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Journal articles on the topic 'French drama French drama Toneelstukken'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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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8

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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9

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

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10

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

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11

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

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12

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

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13

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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14

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

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15

Scott, Clive. "French and English Rhymes Compared." Empirical Studies of the Arts 10, no. 2 (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 (mor

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16

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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17

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

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18

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

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19

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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20

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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21

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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22

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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23

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

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24

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

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25

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

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26

Göksel, Eva. "Playing with possibilities." Scenario: A journal for performative teaching, learning, research XIII, no. 1 (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, Can

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27

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

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28

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

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29

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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30

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

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31

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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32

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 (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

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33

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

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34

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

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35

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

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36

DIAMOND, CATHERINE. "The Palimpsest of Vietnamese Contemporary Spoken Drama." Theatre Research International 30, no. 3 (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/tuo

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37

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- Dmitri

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38

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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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- Dmitri

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39

Muller, Gari R. ""Res/Verba": A Study in Medieval French Drama. Joseph A. Dane." Speculum 63, no. 3 (1988): 651–52. http://dx.doi.org/10.2307/2852655.

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40

Lyons, J. D. "Indiscernible Counterparts: The Invention of the Text in French Classical Drama." Modern Language Quarterly 66, no. 2 (2005): 253–55. http://dx.doi.org/10.1215/00267929-66-2-253.

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41

Feilla, Cecilia. "Gender and Religious life in French Revolutionary Drama by Annelle Curulla." Theatre Journal 72, no. 2 (2020): 259–60. http://dx.doi.org/10.1353/tj.2020.0050.

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42

Koch, E. R. "Indiscernible Counterparts: The Invention of the Text in French Classical Drama." Comparative Literature 56, no. 4 (2004): 362–64. http://dx.doi.org/10.1215/-56-4-362.

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43

Kenny, Neil. "‘Renaissance’ History in Modern French Drama: the Lure of the Impossible?" Nottingham French Studies 49, no. 3 (2010): 79–86. http://dx.doi.org/10.3366/nfs.2010-3.008.

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44

Ashley, Kathleen M. "Aspects of Genre in Late Medieval French Drama. Alan E. Knight." Speculum 60, no. 2 (1985): 420–23. http://dx.doi.org/10.2307/2846498.

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45

Damen, Mark. "French Scenes in Greek Tragedy: The Scenic Structure of Classical Drama." Theatre Journal 55, no. 1 (2003): 113–34. http://dx.doi.org/10.1353/tj.2003.0014.

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46

Bradby, David. "A Theatre of the Everyday: the Plays of Michel Vinaver." New Theatre Quarterly 7, no. 27 (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 – inc

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47

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-S

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48

McGowan, Margaret M. "Rebecca Harris-Warwick, Dance and Drama in French Baroque Opera. A History." Dance Research 35, no. 1 (2017): 138–40. http://dx.doi.org/10.3366/drs.2017.0192.

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49

Lagny, Michèle. "Susan Hayward, French Costume Drama of the 1950s, Fashioning Politics in Film." 1895, no. 67 (June 1, 2012): 166–68. http://dx.doi.org/10.4000/1895.4555.

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50

Bourdin, P. "Drama societies in the French Revolution: from Jacobin enthusiasts to royalist amateurs." French History 22, no. 1 (2008): 3–27. http://dx.doi.org/10.1093/fh/crn001.

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