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Journal articles on the topic 'French drama Drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Gausz, Ildikó. "French tragedy in the Hungarian theatre." Belvedere Meridionale 30, no. 1 (2018): 5–20. http://dx.doi.org/10.14232/belv.2018.1.1.

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The drama is one of the important historical sources of early modern national self-interpretations. After the Long Turkish War (1591–1606) historical dramas are able to enhance patriotism and patriotic education. The tragedy entitled Mercuriade written in 1605 by Dominique Gaspard puts on stage Philippe-Emmanuel de Lorraine, Duke of Mercœur (1558–1602) when he, after the conciliation with Henry IV and leaving the Catholic League, entered into the service of Rudolf II in 1599 and joined the anti-Turkish fights in Hungary. After his death Duke of Mercœur became a mythical hero and his memory was even mentioned at the end of 17th century. Mercuriade can be considered a masterpiece of 17th century school drama, through which it is possible to study the particularities of plays written with a didactic purpose for the students.

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2

Thompson, Juli A., and David Bradby. "Modern French Drama 1940-1980." Theatre Journal 37, no. 3 (October 1985): 383. http://dx.doi.org/10.2307/3206870.

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3

Callen, A., and David Bradby. "Modern French Drama 1940-1980." Modern Language Review 81, no. 2 (April 1986): 495. http://dx.doi.org/10.2307/3729767.

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4

Sorrell, Martin. "Landmarks of French Classical Drama." Modern Language Review 88, no. 2 (April 1993): 461. http://dx.doi.org/10.2307/3733820.

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5

Sorrell, Martin, and David Bradby. "Modern French Drama: 1940-1990." Modern Language Review 88, no. 2 (April 1993): 480. http://dx.doi.org/10.2307/3733840.

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6

Melzer, S. E. "Orientalism in French Classical Drama." Modern Language Quarterly 65, no. 4 (December 1, 2004): 616–18. http://dx.doi.org/10.1215/00267929-65-4-616.

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7

Maskell, D. "Orientalism in French Classical Drama." Notes and Queries 50, no. 1 (March 1, 2003): 121–22. http://dx.doi.org/10.1093/nq/50.1.121.

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8

Morot-Sir, Edouard, and David Bradby. "Modern French Drama 1940-1980." World Literature Today 59, no. 4 (1985): 570. http://dx.doi.org/10.2307/40141954.

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9

Knapp, Bettina L., and David Bradby. "Modern French Drama 1940-1990." World Literature Today 66, no. 3 (1992): 483. http://dx.doi.org/10.2307/40148394.

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10

Maskell, David. "Orientalism in French Classical Drama." Notes and Queries 50, no. 1 (March 1, 2003): 121–22. http://dx.doi.org/10.1093/nq/500121.

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11

Parish, Richard, Michèle Longino, and Michele Longino. "Orientalism in French Classical Drama." Modern Language Review 99, no. 1 (January 2004): 193. http://dx.doi.org/10.2307/3738906.

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12

Kaczmarek, Tomasz. "Armand Salacrou : de la « dédramatisation » à la « redramatisation » du drame." Anales de Filología Francesa 28, no. 1 (October 21, 2020): 433–48. http://dx.doi.org/10.6018/analesff.422991.

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El autor del artículo analiza dos piezas de Armand Salacrou, L'Inconnue d'Arras y Sens interdit, que, a diferencia del "drama absoluto", forman parte del nuevo paradigma de "drama-de-la-vida". Al renunciar a la forma canónica del drama, el escritor francés deconstruye la fábula clásica para llamar la atención del público no a la acción en el sentido tradicional de la palabra, sino al estudio del alma humana. Además, desafía el carácter individual, definido por una psicología, a favor de un personaje enajenado con múltiples facetas. Por lo tanto, estamos presenciando un drama que ya no es agonista sino ontológico, el "personaje de actuación" da paso al "personaje pasivo". La implementación de algunas operaciones de "desdramatización" (retrospección, anticipación, descomposición del personaje) no apunta a la aniquilación del género, sino a su ampliación, lo que le permite (después de las crisis que sufre) reinventarse (redramatización) para expresar mejor las decepciones del hombre moderno. The author of the article analyses two pieces by Armand Salacrou, L'Inconnue d'Arras et Sens interdit, which, contrary to“absolute drama”, are part of the new paradigm of “drama-of-the-life”. By renouncing the canonical form of drama, the French writer deconstructs the classic fable to attract public’s attention not to action in the traditional sense of the word but to the analysisof the human’s soul. What is more, it challenges the individual character, defined by a psychology, in favor of an alienated character with multiple facets. Thus, we are witnessing a drama which is no longer agonistic but ontological, the “acting character” giving way to the “passive character”. The implementation of some operations of “dedramatization” (retrospection, anticipation, decomposition of the character) does not aim at the annihilation of the genre, but at its enlargement which allows it (following crises which it undergoes) to reinvent itself (redramatization) and to better express the disappointments of the modern man. L’auteur de l’article se penche sur deux pièces d’Armand Salacrou, L’Inconnue d’Arras et Sens interdit, qui, contrairement au « drame absolu », s’inscrivent dans le nouveau paradigme du « drame-de-la-vie ». En renonçant à la forme canonique du drame, l’écrivain français déconstruit la fable classique pour attirer l’attention du public non sur l’action au sens traditionnel du mot mais sur l’étude de l’âme humaine. Qui plus est, il remet en cause le personnage individué, défini par une psychologie, au profit d’un personnage aliéné aux multiples facettes. Ainsi, nous assistons à un drame qui n’est plus agonistique mais ontologique, le « personnage agissant » cédant la place au « personnage passif ». La mise en œuvre de quelques opérations de « dédramatisation » (rétrospection, anticipation, décomposition du personnage) ne vise pas à l’anéantissement du genre, mais à son élargissement qui lui permet (suite à des crises qu’il subit) de se réinventer (redramatisation) et de mieux exprimer les déboires de l’homme moderne.

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13

Lau, Barbara. "Implementing drama therapy in a French school: When drama therapy meets sociocracy." Drama Therapy Review 5, no. 1 (April 1, 2018): 69–84. http://dx.doi.org/10.1386/dtr.5.1.69_1.

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14

Hemmings, F. W. J., and Graham E. Rodmell. "French Drama of the Revolutionary Years." Modern Language Review 87, no. 2 (April 1992): 482. http://dx.doi.org/10.2307/3730730.

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15

Phillips, H. "Review: Orientalism in French Classical Drama." French Studies 57, no. 4 (October 1, 2003): 531–32. http://dx.doi.org/10.1093/fs/57.4.531.

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16

Hammerbeck, David. "Orientalism in French Classical Drama (review)." Theatre Journal 55, no. 3 (2003): 565–67. http://dx.doi.org/10.1353/tj.2003.0115.

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17

Zhang, Xiangyun. "La traduction du théâtre français en Chine." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 5, no. 2 (October 1, 2007): 171–94. http://dx.doi.org/10.1075/forum.5.2.09zha.

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This article first presents a list of French dramas which have been translated into Chinese and performed in China. By analysing the list of works, the author attempts to nail down the factors which influence both the translation and the performance of French dramas in China. In addition to the selection of dramas made by the translators or the stage directors from the cultural perspectives, there are still specific requirements for the translated works to be performed on the stage in China. This article highlights the importance for the translation works to recover the performance implicit in the text of the original works. Meanwhile, the author explores the process of drama translation by taking examples of the Chinese translation of Le Tartuffe, the famous play written by Molière.

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18

DIAMOND, CATHERINE. "The Palimpsest of Vietnamese Contemporary Spoken Drama." Theatre Research International 30, no. 3 (October 2005): 207–22. http://dx.doi.org/10.1017/s030788330500146x.

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Unlike most Southeast Asian theatres, Vietnam has created a sizeable corpus of scripted spoken dramas that continue to be popular in performance with urban audiences. Initially influenced by French classicism and Ibsenist realism, the Vietnamese spoken drama, kich noi, very quickly adapted to local social realities and survives by readily incorporating topical subjects. While keeping abreast of current social issues, the theatre nonetheless makes use of its multi-cultural heritage, and in any given modern performance one can see the layers of influence – traditional Sino-Vietnamese hat boi/tuong; Vietnamese cheo theatre, Cham dance, French realism, Soviet constructivism and socialist realism, and most recently, western performance art. The Vietnamese playwrights, set designers, directors, and actors have combined aspects of the realistic theatre with the conventions of their suppositional traditional theatre to come up with a hybrid that is uniquely Vietnamese. It is argued that these manifold layers should be regarded as a kind of palimpsest rather than just as pastiche.

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19

Göksel, Eva. "Playing with possibilities." Scenario: A journal for performative teaching, learning, research XIII, no. 1 (July 24, 2019): 1–20. http://dx.doi.org/10.33178/scenario.13.1.1.

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French as a Second Language (FSL) is not often a popular subject among Canadian elementary and high school students. Negative attitudes and low motivation for learning French contribute to attrition at the high school level. In this article, an alternative teaching approach is applied to the Canadian FSL context at the elementary school level in the province of British Columbia. This action research study conducted in 2010 investigated the outcomes of using a drama-based approach to instruct Core French to 12 year-old students at a Montessori elementary (public) school in British Columbia, Canada. Ten students worked with a teacher/researcher twice a week over a six-week period, using drama strategies and improvisational activities to practice and improve their French language and literacy skills. The use of drama strategies proved motivational for the students who participated with enthusiasm and expressed a desire to continue learning French through drama. The action research approach allowed the students a greater degree of autonomy as their feedback was used to develop lesson content. Engagement in their own learning contributed to improved student attitudes towards attending French class. Ways of further implementing this teaching approach in elementary classrooms needs to be the subject of future research.

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20

Abenoja, Zarina Marie Krystle M., and Matthew DeCoursey. "Using drama activities to teach beginner’s French to Chinese students at a tertiary institution in Hong Kong: An exploratory case study." Studies in Second Language Learning and Teaching 9, no. 4 (October 31, 2019): 711–36. http://dx.doi.org/10.14746/ssllt.2019.9.4.7.

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The exam-oriented education system in Hong Kong has created a language learning environment that is largely confined to traditional classroom settings, which may not take best advantage of students’ abilities to relate what they have learnt in class to real-life scenarios. Such learning environments may have implications for the way second language learners learn a new language. Numerous studies suggest that drama activities used in language classrooms can enhance second language learning. These studies put forward tasks that generate pleasant and rewarding experiences, enhance confidence and subsequently increase motivation to learn a language. By focusing on students studying in a beginning French course at a tertiary institution in Hong Kong, this article reports on how drama activities make a target language more enjoyable and easier to recall. Classroom observations and interviews with students (N = 30) revealed that learning French via drama had a number of positive effects on second language learners especially in terms of their confidence. The learning of French through drama may provide a language learning environment that enables students to apply their French language skills more effectively in real-life situations.

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21

Mariatte, Flavien. "The Barroso Drama: France: The Jacques Barrot Way." European Constitutional Law Review 1, no. 2 (May 19, 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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22

Kenkel, Karen J. "Monstrous Women, Sublime Pleasure, and the Perils of Reception in Lessing's Aesthetics." Publications of the Modern Language Association of America 116, no. 3 (May 2001): 545–61. http://dx.doi.org/10.1632/s0030812900112660.

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Enlightenment intellectuals viewed the moral cultivation of the individual through aesthetic pleasure to be a crucial means for regulating social relations in bourgeois civil society. G. E. Lessing's drama criticism and plays reveal how important reshaping women's social identity was to the definition of morally productive aesthetic pleasure in the Enlightenment. Drawing on contemporary feminist theory, this essay explores how and why the tension between aesthetic pleasure and morality that runs through Lessing's work centers on developing bourgeois norms of femininity and on their violation in French classical and epic dramas. The essay reveals how the gender-specific moral demands placed on cultural pleasure in Lessing's drama criticism helped lay the foundation for a cultural crisis in the late eighteenth century, as well as for a divided public sphere. Lessing's plays, however, offer a more complex vision of the audience's interests and needs and a more open vision of women's possible social roles.

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23

Kenkel, Karen J. "Monstrous Women, Sublime Pleasure, and the Perils of Reception in Lessing's Aesthetics." PMLA/Publications of the Modern Language Association of America 116, no. 3 (May 2001): 545–61. http://dx.doi.org/10.1632/pmla.2001.116.3.545.

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Enlightenment intellectuals viewed the moral cultivation of the individual through aesthetic pleasure to be a crucial means for regulating social relations in bourgeois civil society. G. E. Lessing's drama criticism and plays reveal how important reshaping women's social identity was to the definition of morally productive aesthetic pleasure in the Enlightenment. Drawing on contemporary feminist theory, this essay explores how and why the tension between aesthetic pleasure and morality that runs through Lessing's work centers on developing bourgeois norms of femininity and on their violation in French classical and epic dramas. The essay reveals how the gender-specific moral demands placed on cultural pleasure in Lessing's drama criticism helped lay the foundation for a cultural crisis in the late eighteenth century, as well as for a divided public sphere. Lessing's plays, however, offer a more complex vision of the audience's interests and needs and a more open vision of women's possible social roles.

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24

Scott, Clive. "French and English Rhymes Compared." Empirical Studies of the Arts 10, no. 2 (July 1992): 121–56. http://dx.doi.org/10.2190/ufek-yh99-erm5-7jab.

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The richness and complexity of rhyme has to a great extent been ignored. This article first examines the structural role of rhymes within metrics, illuminating its contrasted role in French and English verse. Linguistic differences and their consequences for the exploitation of various rhyme schemes in French and English are also examined—for example through a discussion of the role of rhyme in French classical drama as compared to English Restoration drama. The semantic and pragmatic consequences of rhyme are also addressed, with special emphasis on the comparative anatomy of rhyme words (morphemes, suffixes, endings) and the changed significance of rhyme with the advent of free verse.

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25

Lapaire, Pierre J. "David Bradby.Modern French Drama 1940–90(Second edition)." Romance Quarterly 43, no. 1 (January 1996): 52. http://dx.doi.org/10.1080/08831157.1996.10545318.

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26

Gossip, Christopher J. "Chappuzeau and the Performance of French Classical Drama." Seventeenth-Century French Studies 31, no. 1 (July 2009): 3–13. http://dx.doi.org/10.1179/175226909x445231.

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27

Spreen, Constance S. "Modern French Drama, 1940-1990 (review)." Philosophy and Literature 16, no. 2 (1992): 410–11. http://dx.doi.org/10.1353/phl.1992.0054.

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28

Zatlin, Phyllis. "Classical Spanish Drama on the Contemporary French Stage." Bulletin of the Comediantes 42, no. 1 (1990): 23–33. http://dx.doi.org/10.1353/boc.1990.0020.

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29

Verona, Roxana. "Orientalism in French Classical Drama (review)." Comparatist 27, no. 1 (2003): 187–88. http://dx.doi.org/10.1353/com.2003.0016.

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30

Jensen, Katharine Ann. "Orientalism in French Classical Drama (review)." L'Esprit Créateur 42, no. 2 (2002): 105. http://dx.doi.org/10.1353/esp.2010.0216.

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31

CAMPOS, C. "Review. Modern French Drama 1940-1980. Bradby, David." French Studies 39, no. 4 (October 1, 1985): 502. http://dx.doi.org/10.1093/fs/39.4.502.

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32

Gray, Tim, and Paul Hindson. "Edmund Burke and the French revolution as drama." History of European Ideas 14, no. 2 (March 1992): 203–11. http://dx.doi.org/10.1016/0191-6599(92)90248-b.

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33

Kaczmarek, Tomasz. "L’Âme en folie de François de Curel : à la recherche d’un nouveau paradigme dramatique." Romanica Cracoviensia 20, no. 4 (2020): 199–205. http://dx.doi.org/10.4467/20843917rc.20.019.13305.

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L’Âme en folie by François de Curel: In search of a new dramatic paradigm The author of the article studies Curel’s play, which testifies to the crisis of traditional drama, announced at the turn of the 20th century. Curel seems to destroy the canonical form of “drama-in-life”, based on a dramatic progression of the action and on the character as an active agent ensuring this same progression, by proposing a new paradigm of “drama-of-life”. The latter moves away from classic prerogatives to focus on the inner life of the protagonist. Instead of focusing on episodes that inevitably lead to disaster, the French writer attempts to embrace the evolution of the characters’ souls. This is how he passes from “agonistic drama” to an “ontological” one.

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34

Sarah Lee, Sze Wah. "Anglo-French Poetic Exchanges in the Little Magazines, 1908–1914." Modernist Cultures 16, no. 3 (August 2021): 340–66. http://dx.doi.org/10.3366/mod.2021.0338.

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This article demonstrates the extent and significance of exchange between English and French poets in the years leading up to World War I, a crucial period for the development of modern Anglophone poetry. Through archival research, I trace the growing interest in French poetry of Imagist poets F. S. Flint, Ezra Pound and Richard Aldington, exhibited in various little magazines including the New Age, Poetry Review, Poetry and Drama, Poetry, the New Freewoman and the Egoist. Moreover, I show that such interest was reciprocated by contemporary French poets, notably Henri-Martin Barzun and Guillaume Apollinaire, who published works by English poets in their respective little magazines Poème et Drame and Les Soirées de Paris. This suggests that not only were modern English poets influenced by their French counterparts, but they were also given a voice in the Francophone artistic world, resulting in a unique moment of cross-channel poetic exchange before the war.

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35

Gudimova, Svetlana. "THE MUSICAL MYSTERY OF OLIVIER MESSIAEN." Herald of Culturology, no. 3 (2020): 68–77. http://dx.doi.org/10.31249/hoc/2020.03.05.

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The article is dedicated to the opera «St. Francis of Assisi» by the outstanding French composer of the 20 th century Olivier Messiana. This opera is the composer's great summa musicae. In it, he used almost all the musical means used by him earlier. As for the drama, it is completely different than in all operas and musical dramas that still exist, and not only in the sense of stage, but also musical. This is a completely new word in opera. “St. Francis of Assisi” is not only a musical mystery, since scenography (carefully designed by Messian in the libretto and score) plays a significant role here.

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36

Burbelo, V. B. "Poetic and Сommunicative Functions in Early French Medieval Drama." Science and Education a New Dimension VIII(218), no. 66 (February 22, 2020): 18–20. http://dx.doi.org/10.31174/send-ph2020-218viii66-03.

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37

Cooper, Barbara T. "Le Docteur noir : A French Romantic Drama in Blackface." French Forum 28, no. 1 (2003): 77–90. http://dx.doi.org/10.1353/frf.2003.0030.

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38

Hayward, Susan. "Reviewing quality cinema: French costume drama of the 1950s." Studies in French Cinema 8, no. 3 (September 23, 2008): 229–44. http://dx.doi.org/10.1386/sfc.8.3.229_1.

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39

Wright, Stephen K. "Records of Early French Drama in Parisian Notary Registers." Comparative Drama 24, no. 3 (1990): 232–54. http://dx.doi.org/10.1353/cdr.1990.0004.

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40

Bradby, David. "A Theatre of the Everyday: the Plays of Michel Vinaver." New Theatre Quarterly 7, no. 27 (August 1991): 261–83. http://dx.doi.org/10.1017/s0266464x00005765.

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It has only been in the last few years that the plays of Michel Vinaver have begun to be discovered and produced in Britain. Yet he has been working as a playwright in his native France since 1955, and has become increasingly respected and widely produced there since overcoming a seven-year ‘writer's block’ in 1967. Here, David Bradby's introduction to Vinaver's dramaturgy is followed by a detailed analysis of one of his most recent plays, L'Emission de télévision, and this critical material is complemented by a chronology of Vinaver's career, excerpted statements by and about the writer – including an ‘auto-interview’ of Vinaver by Vinaver – and a bibliography. David Bradby is Professor of Drama and Head of the Department of Drama and Theatre Studies at Royal Holloway and Bedford New College, University of London: he has published widely, especially on the French theatre, and his major study, Modern French Drama, 1940–1990, has recently appeared in a revised edition from Cambridge University Press. He is currently working on a study of Vinaver for the University of Michigan Press. Michel Vinaver's own assessment of the present state of French theatre funding was included in NTQ25 (1991).

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41

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 plays of the French Calvinist playwrights Joachim de Coignac and Louis De Masur in order to identify common typological features of the Russian play and Western drama. The play ‘Temir-Aksakov Action” by Yu. M. Givner was brought to consideration in order to put forward a hypothesis about the possible author of the play of German origin. The author presents the latest development of the reconstruction of “The Comedy about David and Galiad,” based on a comparative approach and typological analysis of the literary and historical context of the 16th–17th centuries. The analysis shows the content aspect of the Russian play about David and Goliath, which incorporated the characteristic features of the Moscow court drama of the last third of the 17th century.

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42

Sanko, Hélène. "Considering Molière in Oyônô-Mbia's Three Suitors: One Husband." Theatre Research International 21, no. 3 (1996): 239–44. http://dx.doi.org/10.1017/s0307883300015352.

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Juxtaposed these quotations, which are separated by three centuries and two continents, suggest that seventeenth-century classical French drama serves as a model for African theatre of the early post-colonial period. The first quotation is, of course, from Moliere, the Old Regime's brilliant comic writer. The second is taken from a play by Oyônô-Mbia, a contemporary dramatist from Cameroon. Given the powerful grip France held over its colonies, it is not surprising to find residual influence of France's theatrical culture on African drama. By the end of World War One, French authority in sub-Saharan Africa extended from Cape Verde to the Congo river. The Third Republic established French schools in the larger colonial towns which attracted the children of well-to-do urban families. France therefore held strong political and cultural sway over the development of African leaders and writers.

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43

Derrick, Patty S. "Julia Marlowe: An Actress Caught Between Traditions." Theatre Survey 32, no. 1 (May 1991): 85–105. http://dx.doi.org/10.1017/s0040557400009479.

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Julia Marlowe's career, 1887–1924, came at an awkward point in the history of the American theatre, a transitional period when old traditions were fading and new ones had not yet been established. During her thirty years as an actress, a heterogeneous mixture of plays was seen on the American stage: Shakespeare and other old classics, emotional dramas adapted from the French and German, melodramas old and new, early attempts at realism, problem plays. Most strikingly innovative in this period were the dramas of Ibsen, Shaw, and O'Neill (his early plays), which questioned conventional values and often presented a disturbing view of human life and relationships. The range of plays was varied for performers, and the acting styles employed by the actors revealed a comparable diversity. According to Garff Wilson's classification, players like Helena Modjeska performed in the classic style characterized by grace, symmetry, and poetic grandeur; Clara Morris and Fanny Davenport perfected a highly emotional style, both specialists in the art of stage weeping; Otis Skinner abandoned the classics of Shakespeare and Restoration drama and became famous in sentimental comedy and romantic costume drama such as Kismet; Ada Rehan and Viola Allen, part of the “sisterhood of sweetness and light,” achieved popularity as actresses of the “personality school”; Richard Mansfield, a thoroughly transitional figure, clung to the classics in his repertoire but also produced and performed in the modern plays of Shaw and Ibsen; Minnie Maddern Fiske championed the works of Ibsen and a style of acting called the school of psychological naturalism.

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44

Rychkov, A. L. "Alexander Blok between Vl. Solovyev and E.V. Anichkov: A. Blok’s drama “The Rose and the Cross” and the legacy of Western esotericism." Solov’evskie issledovaniya, no. 1 (March 31, 2021): 95–111. http://dx.doi.org/10.17588/2076-9210.2021.1.095-111.

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In the third article of the series publications on the topic “A. Blok and Vl. Solovyov”, the author considers the representation of the heritage of Western esoterism in Blok’s drama “The Rose and the Cross” on the example of the poet's appeal to the themes of Joachimism and Catharism, including the neo-mythological connection of the Cathars with the legend of the Holy Grail. The author analyzes the influence of V.V. Solovyov's historiosophy and E.V. Anichkov's aesthetics on the symbolism of the drama from the perspective of rethinking these themes. It is shown that the drama of Blok is deeply intertwined with the neo-mythological concepts of the "French school" of Western esotericism, which were widely discussed in the circle of Russian symbolists, for example, in connection with the work of Sar Peladan. The conclusion is made about the influence on the symbolism of the drama of the works of V. Solovyov and the beliefs of E. V. Anichkov associated with medieval mysticism. An extensive bibliography is provided.

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Savina, Anfisa D. "Cherubina de Gabriak: French Sources of the Mystification." Studia Litterarum 6, no. 2 (2021): 164–83. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-164-183.

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The article shows what role M. Voloshin’s interest in the work of Auguste Villiers de l’Isle-Adam played in the creation of Cherubina de Gabriak. This famous mystification was planned by M. Voloshin and E. Dmitrieva in the summer of 1909 when the poet was translating Villiers’ philosophical drama Axel and writing an essay about the play and its author. Shared motifs and images that were discovered in Cherubina’s poems, Villiers’ drama and Voloshin’s essays, allow to treat the heroine of Axel (Sara de Maupers) as a literary prototype of the fictional poetess and to assert that Cherubina- Dmitrieva’s poetry was influenced by Villiers’ works and Voloshin’s interpretation of the former’s life. Also, it is important that Voloshin’s attention on Villiers’ novel Future Eve could serve as an impulse to creation of the ideal illusory poetess: an article about this work figured in Voloshin’s first projects for Apollon magazine, S. Makovsky wrote about the heroine of this novel in his memoirs of Cherubina.

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46

Savina, Anfisa D. "Cherubina de Gabriak: French Sources of the Mystification." Studia Litterarum 6, no. 2 (2021): 164–83. http://dx.doi.org/10.22455/2500-4247-2021-6-2-164-183.

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Abstract:

The article shows what role M. Voloshin’s interest in the work of Auguste Villiers de l’Isle-Adam played in the creation of Cherubina de Gabriak. This famous mystification was planned by M. Voloshin and E. Dmitrieva in the summer of 1909 when the poet was translating Villiers’ philosophical drama Axel and writing an essay about the play and its author. Shared motifs and images that were discovered in Cherubina’s poems, Villiers’ drama and Voloshin’s essays, allow to treat the heroine of Axel (Sara de Maupers) as a literary prototype of the fictional poetess and to assert that Cherubina- Dmitrieva’s poetry was influenced by Villiers’ works and Voloshin’s interpretation of the former’s life. Also, it is important that Voloshin’s attention on Villiers’ novel Future Eve could serve as an impulse to creation of the ideal illusory poetess: an article about this work figured in Voloshin’s first projects for Apollon magazine, S. Makovsky wrote about the heroine of this novel in his memoirs of Cherubina.

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Dobson, J. "American 'Unculture' in French Drama: 'Homo Americanus' and the Post-1960 French Resistance." French Studies 69, no. 1 (January 1, 2015): 117–18. http://dx.doi.org/10.1093/fs/knu288.

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RUNNALLS, G. A. "SPONSORSHIP AND CONTROL IN MEDIEVAL FRENCH RELIGIOUS DRAMA: 1402-1548." French Studies LI, no. 3 (July 1, 1997): 257–66. http://dx.doi.org/10.1093/fs/li.3.257.

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RUNNALLS, G. A. "Sponsorship and Control in Medieval French Religious Drama: 1402-1548." French Studies 51, no. 3 (July 1, 1997): 257–66. http://dx.doi.org/10.1093/fs/51.3.257.

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DUNKLEY, J. "Review. French Drama of the Revolutionary Years. Rodmell, Graham E." French Studies 46, no. 1 (January 1, 1992): 78–79. http://dx.doi.org/10.1093/fs/46.1.78.

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