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Relevant bibliographies by topics / French dramatists

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Academic literature on the topic 'French dramatists'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "French dramatists"

1

Prośniak, Anna. "“Sardoodledom” on the English Stage: T. W. Robertson and the Assimilation of Well-Made Play into the English Theatre." Text Matters, no. 10 (November 24, 2020): 446–59. http://dx.doi.org/10.18778/2083-2931.10.25.

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The article discusses a vital figure in the development of modern English theatre, Thomas William Robertson, in the context of his borrowings, inspirations, translations and adaptations of the French dramatic formula pièce bien faite (well-made play). The paper gives the definition and enumerates features of the formula created with great success by the French dramatist Eugène Scribe. Presenting the figure of Thomas William Robertson, the father of theatre management and realism in Victorian theatre, the focus is placed on his adaptations of French plays and his incorporation of the formula of

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Garner, Stanton B. "History in the Year Two: Trevor Griffiths's Danton." New Theatre Quarterly 11, no. 44 (1995): 333–41. http://dx.doi.org/10.1017/s0266464x00009313.

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For British dramatists nurtured in and by the hopes for socialism which characterized the 'sixties and the 'seventies, the Thatcherite period – with the eclipse of a fatally flawed communist system as its international dimension – demanded not only new thinking, but at least the consideration of a new dramaturgy. Stanton B. Garner, Jr., here explores the ways in which one of the most consistently committed of contemporary writers, Trevor Griffiths, confronts in Hope in the Year Two, his play about the death of the French Revolutionary Danton, the dilemma not only of the revolutionary hero, but

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Braund, Susanna. "TABLEAUX AND SPECTACLES: APPRECIATION OF SENECAN TRAGEDY BY EUROPEAN DRAMATISTS OF THE SIXTEENTH AND SEVENTEENTH CENTURIES." Ramus 46, no. 1-2 (2017): 135–52. http://dx.doi.org/10.1017/rmu.2017.7.

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Did Sophocles or Seneca exercise a greater influence on Renaissance drama? While the twenty-first century public might assume the Greek dramatist, in recent decades literary scholars have come to appreciate that the model of tragedy for the Renaissance was the plays of the Roman Seneca rather than those of the Athenian tragedians. In his important essay on Seneca and Shakespeare written in 1932, T.S. Eliot wrote that Senecan sensibility was ‘the most completely absorbed and transmogrified, because it was already the most diffused’ in Shakespeare's world. Tony Boyle, one of the leading rehabili

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Bassnett, Susan. "Structuralism and After: Trends and Tendencies in Theatre Analysis, Part Two." New Theatre Quarterly 1, no. 2 (1985): 205–7. http://dx.doi.org/10.1017/s0266464x00001561.

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In the first part of this article, published in NTQ1. Susan Bassnett introduced the two papers from ltalian contributors to the Conference on Theatre Analysis held last year at the University of Warwick, where she herself teaches in the Department of Comparative Literature. Here, she concludes her brief introduction to the work of the new generation of continental theatre analysts by providing a context for the two further papers included in this issue, both products of the French approach to the problem of describing theatre in performance. Susan Bassnett's own study of the plays of Pirandell

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Whitton, David, John Dunkley, and Bill Kirton. "Voices in the Air: French Dramatists and the Resources of Language. Essays in Honour of Charles Chadwick." Modern Language Review 89, no. 3 (1994): 750. http://dx.doi.org/10.2307/3735167.

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Berlova, Maria. "The Transnationalism of Swedish and Russian National Theatres in the Second Half of the Eighteenth Century: How Foreign Performative Art Sharpened the Aesthetics of National Identity." Nordic Theatre Studies 27, no. 1 (2015): 104. http://dx.doi.org/10.7146/nts.v27i1.24243.

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In this article, I consider the formation of national theatres in Sweden and Russia under the guidance of King Gustav III and Empress Catherine II. Both Swedish and Russian theatres in the second half of the eighteenth century consolidated their nationalism by appealing to various national cultures and absorbing them. One of the achievements of the Enlightenment was the rise in popularity of theatre and its transnationalism. Several European countries, like Russia, Sweden, Po- land, Hungary and others, decided to follow France and Italy’s example with their older traditions, and participate in

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Shepherd, Simon. "Blood, Thunder and Theory: The Arrival of English Melodrama." Theatre Research International 24, no. 2 (1999): 145–51. http://dx.doi.org/10.1017/s0307883300020769.

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One of the surest ways of registering disapproval of a play or a performance is to dismiss it as ‘melodramatic’, thus invoking a whole network of mistaken dramatic values and improper practice. In arts reviews, classrooms and text books, ‘melodrama’ recurs as the ‘other’ of ‘proper’ realist drama. In English Drama: A Cultural History, we describe the critical history of melodrama as ‘The Unacceptable Face of Theatre's importance and seriousness. One of the most influential interventions came from Peter Brooks, whose Melodramatic Imagination propounds two arguments in favour of melodrama'scultu

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Weig, Heidi. "Amateur Theatricals and the Dramatic Marketplace: Lacy’s and French’s Acting Editions of Plays." Nineteenth Century Theatre and Film 44, no. 2 (2017): 173–91. http://dx.doi.org/10.1177/1748372717742305.

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Historically an exclusive, upper-class entertainment, private theatricals became a widespread, primarily middle-class pastime in the course of the nineteenth century. To the emerging bourgeoisie, play-acting represented an important way to negotiate class identity by emulating the habits of social elites. The foremost raw materials for private stagings of drama were the acting editions of plays published most prolifically in the second half of the century by T. H. Lacy and Samuel French, consecutively. This paper examines Lacy’s and French’s publication and marketing strategies by placing side

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Jakubczyk, Radosław. "Gotyk wyobrażony. O francuskich katedrach w listach Stanisława Wyspiańskiego." Prace Literackie 56 (June 29, 2017): 113–25. http://dx.doi.org/10.19195/0079-4767.56.8.

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The imaginary Gothic. French cathedrals in Stanisław Wyspiański’s letters The article focuses on the role of imagination in Stanisław Wyspiański’s perception of the Gothic, which can be read out of his “French” letters to Lucjan Rydel, 19th-century poet and dramatist. During his journey to France in 1890, Wyspiański admires some Gothic cathedrals i.e. Chartres, Reims, Rouen, Amiens and personifies them metaphorically. The cathedral is a product of the imagination, she turns into amonumental theatrical stage, and its sculptures become dramatis personae of the play.

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Marandi, Pegah, and Alireza Anushiravani. "Bourdieusian Reading of Caryl Churchill’s Serious Money." English Language and Literature Studies 5, no. 4 (2015): 21. http://dx.doi.org/10.5539/ells.v5n4p21.

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<p>Caryl Churchill is one of the most widely performed female dramatists in contemporary British theatre. She is arguably the most successful and best-known socialist-feminist playwright to have merged from Second Wave feminism. Her plays have been performed all over the world. In her materialist plays, she shows the matters of culture, education, power, politics, and myth. Her oeuvre hovers over the material conditions which testify to the power relations within society at a given time in history. Pierre Bourdieu, a French sociologist, and theorist in cultural studies points out the dyn

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Dissertations / Theses on the topic "French dramatists"

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Walmsley, Benjamin A. "Agents, puppets and being-for-others : traces of humanism in the stage characters of Jean-Paul Sartre and Eugene Ionesco." Thesis, University of Glasgow, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323237.

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Al-Soudi, Siaf Y. "Antithesis and oxymoron in early Cornelian tragedies : Médée, Le Cid, Horace, Cinna /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9953842.

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Vorstman, Ruth G. "Tragedies and Tragi-comedies by French Female Dramatists 1640 - 1700 : Adaptation of Sources and Presentation of Gender." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519828.

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Dubé, Valérie. "Analyses microtextuelles de trois pièces d'Eugène Ionesco /." Chicoutimi : Trois-Rivières : Université du Québec à Chicoutimi ; Université du Québec à Trois-Rivières, 2005. http://dx.doi.org/doi:10.1522/24133279.

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Thèse (M.E.L.) - Université du Québec à Chicoutimi, 2005.<br>"Mémoire présenté à l'Université du Québec à Chicoutimi comme exigence partielle de la maîtrise en études littéraires offerte à l'Université du Québec à Chicoutimi en vertu d'un protocole d'entente avec l'Université du Québec à Trois-Rivières." Comprend des réf. bibliogr. : f. 109-115. Document électronique également accessible en format PDF.

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LEMP, RICHARD WARREN. "MOLIERE AND MEDICINE: DISSECTING THE KALEIDOSCOPE (FRANCE)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183776.

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The subject of medicine in the works of Moliere has been traditionally treated as a matter of satire. While it is important to consider this view and while biographical approaches relating Moliere's personal illness to the content of his medical comedy are illuminating, this study proposes that a plurality of views offers a more complete picture. Such analysis discovers that Moliere's medical comedy is much more than satire, that it contains elements of black humor and even approaches the theater of cruelty in its treatment of sickness and death. The metaphor in this approach is in the percept

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Silveira, Isabela Fernanda Azevedo. "O lugar do espectador na dramaturgia de Armand Gatti: engajamento político, cooperação textual e performatividade." Escola de Teatro, 2011. http://repositorio.ufba.br/ri/handle/ri/27116.

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Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-27T18:51:13Z No. of bitstreams: 1 Dissertação final.pdf: 1186771 bytes, checksum: 36bc34689cf78f33dfbc1cab1699191e (MD5)<br>Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-28T00:49:02Z (GMT) No. of bitstreams: 1 Dissertação final.pdf: 1186771 bytes, checksum: 36bc34689cf78f33dfbc1cab1699191e (MD5)<br>Made available in DSpace on 2018-08-28T00:49:02Z (GMT). No. of bitstreams: 1 Dissertação final.pdf: 1186771 bytes, checksum: 36bc34689cf78f33dfbc1cab1699191e (MD5)<br>O objeto da dissertaç

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Stonehouse, Alison A. "The attitude of the French towards Metastasio as poet and dramatist in the second half of the eighteenth century." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21318.pdf.

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Stonehouse, Alison A. "The attitude of the French towards Metastasio as poet and dramatist in the second half of the eighteenth century /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371220817.

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Books on the topic "French dramatists"

1

1944-, Cooper Barbara T., ed. French dramatists, 1789-1914. Gale Research, 1998.

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Johnston, Joyce. Women Dramatists, Humor, and the French Stage. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137452900.

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Daniel, Dubois, and Roy Marie-Josée, eds. Morceaux: Entretiens sur l'écho du monde, l'imaginaire et l'écriture : juillet 2005 - janvier 2006. Leméac, 2009.

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Merlin, Olivier. Tristan Bernard, ou, Le temps de vivre. Calmann-Lévy, 1989.

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Garcia, Carole. Edmond Rostand: Panache et tourments. J. Curutchet, 1997.

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Lemahieu, Daniel. Daniel Lemahieu: Entretien avec Josanne Rousseau et Françoise Villaume. Centre national des écritures du spectacle-La Chartreuse, 1999.

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7

Eugène Ionesco. Seuil, 1990.

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8

Margerie, Caroline de. Edmond Rostand, ou, Le baiser de la gloire. B. Grasset, 1997.

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9

Pierre Augustin Caron de Beaumarchais. Lettres à une amoureuse. Seuil, 1996.

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10

Espil, Pierre. Edmond Rostand, une vie: "une famille extraordinaire". Editions du Mondarrain, 1998.

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Book chapters on the topic "French dramatists"

1

Johnston, Joyce. "Revisiting Women, Humor, and the French Stage." In Women Dramatists, Humor, and the French Stage. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137452900_1.

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2

Johnston, Joyce. "Sophie de Bawr: Successful Resistance, Resisting Success." In Women Dramatists, Humor, and the French Stage. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137452900_2.

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Johnston, Joyce. "The Shifting Stages of Sophie Gay’s Theater Career." In Women Dramatists, Humor, and the French Stage. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137452900_3.

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Johnston, Joyce. "Virginie Ancelot’s Comedy for Women." In Women Dramatists, Humor, and the French Stage. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137452900_4.

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Johnston, Joyce. "Delphine Gay de Girardin: The Muse Takes Center Stage." In Women Dramatists, Humor, and the French Stage. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137452900_5.

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Johnston, Joyce. "Conclusion." In Women Dramatists, Humor, and the French Stage. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137452900_6.

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Pavesio, Monica Pavesio. "Gli Avis au lecteur delle comédies (e tragi-comédies) à l’espagnole: spunti per la definizione di un nuovo genere?" In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.5.

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It is well known that in France the Spanish comedy is not considered a model to be imitated, yet, reading the peritexts (dédicace, avis au lecteur, épître) of the 17th Century French adapters and comparing the imitations with the sources, we can see attitudes that are not always connected to preconceived ideas about the superiority of génie français, both in the consideration that the playwrights reveal towards contemporary Spanish plays, and in their way of adapting them. After outlining the duration and extent of the phenomenon of the seventeenth-century comédie à l'espagnole, the study analyzes the pièces and the peritexts, following two paths: the first investigates the real knowledge and opinion that the French dramatists had of Spanish dramaturgy; the second reconstructs and analyzes the translation methods that, in their forewords, the adapters claim they want to use to make Spanish theatrical texts usable in France, and which they often disregard in their pièces.

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"Saint-Evremond, Jonson central to a French view of English comedy 1666–7." In Jacobean Dramatists, edited by D. H. Craig. Routledge, 2018. http://dx.doi.org/10.4324/9781315888224-123.

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Siess, Jürgen. "Beckett’s Posture in the French Literary Field." In Beckett at 100 Revolving It All. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195325478.003.0012.

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Abstract From the beginning of his literary career in France, Samuel Beckett wanted to distinguish himself from other writers, James Joyce on the one hand, Jean-Paul Sartre and the committed writers on the other. In avoiding the mainstream, he set out to find his own solitary path. He could have made the motto of the Sturm und Drang poet and dramatist Jakob Michael Lenz his own: “Ich aber werde dunkel sein and gehe meinen Weg allein” (I however will be dark, by myself I make my way).

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Emmons, Shirlee, and Wilbur Watkin Lewis. "R." In Researching the Song. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195152029.003.0018.

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Abstract Racine, jean (1639–1699): French poet and dramatist. Racine’s parents died soon after his birth, after which he was brought up by Jansenist parents. Still in his teens, he wrote passable *odes in Latin and French. One of these odes, written in honor of the marriage of the king, brought Racine 600 gold livres from Louis XIV. The critic Nicolas Boileau, having become a friend to Racine, behaved as his mentor for most of his life.

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