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Relevant bibliographies by topics / Historical drama/Chronicle play

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Academic literature on the topic 'Historical drama/Chronicle play'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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Journal articles on the topic "Historical drama/Chronicle play"

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Trofimova, Nina V. "A. N. Ostrovsky’s Work with Ancient Russian Sources in Two Versions of the Drama “Kozma Zakharyich Minin, Sukhoruk”." Two centuries of the Russian classics 5, no. 3 (2023): 274–95. http://dx.doi.org/10.22455/2686-7494-2023-5-3-274-295.

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The problem of Old Russian sources’ using in historical dramas by A. N. Ostrovsky has been raised many times in literary studies. However, the works devoted to the study of the changes made in the second version of the play “Kozma Zakharyich Minin, Sukhoruk” did not include an analysis of differences in the approach to ancient Russian materials. The article provides the comparative analysis of playwright versions in terms of the use of facts, images, stylistic means dating back to the Russian medieval monuments. The analysis of the texts led to the conclusions that about the reducing the numbe

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Marty, Paulette. "Playing the Past: Approaches to English Historical Drama, 1385–1600. By Benjamin Griffin. Woodbridge, Suffolk: D. S. Brewer, 2001; pp. xiii + 193. $70 cloth." Theatre Survey 45, no. 2 (2004): 307–9. http://dx.doi.org/10.1017/s004055740435026x.

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Benjamin Griffin takes an innovative approach to studying the history-play genre in early modern England. Rather than comparing history plays to their chronicle sources or interrogating their political implications, Griffin studies their relationships with other early modern English dramas, contextualizing them for “those who wish . . . to understand the history play by way of the history of plays” (xiii). He seeks to identify the genre's distinct characteristics by selecting a relatively broad spectrum of plays and examining their dramatic structure, their historical content, and their audien

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Miklos, Mezosi. "History and the Political Ethos Represented on Pushkin's Stage: The Dramatic Poet and the Historian." Studia Russica 16 (December 11, 1995): 247–65. https://doi.org/10.5281/zenodo.4107403.

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In this paper I point out how the machinery of politics is set on the stage in Pushkin’s Boris Godunov. To illustrate how the theme of politics appears and how it becomes a substantial element of the drama, I first to dwell on Shuisky, one of the key figures in the play, as well as on some minor characters. These figures are so built that through their thoughts and actions the disposition of the homo politicus can most appropriately be shown. I give a comparative analysis of a part of the dialogue between Shuisky and Vorotinsky at the beginning and a segment of the dialogue between Marin

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MAN'KOVSKII, ARKADII. "ROME AND CARTHAGE BY A.V. TIMOFEEV: ON THE PROBLEM OF THE GENESIS OF “HISTORICAL FANTASY” AS A GENRE VARIETY OF RUSSIAN ROMANTIC DRAMA OF THE 19TH CENTURY." Literaturovedcheskii Zhurnal, no. 3 (2021): 142–63. http://dx.doi.org/10.31249/litzhur/2021.53.10.

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The paper explores the genre of scarcely studied play by Russian minor writer Alexei V. Timofeev (1812-1883) Rome and Carthage (1837). Timofeev’s contemporary literary critic Osip Senkovskii treated like poet’s failure his use of romantic techniques in the play on ancient plot. Taking into account this opinion the paper analyzes the paratextual elements in the play, the way of describing characters, the division of the play into acts, the connection of the plot events with historical facts. The paper argues that the play approaches the kind of romantic drama, which the author suggests to call

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Berlova, Maria S. "A theoretical look at the main characters in A. Strindberg’s historical drama." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 3 (2022): 70–93. http://dx.doi.org/10.35852/2588-0144-2022-3-70-93.

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The article focuses on A. Strindberg’s six historical dramas about Swedish rulers: “Gustav Vasa” (1899), “Erik XIV” (1899), “Gustav Adolf” (1900), “Charles XII” (1901), “Queen Christina” (1901), and “Gustav III” (1902). Strindberg’s late historical plays reflect not so much the true historical events as the author’s world outlook, his personal perception of history and modernity. The influence of Shakespeare’s chronicles in these plays is obvious, however, Strindberg went further with the modernization of history than the English playwright. The Swedish kings appeared as complex individuals, t

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Koloshuk, N. "LET’S READ "MOTHER COURAGE AND HER CHILDREN" (THE PLAY OF B. BRECHT IN THE PRACTICE OF TEACHING THE HISTORY OF FOREIGN LITERATURE)." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(96) (September 6, 2022): 23–33. http://dx.doi.org/10.35433/philology.1(96).2022.23-33.

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Interpretation of Brecht’s ideas and poetics, especially in publications for schoolchildren and teachers, are usually limited by scholasticism or reiteration (or by distortion) of what was said as early as in soviet times. Research aim: to find out characteristic stereotypes and errors of interpretations of drama and work of B. Brecht in the wide reader's accessible sources and to offer the own reading of the play "Mother Courage and Her Children". We underline that the action in Brecht’s works is fully conditional. The subtitle of the play – "The Chronicle from times of Thirty Years’ Wa

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Fedorova, Elena A. "The Fate of Russia in the Historical Dramas by A.S. Pushkin, A.K. Tolstoy, and A.N. Ostrovsky." Vestnik RFFI. Gumanitarnye i obŝestvennye nauki 117, no. 2 (2024): 76–92. https://doi.org/10.22204/2587-8956-2024-117-02-76-92.

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Alexander Pushkin’s Boris Godunov (1825), Aleksey Tolstoy’s Tsar Boris (1869), and Alexander Ostrovsky's Kozma Zakhar'yich Minin-Sukhoruk (1861, 1866) were written at a period of turmoil in Russia. The playwrights bring up the issue of decisions that a person must make while taking on responsibility for an entire country. Pushkin’s and Tolstoy’s plays incorporate Shakespearean themes such as challenging fate, obsession, guilty conscience, trial, and redemption. Pushkin’s and Tolstoy’s works also depict impostors throwing the country into disarray, relishing the turbulence, and thirsting for po

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Sizova, Irina I. "Little-known Details from the History of the Creation of L.N. Tolstoy’s Play “The Power of Darkness” (1886) and Its Staging in “Skomorokh” Theater (Based on the Materials of the Russian State Archive of Literature and Art and Periodicals of the Second Half of the 19th Century)." Literary Fact, no. 2 (28) (2023): 156–70. http://dx.doi.org/10.22455/2541-8297-2023-28-156-170.

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The article arranges little-known details from the history of the creation of L.N. Tolstoy’s folk play “The Power of Darkness” (1886) and its staging in “Skomorokh” Theater (1886–1887, 1895) in chronological order. The article presents a historical and literary review of the “Skomorokh” Theater (1882–1897) as one of the city’s professional theaters for the public audience before and after the intersection of its repertoire with Tolstoy’s work on the basis of materials from the Russian State Archive of Literature and Art (RGALI), namely memoirs of the theater’s entrepreneur M.V. Lentovsky, the

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Golodniak, Oksana V. "THE AUTHOR’S VOICE IN THE TRAGEDY OF A.S. PUSHKIN “BORIS GODUNOV”." Vestnik of Kostroma State University 30, no. 3 (2024): 15–21. http://dx.doi.org/10.34216/1998-0817-2024-30-3-15-21.

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The article examines some forms of the author’s presence in the tragedy of A.S. Pushkin “Boris Godunov”. The analysis of these forms is carried out on the basis of Korman’s idea of the existence of two main ways of expressing the author’s consciousness in a play – plot-compositional and verbal. The latter involves detecting the author’s voice in the speech of the characters. In “Boris Godunov”, the chronicler Pimen and the holy fool Nikolka, who accuse Godunov of the murder of Tsarevich Dimitri, are traditionally considered to be close to the author. The author of the article, noting the speci

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Borlik, Todd Andrew. "Banquo’s Daughters and the Lost #MeToo Macbeth, and Early Modern Alt-Media." Explorations in Renaissance Culture 49, no. 1 (2023): 121–47. http://dx.doi.org/10.1163/23526963-04901002.

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Abstract This article investigates the disturbing accusation, first recorded in 1652, that Macbeth abducted and possibly raped a daughter of Banquo’s. Since Banquo himself was apparently fabricated by the Aberdonian chronicler Hector Boece in the 1520s to romanticize the Stuart dynasty’s origins, his daughter has no historical basis and tales of her grim fate likely represent a literary embellishment on the scene in which Malcolm reports Macbeth had confessed that kingship would awaken his insatiably lustful nature. These rumours, circulating at least by the early 1650s, would eventually culmi

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Dissertations / Theses on the topic "Historical drama/Chronicle play"

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Schuler, Anne-Marie E. "Counsel, Political Rhetoric, and the Chronicle History Play: Representing Conciliar Rule, 1588-1603." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1321840691.

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Hallett, David F. "Cautious rebellion, a critical study of the Canadian historical play in English." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ58281.pdf.

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Stevens, David Todd. "An Historical Analysis of Rule and Policy Changes in the Texas University Interscholastic League One-Act Play Contest, 1986-2006, and the Results of Those Changes: Administrator and Teacher Perceptions." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28480/.

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The University Interscholastic League (UIL) One-Act Play Contest is a competition where similarly sized Texas schools present an 18-40 minute play usually adjudicated by a single judge. At each level of competition the judge awards individual acting awards as well as selecting two productions to advance to the next level of competition. After the awards are announced the judge gives an oral critique to each of the schools. Because of the wide participation and diversity of plays produced, certain rules and guidelines have been adopted to ensure safety, allow for equity, satisfy legal standards

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Chen, Pi-Hua, and 陳碧華. "Aesthetics and Politics of Taiwanese Chronicle Play in Anti-Communism Era: Launch of Li Man-Gui’s Chronicle Plays and Post-war Drama Movement (1949-1975)." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/12251182553705030826.

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碩士<br>國立中興大學<br>台灣文學研究所<br>99<br>SUMMARY Chronicle play was regarded as kind of special drama literature in anti-communism period. Especially in 1950-1960’s, historical topics was often utilized for political propaganda in Taiwan modern drama. In this period, the amount of published chronicle play and performance were both considerable. However, relevant research was rare. Li Man-Gui, the subject of this research, created many chronicle plays in post-war period. The reality in the time stimulated her emotion and inspiration toward chronicle play. Therefore, we can found that her works usually

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Tyndall, Charles Patrick. "August Wilson's play cycle : a healing Black rage for contemporary African Americans /." Thesis, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3086723.

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Pura, Talia. "Lovers of the Enlightenment: Emilie & Voltaire." 2015. http://hdl.handle.net/1993/30858.

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This original play, a full-length drama in two acts, is the story of the last 18 months in the life of Emilie du Châtelet. It explores the relationship between Emilie and Voltaire, who was her lover for 15 years. Theirs was a romance of not only the heart, but also of the mind, as they shared their passions for science, philosophy and intellectual discourse. Emilie was an extraordinary woman, writing what is still the definitive French translation and commentary on the work of Isaac Newton. This play introduces her to a modern audience; a woman who for centuries was relegated to a footnote in

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Maeng, Jane. "Role play assessments for adults diagnosed with intellectual delays : historical analysis of test development, construction, application, and implications for drama therapy." Thesis, 2006. http://spectrum.library.concordia.ca/8986/1/MR37776.pdf.

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Drama therapy-based assessment tools are needed to evaluate client progress, create treatment plans, and support research. This paper will address developments and application of role playing assessments with adults diagnosed with intellectual delays. By using a historical analysis approach, this research aims to chronicle significant themes in psychological testing and explore implications for current drama therapy role play assessment. Developments in test construction, rating scales, testing errors, reliability and validity are analyzed within three role play assessments that are relevant t

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Paseková, Klára. "Užití divadelní hry jakožto didaktického nástroje ve výuce dějepisu ve francouzském regionu Pays de la Loire." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-346762.

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La pièce de théâtre comme outil d'enseignement de l'histoire dans la région Pays de la Loire Using Theatre as a Didactic Tool for History Lessons in the Pays de la Loire Region Bc. Klára Paseková Abstract This thesis describes the advantages of using theater play as a didactic tool for history teaching, with specific examples from the area of Pays de la Loire, France. The special role of school externist in the context of French schools is introduced, as well as the specific place of drama play as a motivational and educational tool in connection with the subject of history. Using the example

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Books on the topic "Historical drama/Chronicle play"

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Shaw, Bernard. Saint Joan: A chronicle play in six scenes and an epilogue. Edited by Weintraub Stanley 1929-. Penguin Books, 2001.

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Goy-Blanquet, Dominique. Shakespeare's early history plays: From chronicle to stage. Oxford University Press, 2003.

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Holderness, Graham. Shakespeare: The play of history. Macmillan, 1988.

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Beatrice, Batson E., ed. Shakespeare's second historical tetralogy: Some Christian features. Locust Hill Press, 2004.

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Aliyu, Saka. Àfọ̀njá: A historical play. Grethworth Consult, 2018.

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Holderness, Graham. Shakespeare: The histories. St. Martin's Press, 2000.

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translator, Ramaswamy S. 1932, Gandhi Centre of Science and Human Values (Bangalore, India), and C. V. Nagaraj Memorial Trust (Bangalore, India), eds. Ubhaya Bharati: A historical play. Gandhi Centre of Science, 2012.

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Trust, Petlo Literary Arts, ed. Sechele 1: A historical play. Petlo Literary Arts Trust, 2011.

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Agbọnifo-Ọbasẹki, Pedro. Ọbasẹki: A historical play. Jofel Books, 1994.

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Company, Junction Avenue Theatre. Sophiatown: A play. Witwatersrand University Press, 1993.

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Book chapters on the topic "Historical drama/Chronicle play"

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Dillon, Janette. "The Early Tudor History Play." In English Historical Drama, 1500–1660. Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230593268_2.

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Ullyot, Michael. "Seneca and the Early Elizabethan History Play." In English Historical Drama, 1500–1660. Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230593268_4.

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Hutchings, Mark. "The Stage Historicizes the Turk: Convention and Contradiction in the Turkish History Play." In English Historical Drama, 1500–1660. Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230593268_6.

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Giacomucci, Scott. "Sociodrama, Activism, and Role Training to Empower Communities." In Social Work, Sociometry, and Psychodrama. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6342-7_19.

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AbstractThis chapter will highlight the use of role-playing, especially sociodramaand role trainingin community empowerment and social activist movements. Historical context will be provided for the traditions of using drama, theater, and role-play in social work and social activismincluding Jacob Moreno’s vision of the theater as a modality for societal change. The sociodramatic approach will be outlined with focus on its utility in community settings as an experiential and communal experience of social action. Multiple examples of sociodrama or role training in communities are depicted with

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Heggen, Marianne Presthus, and Anne Myklebust Lynngård. "Curious Curiosity – Reflections on How Early Childhood Lecturers Perceive Children’s Curiosity." In International Perspectives on Early Childhood Education and Development. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72595-2_11.

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AbstractCuriosity and wonder are considered fundamental for children’s development. However, no precise definition of curiosity exists, and there is little research on the nature of curiosity. There is also a lack of knowledge and ideas about how pedagogy can sustain and stimulate curiosity. Drawing upon empirical material from semi-structured interviews with seven Early Childhood Teacher Education (ECTE) lecturers from the disciplines of mathematics, arts, literature, drama, pedagogy, science and physical education about their view of children’s curiosity, the authors aim to explore the lectu

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Spandri, Elena Anna. "Performing the «miasma» of Indian Partition. Terror and romance in Howard Brenton’s Drawing the Line." In Studi di letterature moderne e comparate. Firenze University Press, USiena Press, 2023. http://dx.doi.org/10.36253/979-12-215-0278-7.10.

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Originally performed at London Hampstead Theatre on 3 December 2013, Howard Brenton’s Drawing the Line dramatizes the Partition of India in two distinct nation-states after the Independence in a lush production that highlights personal conflicts and deflates the genocidal implications of the event that changed the future of the Subcontinent. The essay situates Drawing the Line in the context of Brenton’s lifelong engagement with historical theatre and reflects upon the aesthetic and political significance of the marginal role assigned to violence in the drama. It argues that the play performs

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Leeney, Cathy. "11. Teresa Deevy’s Katie Roche." In Active Speech. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0432.11.

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‘Teresa Deevy’s Katie Roche: Art, Culture, and Performance’ explores Teresa Deevy’s 1936 play Katie Roche to argue for its status as a work that sustains contemporary revival. Elements in favour of this are the play’s complex and layered text that brings together a number of theatre genres (realism, expressionism, comedy), and places at its centre a character that contains multitudes. Beginning with Katie Roche as a valuable record of the conditions under which young women in Ireland in the 1930s lived, and the constraints they often experienced, the chapter looks briefly at the play’s histori

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Gieskes, Edward. "“What’s aught but as ’tis valued”: “History,” Truth, and Fiction." In Generic Innovation in Shakespeare and His Contemporaries. Edinburgh University Press, 2023. https://doi.org/10.3366/edinburgh/9781474496735.003.0006.

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Chapter five turns to historical drama of the seventeenth century. It opens by discussing Shakespeare’s Troilus and Cressida as historical drama before turning to a series of “Tudor history plays” including The True Chronicle History of the whole life and death of Thomas Lord Cromwell (1600), Dekker and Webster’s Famous History of Sir Thomas Wyatt (1602), Rowley’s When You See Me You Know Me (1604), the two parts of Heywood’s If You Know Not Me, You Know Nobody (1604, 1605), Shakespeare and Fletcher’s All is True. The chapter concludes with Middleton’s “late” historical drama Hengist, King of

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Bordman, Gerald. "1923–1924." In American Theatre: A Chronicle of Comedy and Drama, 1914–1930. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195090789.003.0010.

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Abstract One fine season followed another. Late in the new theatrical year, Variety, surveying the crop of attractions available to theatregoers at the moment, characterized it as “of the first order.” In his annual Best Plays, Burns Mantle commented, “The general quality of the drama was higher than it ever has been before. There were fewer trivial plays and . . . of cheap farces there were practically none at all.” The number of productions inched up, while ticket prices held steady or, in a few instances, tried some inching up of their own. However, while the season was busy from beginning

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Wynn, Thomas. "Historical Drama." In Reading Drama in Eighteenth-Century France. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198895329.003.0007.

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Abstract Closet drama offers new possibilities for writing and reading history. Charles-Jean-François Hénault’s François II, roi de France (1747) was thought by contemporaries to be the first example of historical drama in French. Set during the Wars of Religion, the play spurns normal dramatic conventions: there are twenty-three characters; unities of time and place are abandoned; there are substantial historical and bibliographical notes. Hénault took inspiration from Shakespeare’s Henry VI and deployed dramatic form to make his readers visualize the sixteenth-century figures in a kind of re

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