian Drama and Theater: Some Literary and Theatrical Aspects." Društvene i humanističke studije (Online) 6, no. 3(16) (2021): 15–24. http://dx.doi.org/10.51558/2490-3647.2021.6.3.15.

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This text is an introduction to the thematic block of the journal Social Sciences and Humanities Studies on the literary and theatrical aspects of Bosnian drama and theater. It recalls the presence of theatrical and sub-theatrical phenomena on the territory of Bosnia and Herzegovina in antiquity, and then lists the specifics of Bosnian culture in the Middle Ages, from which arises a specific relationship to drama and theater. The attitude of Islamic culture towards theater and drama significantly influenced the status that drama has even after the departure of the Ottoman Empire from Bosnia an

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33

Coulson, Doug. "The Devil's Advocate and Legal Oratory in the Processus Sathanae." Rhetorica 33, no. 4 (2015): 409–30. http://dx.doi.org/10.1525/rh.2015.33.4.409.

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Modern readers have been baffled by the combination of legal, dramatic, and theological elements in the 14th century Processus Sathanae, a mock trial drama in which the devil's advocate and the Virgin Mary employ various Roman law concepts in a courtroom debate regarding the devil's claim that he was wrongfully dispossessed of humanity. This article examines the Processus Sathanae along with an early source of the drama in a Marcionite creation dialogue and argues that by foregrounding equitable and emotional appeals the drama taught late medieval law students important lessons regarding legal

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34

Bekbenbetova, Kazyna, Gaukhar Baltabayeva, Ulbossyn Aimbetova, Kulshat Smagulova, and Rauan Kemerbay. "Social and philosophical research structures of drama and folk narratives: the manifestations of embodied world views." XLinguae 15, no. 1 (2022): 14–22. http://dx.doi.org/10.18355/xl.2022.15.01.02.

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The article analyzes the methodological potential of drama in modern socio-philosophical research. It is shown that the theoretical reconstruction of the drama model allows us to talk about the dramatic approach in the study and explanation of society, and the morphological analysis of the structure reveals its methodological potential for studying crises in society. Our focus is on the socio-philosophical study of drama. The subject allowed us to appreciate philosophy’s complex, contradictory nature and history with its gains and losses. It also overcomes simplistic and excessive ideologizati

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35

Liu, Siyuan. "Performing Gender at the Beginning of Modern Chinese Theatre." TDR/The Drama Review 53, no. 2 (2009): 35–50. http://dx.doi.org/10.1162/dram.2009.53.2.35.

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In the early twentieth century, female impersonators in Japan's first Western-style theatre, shinpa (new school drama), employed gender performance conventions based on kabuki onnagata and European melodramatic techniques. Shinpa performers influenced the performance of gender in early Chinese spoken drama. Chinese student actors emulated shinpa conventions in Tokyo and popularized them in Shanghai in the 1910s, where they were accepted as being accurate enactments of modern women.

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36

Cooke, Virginia. "Our Footprints Across Canada." Canadian Theatre Review 56 (September 1988): 44–47. http://dx.doi.org/10.3138/ctr.56.011.

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Two parallel dramas about the Gitksan and Wet’ suwet’en people of British Columbia and their claims to their ancestral land have been playing simultaneously for the past year. One drama is taking place in the Vancouver courtroom of the B.C. Supreme Court, where a succession of hereditary chiefs are unfolding their stories to establish their rights to jurisdiction over 22,000 square miles of land in northern B.C. – land which they never signed away. The other drama, a play entitled No’ Xya’ (Our Footprints), produced by the Vancouver-based Headlines Theatre company in co-operation with the Gitk

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37

Nikcevic, Sanja. "British Brutalism, the ‘New European Drama’, and the Role of the Director." New Theatre Quarterly 21, no. 3 (2005): 255–72. http://dx.doi.org/10.1017/s0266464x05000151.

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The explosion of new theatre writing in Britain during and since the 'nineties contrasted with a dearth of original plays on continental Europe, east and west. Sanja Nikcevic attributes this in part to the dominance over the previous decades of the role of leading directors, who increasingly sought out raw materials to shape productions conforming to their own or their company's ideas. She traces the attempts in a number of countries to correct the imbalance by encouraging new writing through workshops and festivals—yet also how the explosion and importation of the British ‘in-yer-face’ style

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38

Khorob, Stepan. "Dramaturgy of Lesia Ukrainka and European Modern Drama: Text, Context." Journal of Vasyl Stefanyk Precarpathian National University 8, no. 2 (2022): 65–69. http://dx.doi.org/10.15330/jpnu.8.2.65-69.

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It is difficult, if not impossible, to find in world literature an artistic phenomenon similar to the work of Lesya Ukrainka. For as long as a century scientists have been trying their best to highlight and explain this versatile astonishing national phenomenon: the phenomenon of the artist, human, woman. It is definitely not accidental that, avoiding analogies, Ivan Franko called Lesya Ukrainka nearly the only man "all across the whole of modern Ukraine" for her spirit strength and true Prometheus obsession, while Mykhailo Hrushevsky named her the "Ukrainian Shakespeare". According to Mykola

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39

Rhee, Young Suck. "Michael McAteer, Yeats and European Drama (Cambridge: Cambridge UP, 2010)." Yeats Journal of Korea 36 (December 30, 2010): 325–27. http://dx.doi.org/10.14354/yjk.2011.36.325.

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40

Wilkinson, Jane. "The Place of the European Foreigner in Contemporary German Drama." Third Text 20, no. 6 (2006): 755–64. http://dx.doi.org/10.1080/09528820601072924.

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41

Mariatte, Flavien. "The Barroso Drama: France: The Jacques Barrot Way." European Constitutional Law Review 1, no. 2 (2005): 196–202. http://dx.doi.org/10.1017/s1574019605001963.

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Fluctuating French media attention for Barroso's drama. Chirac's support for Manuel Barroso. Appointment of European Commission and French Constitution. French debate on candidacy Barrot and the assigned transport portfolio. Offer extreme right party to save Barroso's team. The unmentioned embezzlement.

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42

Hwang, Ji Hyea. "Transcolonial Nationhood." Journal of World Literature 5, no. 3 (2020): 393–409. http://dx.doi.org/10.1163/24056480-00503005.

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Abstract The genre of modern drama was established in Korea primarily during Japan’s occupation (1910–1945), by playwrights such as Yu Ch’i-jin who sought to represent Korean nationhood on stage. Yu was especially influenced by Irish playwrights, due to the parallels he recognized in the two colonial nations. Moreover, he was also concerned with the genre of modern drama on the global scale, as he agreed with his contemporaries that Korean literature must become interconnected with world literature. As a colonial writer, Yu wrote and staged Korean national drama that was inspired by Irish nati

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Vladiv-Glover, Slobodanka. "Fin-de-siècle Lyrical Drama and the European Modernist Sensibility on the Eve of World War One." Transcultural Studies 11, no. 2 (2015): 242–59. http://dx.doi.org/10.1163/23751606-01102006.

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The paper analyses the relationship of lyrical drama, which emerged as the dominant genre of European Modernism, and opera, representing a paradigm shift in European thought on the eve of World War One. The musical metaphor of love-death, originating in Wagner’s Tristan and Isolde, was adopted widely and transposed into verbal art by the dramatists and prose-writers of Modernism in Eastern and Western Europe. This metaphor or leit-motif is read in the context of the theory of the Freudian death-drive and the emergence of a modern analytic of finitude, which announces a new European cultural pa

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44

Kaplun, М. V. "“The Comedy about David and Galiad” in Context of Western European Drama of the 16th–17th Centuries." Nauchnyi dialog, no. 9 (September 30, 2020): 188–202. http://dx.doi.org/10.24224/2227-1295-2020-9-188-202.

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The article is devoted to “The Comedy about David and Galiad,” staged at the court of Tsar Alexey Mikhailovich in 1676, in the context of Western European drama of the 16th–17th centuries. The material was a mounting sheet of the comedy of 1676, plays by French playwrights of the 16th century and texts of Russian court plays of the 1670s. The paper shows that the Russian comedy based on the story of David and Goliath fit well into the context of religious drama and could be correlated with the events of the Church reform in Russia. Special attention is paid to the comparative analysis of the p

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45

Philippov-Chekhov, Alexander О. "Peter Szondi about the crisis of drama." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (2020): 128–41. http://dx.doi.org/10.18522/2415-8852-2020-1-128-141.

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“Theory of Modern Drama: 1880–1950” (1956), a book by Peter Szondi (Peter Szondi, 1929–1971), who was a German literary scholar, originally from Hungary, has not yet been translated into Russian. Meanwhile, without this study, it is impossible to imagine a European discourse on drama, theatrical practice and its concepts in the second half of the 20th century. Analyzing the changes in the poetics of drama, which were first carried out by Ibsen, Chekhov, Strindberg, Hauptmann, and then by experimenters like Pirandello, Piscator, or Brecht, Szondi traced how the “decay of the formative principle

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46

Kadhim, Thamer Mohammad, and Safaa Kareem Ali. "Themes of Chronicle Drama." International Journal of Early Childhood Special Education 13, no. 2 (2021): 53–57. http://dx.doi.org/10.9756/int-jecse/v13i2.211039.

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Chronicle drama occupies a central position in modern literature which represents a field for interaction of ideas and actions, as it works as storage for historical and human experience. It records a sequence for the history. This study aims to examine the main themes of chronicle drama. Thus, it tracks the history of modern literature as a wide source for this literary genre. The study adopts a historical and analytical methodology in order to clarify the broader dimensions related to chronicle drama and its sources. Historically, chronicle drama was used to dramatize the facts and work as a

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47

Merenus, Aleš, and Marek Lollok. "The Image of the Czech Past in the Contemporary Docudrama." Porównania 27, no. 2 (2020): 101–25. http://dx.doi.org/10.14746/por.2020.2.6.

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This study attempts to depict, describe and analyse the intersection of documentary material with the structure and, by extension, the fictional worlds of current drama texts. On the basis of selected examples, it presents several types of Czech docudrama, from biographically-based plays and “tribunal dramas” to stage collages. The common denominator behind these texts is their attempt to create an impression of authenticity among recipients, as well as “faithfulness” to reality. Their main objective is to provide a fresh interpretation of a historical event or to present or rehabilitate parti

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FISCHER-LICHTE, ERIKA. "Introduction: contemporary theatre and drama in Europe." European Review 9, no. 3 (2001): 275–76. http://dx.doi.org/10.1017/s1062798701000266.

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The 30 years between the 1960s and the 1980s of the 20th century are recalled today as a golden age of European theatre. They seem to have revived, continued and re-created the previous golden age brought about by the historical theatre avant-garde movements during the first decades of the 20th century (approximately 1900–1930). Then, Adolphe Appia, Jacques Copeau, Edward Gordon Craig, Leopold Jessner, Vsevolod Meyerhold, Max Reinhardt, Alexander Tairov, Evgeni Vakhtangov and others had striven for what they called a retheatricalization of theatre.

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Rivero, Carmen. "»Lope, Réactionnaire ou révolutionnaire?«." Volume 60 · 2019 60, no. 1 (2019): 227–41. http://dx.doi.org/10.3790/ljb.60.1.227.

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By reading Fuenteovejuna in the light of both Spanish and European (especially the French) political discourse, this study presents a contribution to the debate on the alleged reactionary or revolutionary character of the drama.

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Andrews, Hannah. "BBC4 Biopics: Lessons in Trashy Respectability." Journal of British Cinema and Television 13, no. 3 (2016): 409–29. http://dx.doi.org/10.3366/jbctv.2016.0327.

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Between its launch in March 2002 and 2013, BBC4, the BBC's niche arts and culture digital channel, broadcast a cycle of biographical dramas, largely about the unhappy personal lives of British cultural and political icons of the twentieth century. Alongside stylish continental European drama imports, world cinema and documentary programmes, biopics became a key marker of the BBC4 brand and its dominant home-grown dramatic output. In scholarly work on television biopics to date, the genre has been seen as akin to tabloid newspapers, conceived as a trashy cultural form that reduces the importanc

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