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Journal articles on the topic 'Flemish drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Sedláčková, Lucie. "Circulatie van Nederlandstalig toneel in Tsjechië, 1898–1989." Neerlandica Wratislaviensia 28 (June 26, 2019): 165–81. http://dx.doi.org/10.19195/0860-0716.28.13.

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Circulation of Dutch plays in Czech, 1898–1989 This article deals with the circulation of Dutch and Flemish dramatic texts in the Czech lands between 1898 – when the first translation of a Dutch theatre play was probably published – and 1989 – the year of the Velvet Revolution, after which the cultural field changed radically. It is a fact that relatively few Dutch and Flemish plays have been translated into Czech. The same is true of the actual production of the plays in Czech translation: these were rather sporadic throughout the whole 20th century, except for several plays by Herman Heijerm

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2

Parisse, Lydie. "Le théâtre intérieur de Maurice Maeterlinck dans La Mort de Tintagiles." Cahiers ERTA, no. 21 (2020): 83–97. http://dx.doi.org/10.4467/23538953ce.20.005.12026.

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Maeterlinck`s Innertheater in Tintagile`s death Tintagile’s death (1894) is an etape in the Maeterlinck’s work. This drama bears the strong imprint of a decisive évent in the life of the author : the discovery of the writings of the médieval Flemish mystic Ruysbroeck, of wich he became the translator from 1885 to 1888. The langage of mysti‐ cism allows a renowal of writing and dramatic aesthetics.

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3

Zeller, Claudia. "Kleverig drama." Internationale Neerlandistiek 59, no. 1 (2021): 51–68. http://dx.doi.org/10.5117/in2021.1.003.zell.

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Abstract This article investigates new perspectives on ecocriticism through the works of the Flemish poet Dominique De Groen. Taking Timothy Morton’s notion of ‘dark ecology’ as a starting point, it argues that De Groen’s poetry represents a form of anthropocenic writing that exceeds the scope of traditional ecocriticism. Read through the lens of the Anthropocene as both a geological era and an episteme, her writing can shed light on the entanglement between the human subject and its environment that is central to the conceptualisation of the Anthropocene as discourse. It is argued that the di

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4

Dhoest, Alexander. "Negotiating Images of the Nation: The Production of Flemish TV Drama, 1953-89." Media, Culture & Society 26, no. 3 (2004): 393–408. http://dx.doi.org/10.1177/0163443704042261.

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5

Raats, Tim, and Catalina Iordache. "From Nordic Noir to Belgian Bright?" Canned TV Going Global 9, no. 17 (2020): 79. http://dx.doi.org/10.18146/view.243.

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Shifts in audio-visual production, distribution and consumption have increased pressure on broadcasters as main financiers of domestic content in Europe. However, within the context of internationalisation and digitalisation, there are also new opportunities for the export of European content. By taking a close look at the evolution and increasing popularity of Flemish TV drama, this article identifies key explanatory factors for the export of content produced in a small media market. The analysis also discusses the extent to which the rise in exports may contribute to the increased sustainabi

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6

Dhoest, Alexander. "When Regional Becomes National: The Production and Reception of Flemish TV Drama in a Culturally Divided Country." Critical Studies in Television: The International Journal of Television Studies 6, no. 2 (2011): 13–23. http://dx.doi.org/10.7227/cst.6.2.4.

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7

Vanlandschoot, Romain. "Verdraagzaamheid en pragmatische samenwerking in de Vlaamse beweging. Hugo Verriest en August Vermeylen 1895-1914. Deel 2." WT. Tijdschrift over de geschiedenis van de Vlaamse beweging 72, no. 2 (2013): 103–39. http://dx.doi.org/10.21825/wt.v72i2.12212.

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Deel 2: In de slagschaduw van Rodenbach (1897-1909)De periode 1897-1909 staat zowel voor Hugo Verriest als voor August Vermeylen in het teken van Albrecht Rodenbach. Aanleiding was biografische notitie die in het christendemocratische weekblad De Nieuwe Tijd van Verriest verschenen was (oktober 1897), en door Vermeylen overgenomen in Van Nu en Straks. Deze tekst consolideerde definitief de vriendschap tussen beide protagonisten van de Vlaamse beweging. De dood van dichter Guido Gezelle (27 november 1899) bracht hen nog dichter bij elkaar.Een klein meningsverschil omtrent het drama Starkadd van

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8

T’Sjoen, Yves. "‘Koloniseren is een smaak die je moet leren’ – Hugo Claus en Het leven en de werken van Leopold II (1970)." Tydskrif vir Letterkunde 46, no. 1 (2017): 151–66. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i1.3473.

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The première of Claus’ play Het leven en de werken van Leopold II (The Life and Works of Leopold II), in November 1970 (by the company Nederlandse Comedie), was directed by the author himself. After a second and again rather unsuccessful run (1972–1973, Arena, director: J. Tummers) it disappeared from the stage for nearly thirty years: there was no other production of Claus’ play in the Low Countries until the autumn of 2002 (KVS, director: R. Ruëll). Undoubtedly Het leven en de werken van Leopold II is one of the lesser-known plays by the Flemish author Hugo Claus (1929–2008). While writing i

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9

Vanlee, Florian, Sofie Van Bauwel, and Frederik Dhaenens. "Distinctively queer in the Parish: Performances of distinction and LGBTQ+ representations in Flemish prestige television fiction." European Journal of Cultural Studies 23, no. 4 (2019): 548–63. http://dx.doi.org/10.1177/1367549418821844.

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This article troubles the intuitive link between emancipatory portrayals of sexual and gender diversity and ‘quality television’ by focusing on three Flemish ‘prestige’ dramas: Met Man en Macht (VIER, 2013), Bevergem (Canvas, 2015) and Den Elfde Van Den Elfde (één, 2016). Contrary to the United States, Flemish quality television portrays fewer LGBTQ+ characters and narratives than less ‘prestigious’ content. Approached from a Bourdieusian perspective, the cases discussed show that when LGBTQ+ characters are featured in prestigious domestic fiction content, they function as distinctive queers.

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10

Torbus, Tomasz. "„Król się ślini na myśl o Gdańsku…” – cztery odsłony walki o symbole między miastem a władzą zwierzchnią z zamkiem krzyżackim w tle." Porta Aurea, no. 19 (December 22, 2020): 231–56. http://dx.doi.org/10.26881/porta.2020.19.12.

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I draw the historical background with the question of how the city has for centuries been communicating with visual signs with its so different external sovereigns. After general remarks, I focus on the ruler’s relationship with the city during the Teutonic Knights’ era, as the example serving the Teutonic castle in Gdansk, from the beginning of its construction to the story of its demolition. The Teutonic castle was built, according to the message of Wigand of Marburg, during the time of Grand Master Dietrich von Altenburg around 1340. Unlike the dating, its form disappears in the darkn

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11

Schewe, Manfred, and Susanne Even. "What exactly is an apple pie? Performative arts and pedagogy: Towards the development of an international glossary." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 2 (2016): 65–81. http://dx.doi.org/10.33178/scenario.10.2.6.

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Please note that this is a slightly edited version of the group discussion. Scenario wishes to acknowledge the vital contribution of Josephine Rutz by expressly thanking her for the transcription of the discussion. MS: Welcome everyone to this afternoon’s group discussion as part of the 4th SCENARIO FORUM Symposium. As you have read in the Symposium programme the German professional association Bundesarbeitsgemeinschaft (BAG) Spiel & Theater e.V. aims to develop an international glossary of key terms in the area of applied drama and theatre and has invited professionals from outside German

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12

Botes, Philipp. "Sounds in the Foreign Language Lesson." Scenario: A Journal of Performative Teaching, Learning, Research IX, no. 1 (2015): 79–85. http://dx.doi.org/10.33178/scenario.9.1.4.

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Modern teaching approaches such as CLIL and various European policies (Council of Europe 2014) promote the vision of a multilingual school where the new European citizen can grow up learning at least two languages besides their mother tongue(s). From the point of view of foreign language teaching, especially interesting is the use of the arts (theatre, drama, music, dance, and fine arts), whether to create a new approach to teaching and learning (Schewe 2013) or to increase the motivation and commitment of the learners (Fleming 2014). In order for schools and teachers to be able to make use of

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13

Dorion, Calvin. "Starting drama teaching, 3rd ed., by Mike Fleming, Abingdon, Routledge, 2011, 200 pp., £21.99 (paperback), ISBN 978-0-41-560134-4." Teacher Development 16, no. 1 (2012): 139–41. http://dx.doi.org/10.1080/13664530.2012.674295.

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14

Ceulemans, Adelheid. "The medium is the message Historical heroes in Flemish lyrical dramas of the nineteenth century (1830-1914)." Studies on National Movements 3, no. 1 (2015). http://dx.doi.org/10.21825/snm.85391.

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This paper focuses on Flemish lyrical dramas of the nineteenth century with historical protagonists, both political figures and artists. It investigates how these lyrical dramas contributed to the discursive construction of a national, Belgian and a subnational, Flemish identity through the use (or manipulation) of the past, and how historical heroes were fit into nationalising strategies. Special attention is paid to the use of stereotypes and clich in characterising the historical protagonists, and to specific features of the lyrical dramas concerning style and content. It is particularly in

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15

Dhoest, Alexander. "Zichem versus Brideshead: de constructie van nationale identiteit in Vlaamse en Britse historische tv-series." Van oude vragen en nieuwe media: een stand van zaken van media studies in Vlaanderen en Nederland 23, no. 3-4 (2002). http://dx.doi.org/10.21825/sociologos.86562.

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While British period drama provides appealing images of the past, the self-portrayal in Flemish period fiction is much grubbier. Flanders is mostly represented as a poor rural region, inhabited by hard-working peasants. While this representation of 'poor Flanders' partly corresponds to the real situation at the turn of the century, it is not a mere reflection. On the contrary, these series selectively construct a particular image of the past, which fits within wider discourses about Flemish identity. While this representation is not overtly nationalistic, it does support the Flemish emancipati

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16

Dhoest, Alexander. "Poorly Imaging Flanders: Ecoomic Determinants in Flemish Television Drama Supply." Communications 24, no. 4 (1999). http://dx.doi.org/10.1515/comm.1999.24.4.423.

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17

Dhoest, Alexander. "Reconstructing Flanders. The representation of the nation in Flemish period drama." Communications 28, no. 3 (2003). http://dx.doi.org/10.1515/comm.2003.016.

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18

Raats, Tim, and Pia Majbritt Jensen. "The Role of Public Service Media in Sustaining TV Drama in Small Markets." Television & New Media, April 13, 2020, 152747642091339. http://dx.doi.org/10.1177/1527476420913398.

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Via a comparative case study of VRT/Flanders and DR/Denmark, we investigate the role of public service media in sustaining the expensive but important genre of TV drama in small markets in the face of recent cutbacks, shifting revenues, and global competition. Although the study shows some similarities, there are notable differences between the two. VRT has significantly higher production volume and commissions most productions externally, thus supporting the sustainability of the wider Flemish TV production market. DR has lower production volume and produces largely in-house, enabling larger

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19

Torello‐Hill, Giulia. "The role of the Praenotamenta of Jodocus Badius Ascensius in shaping early modern dramatic criticism." Renaissance Studies, November 20, 2023. http://dx.doi.org/10.1111/rest.12904.

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AbstractThis article examines the profound and enduring legacy of the treatise on classical drama known as Praenotamenta ascensiana in shaping early modern dramatic poetics. Written by Flemish scholar Jodocus Badius Ascensius (1462–1535) as a preface to his 1502 edition of the Classical plays of Terence, this work has been unjustly overlooked by the critics that have invariably credited Aristotle’s Poetics for foregrounding the debate on early modern dramatic criticism, following Alessandro de Pazzi’s first Latin translation (1536) and Francesco Robortello’s monumental commentary (1548). The p

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20

Gozzano, Natalia. "Scaramuccia nel teatro di strada. Una proposta di ‘attribuzionismo teatrale’." Drammaturgia, December 22, 2023, 213–34. http://dx.doi.org/10.36253/dramma-15001.

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In the Museo di Roma at Palazzo Braschi there is a painting attributed to an anonymous Flemish painter of the 17th century depicting a theatre scene in Piazza Pasquino, whose iconography differs from the usual depiction of this subject spread by bamboozling painters in the 17th century. Instead of being crowded at the foot of a raised stage – as was typical in works depicting charlatans accompanied by the comedians of the Commedia dell’arte – the spectators are arranged in a circle around them. And, above all, the character in the centre of the scene has the physiognomy and costume typic

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21

Raney, Vanessa. "Where Ordinary Activities Lead to War." M/C Journal 9, no. 3 (2006). http://dx.doi.org/10.5204/mcj.2626.

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   “The cop in our head represses us better than any police force. Through generations of conditioning, the system has created people who have a very hard time coming together to create resistance.” – Seth Tobocman, War in the Neighborhood (1999)   Even when creators of autobiographically-based comics claim to depict real events, their works nonetheless inspire confrontations as a result of ideological contestations which position them, on the one hand, as popular culture, and, on the other hand, as potentially subversive material for adults. In Seth Tobocma

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